"The Black Phone" was average but entertaining | Film Review

2022 - Horror/Thriller

***Minor Spoilers Ahead***

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The Black Phone is a solid horror/thriller film that avoids unnecessary exposition, remaining straightforward without overexplaining every aspect of the story (though, there were some parts where maybe they could've elaborated a bit more). While the movie certainly isn’t revolutionary in terms of story or the horror genre, it was still an engaging, emotional tale about battling traumas and, with the help of family and friends, finding strength to fight despite all the tragedies that have been suffered.

Containing stars such as Ethan Hawke (The Grabber) and Jeremy Davies (Terrance), alongside youngsters Mason Thames (Finney) and Madeleine McGraw (Gwen), the entire cast portrayed wonderful performances in their roles, amplifying this film to a higher degree that differs from the typical horror films in which acting can, oftentimes, be a bit cheesy.

As such, if you’re looking for a horror/thriller that is well-acted, engaging, and a bit emotional while straying from the overtly bad ones we often get (especially on Netflix), then The Black Phone will be a fun choice to enjoy while deciding your next horror film.

Based on the short story by Joe Hill, son of legendary horror writer, Stephen King, the film’s director/co-writer, Scott Derrickson (Sinister, Doctor Strange), appears to also have drawn inspiration from his childhood seeing as he, himself, grew up in Denver and was turning 12 the year this film was established in.

Set in North Denver during 1978, The Black Phone centers around a community in which children are being abducted, with photos of missing children being plastered around the town as their smiling faces stand frozen in time. Our sensitive young protagonist, Finney, is tormented both by schoolyard bullies and his alcoholic father, with his only peace being his sister Gwen and friend/fellow classmate Robin. Life in this town is grim and fueled by fear, instilled with rampant violence and bullying, as well as neglectful, abusive, absent parenting; all this on top of the looming presence set by the Grabber.

Inevitably, Finney becomes a kidnapped victim, spending the majority of the film alone minus calls from the black phone and visits from the violent perpetrator. The Grabber avoids being a killer with supernatural abilities, but rather a tap into our fears regarding menacing predators. He, in this case, is a deranged man with a Halloween mask and a sick fascination with making kids play his violent game, before killing them once he’s had enough fun.

A primary complaint I’m sure most had was the utilization of supernatural gimmicks to move the film along. Rather than leaving viewers trapped in the basement with Finney, we often cut back to the police investigation happening on the surface in which Gwen, his brave young sister, showcases potentially psychic abilities that essentially solve the case for the useless police officers.

Every clue, piece of evidence, and location they visit is discovered because of her while, in the case of Finney, his every move towards escape is told by the kids calling on the black phone. It can feel a bit like plot armor and easy writing to avoid creating more complex storylines.

Moreover, the killer didn't really do much in terms of evoking fear within either Finney or viewers, as he remained primarily idle without inflicting much harm or describing a clear motive.

Nonetheless, the aspect of the deceased kids aiding Finney in his escape plan was emotional given how viewers got to see a bit of these kids’ lives in flashbacks, learning most of them had been victims of negligence, abuse, bullying, and a poor home/school environment prior. Moreover, Gwen’s dedication to finding Finney was a true testament to her bravery, strength, and protective bond for her brother despite previously having been brutally beaten by her father for using the very abilities that would lead to her brother’s return.

In many ways, the background of the kids helps in aiding both the quality of the story and the underlying theme in which those having endured horrible situations can either rise and find the strength to fight back or, in the case of the Grabber, the cycle of trauma and violence can repeat.

While we weren’t given much info on the Grabber, he and his brother, Max, had shown potential signs of being former abuse victims. For instance, the Grabber never showed his face until his mask was forcibly removed, in which he panicked in rapid desperation to cover his true identity; as if his appearance and need to wear a mask is attached to his trauma, rendering him completely unable to function until his face is hidden again.

His desire of abducting specifically young boys and forcing them to play the “naughty boy” game that leads to brutal beatings should they attempt escape, as well as Max’s fascination with tracking down the killer, potentially indicates they suffered abusive traumas as a kid. The difference is that one developed an intense sense of justice to save and protect, while the other turned towards violent methods of torture to maybe reenact and instill the same fear and hopelessness he felt.

Furthermore, it’s worth mentioning that the Grabber’s masks progressively became more exposing as he got more comfortable with the kids, further emphasizing the connection between his appearance and the deeper meanings behind the masks.

To summarize, the thrilling, suspenseful horror elements presented in this film were mostly executed interestingly enough, and the cast, again, all did a wonderful job! Loved the sibling bond between Gwen and Finney, the emotional scenes with Robin, and the ending scene hearing all the kids screaming supportive reference lines we heard previously in the film as Finney fights back against his abuser.

This is most definitely a film not everyone will like, for which I would understand. However, the emotional aspects and focus on kids in tough situations really amplified this story, providing an engaging watch I believe is worth it for those a fan of the genre.