PLOT: Set in 1982, four years after Finn escaped his abductor and killed the infamous Grabber, the nightmare returns. Evil never truly dies, and the black phone is ringing once more. Ethan Hawke reprises his chilling role as The Grabber, who now seeks vengeance from beyond the grave by haunting Finn’s younger sister, Gwen (Madeleine McGraw). As the older Finn (Mason Thames) struggles to rebuild his life, Gwen, now 15, begins receiving eerie calls in her dreams and haunting visions of three boys being hunted at a remote winter camp called Alpine Lake. Determined to end the torment that binds them both, she convinces Finn travel to the place in her visions during a raging snowstorm where they uncover a horrifying connection between The Grabber and their family’s past.
REVIEW: I caught the West Coast premiere of the film at LA’s Beyond Fest at the American Cinematheque, and you could feel the anticipation buzzing through the crowd, some fans even showed up dressed as The Grabber to match the vibe. It’s clear this series has quickly become a beloved staple of the modern horror community. Right off the bat, I’ll admit it, I’m a bit of a cinematic possum when it comes to horror. I love the masterpieces, and I love the trash. Some things I enjoyed about this film might be dealbreakers for others, but that’s the beauty of horror: subjective chaos. The Black Phone 2 both sticks to tradition and tries to twist the formula, and in doing so, it highlights some of horror’s most time-honored tropes.
One big critique I’ve seen floating around is that the sequel tries to franchise what could have been a perfect one-off horror story. True, but that’s also one of horror’s oldest traditions. If a killer sells tickets, they don’t stay dead. Writer C. Robert Cargill was initially reluctant after his experience with Sinister 2. Still, when writer Joe Hill (whose short story the initial film was based on) pitched him the idea of Finn getting a call from the Grabber, straight from hell, he couldn’t resist pursuing that thread. And I am here for it. In our modern wave of horror, we don’t have a large batch of new boogeymen. In the 70s and 80s, we were spoiled with your Michaels, Freddys, Jasons, and Leatherfaces, but this generation needs their own iconic horror characters. Sure, Art the clown is undoubtedly on his way, but most modern slashers are legacy sequels. So with that in mind, I welcome the return of The Grabber with open arms.
The Grabber’s screen time is limited, but his presence looms large. When he appears, it’s impactful—and that’s partly thanks to his instantly iconic mask, designed by horror legend Tom Savini. Originally, The Grabber was going to be in clown makeup, since the character was inspired by real killer John Wayne Gacy, but Joe Hill requested they switch it up to avoid comparisons to the work of his father, Stephen King. He instead suggested a look based on 1930s magic acts, which often incorporated a devil mask. Tom Savini sketched it out on a cocktail napkin, and a new horror legend was born.
Of course, a mask is only half the equation, and is only as terrifying as the man beneath it. Ethan Hawke once again delivers pure menace. Every word drips with malevolence, his performance radiating the energy of a soul stripped down to evil itself. He is clearly relishing his second turn at playing the villain and he commits 100% to playing the ghost this character.
Now, having said that, there’s the elephant in the room, the Freddy Krueger of it all. I am not the first, nor the last, to see parallels to this character in the way they approached the Grabber’s resurrection. And to that I say, yeah, but is that enough to derail the movie? Hell no. Cannibalism is another horror tradition at play here, not so much in the literal sense, but horror is folklore, so there will always be some kind of derivative.. For example, I love Friday the 13th, but the filmmakers have openly admitted that it began as a shot at cashing in on the Halloween franchise, down to some of the stylistic choices. So yeah, horror can tend to eat its own tail, but it’s what it does with it that’s important, and I think Black Phone 2 uses its familiar villain resurrection in a way that they can spin in their own direction if they choose to move forward. So while yes, it contains elements of that, it’s honestly more of a ghost story than a nightmare. In fact, it can also be compared to films like Friday the 13th for the lakeside camp setting, or even The Thing for its isolated, snowy horror. You can even find deeper cuts like Curtains and The Dead Zone sprinkled throughout.
The returning cast is stellar, and time has only improved their acting chops. Mason Thames as Finn showcases his ability to subtly portray the post-traumatic stress that follows the events of the first film. We find him dealing with the fallout through anger, violence, and a lot of weed. He hides his fear behind fights, channelling some of his dead friend Robin’s antics in the first Black Phone. But deep down, he is a caring brother, dedicating himself to protecting his sister, Gwen, as she finds herself a target of The Grabber. He even has some fantastic comedic beats, as Finn finds himself a bit of a chaperone when Robin’s younger brother Ernesto takes a liking to Gwen. And while he is the film’s heart, this movie belongs to his sister Gwen. Madeleine McGraw brings us a more mature Gwen, working through the rugged terrain of figuring out how her psychic abilities work. She brings a deep range of believable trauma, fear, and, at times, a deep sadness as she connects the dots between The Grabber and her dead mother. But through it all, she still manages to drop some profane quips that would make a pirate blush. Her blend of vulnerability and razor-sharp wit completely owns this movie.
And the supporting performances also land. Miguel Mora returns as Ernesto, the younger brother of Finn’s late friend Robin, adding both levity and warmth. Jeremy Davies reprises his role as Finn and Gwen’s father, now sober, remorseful and more loving, offering a quiet but meaningful redemption arc.
Director Scott Derrickson returns with confidence and style, expanding the world while honoring the tone that made the first film work. He pushes boundaries, blending supernatural horror with psychological trauma and adding stunning new visual depth. He plays with the lore, expanding and shifting established plot points in interesting and bold ways. And he knows how to craft a visual style. The shift from a dingy basement to the great white outdoors opens the film up to a brand new visual palette. The shots of the lonely phone booth tucked between the vast mountains of Colorado never failed to look stunning. Also, hell yeah for winter horror, I can never get enough of the blood and snow combo. The quiet moments are often lit by vintage heating coils, giving a soft, humming glow to the tender moments. Also expanded in a big way is the use of old film grain to convey the shift between reality and nightmare. The use of old film style to indicate this shift is a cool visual choice, especially given the winter settings. It plays like a corrupted version of the old Christmas memories scene in Christmas Vacation, swapping holiday cheer for dismembered campers. And yes, Derrickson ups the ante on the gore, giving us some glimpses into some child murders that the first pulled its punches on. There’s a confidence in his decision, taking an unflinching look at the grim underbelly of the story.
The first movie was a missing child photo on a milk carton, the writers growing up in the 70s tapping into that fear that one day they would be listed on one. The Black Phone 2 is an after-school special, tapping into morality and the power of facing your fears. It’s a bit cheesy sometimes, sure, and can even come off a touch preachy to some. But this is how each character deals with the trauma, some using their faith to guide their actions. After all, the film takes place at a religious youth camp. And sure, it can tend to drag a bit at times, but it always tends to reward your patience. Overall, this is a welcome return to form for the entire cast and crew, and earns its keep as a worthy successor to the breakout hit that was The Black Phone. It is a chilling, bold follow-up that expands the mythology without losing its soul. It’s creepy, emotional, and surprisingly heartfelt, a worthy return for the cast and crew.
And if The Grabber decides to call for a third time…I’ll keep answering.
