The Black Phone Movie: A Haunting Masterpiece Review
It might seem unusual to begin a review discussing director Scott Derrickson and writer C. Robert Cargill’s departure from Doctor Strange in the Multiverse of Madness. While the Marvel sequel had its moments, one can’t help but speculate on the potential heights it might have reached under their guidance. However, their exit paved the way for a different kind of cinematic triumph: The Black Phone. Freed from the constraints of a massive franchise, they delivered what is arguably one of the standout films of its release year, a truly exceptional piece of storytelling. In a market saturated with louder, heavily promoted blockbusters, the hope is that audiences recognize the chilling brilliance of the Black Phone Movie and grant it the success it richly deserves. This isn’t just another horror flick; like Andy Muschietti’s IT (2017), it prioritizes compelling coming-of-age drama, with horror serving as a powerful, effective backdrop.
The Story: Unpacking The Black Phone Movie Plot
Set in a Denver suburb in 1978, the film introduces siblings Finney (Mason Thames) and Gwen (Madeleine McGraw) Shaw. Their childhood is marked by struggles with school bullies and navigating life with their grieving, alcoholic father (Jeremy Davies). Finney is depicted as shy and introspective, often the target of torment, while his younger sister Gwen possesses a fiery spirit and unsettlingly accurate clairvoyant dreams. Their already difficult lives take a terrifying turn as boys from their neighborhood start vanishing, victims of a mysterious child abductor known only as “The Grabber” (Ethan Hawke). Inevitably, Finney becomes The Grabber’s latest prey, finding himself locked in a soundproof basement. His prison contains only a stained mattress, a toilet, and an old, disconnected black telephone mounted on the wall. The Grabber assures him it doesn’t work. As Gwen frantically tries to use her psychic visions to locate her brother, Finney discovers the phone isn’t entirely dead – it rings with calls from The Grabber’s previous victims, offering cryptic clues that might be his only hope for survival.
Madeleine McGraw as Gwen Shaw and Mason Thames as Finney Shaw looking concerned in the black phone movie
Scott Derrickson’s Masterful Direction
Having previously demonstrated their prowess with films like the original Sinister and Doctor Strange, Derrickson and Cargill masterfully adapt Joe Hill’s short story. Their screenplay for the Black Phone Movie transcends typical horror tropes, choosing instead to focus on profound themes: finding hope and resilience in the face of unimaginable terror, the lasting impact of grief and bullying, and the enduring strength derived from family bonds and, subtly, faith. This focus results in what is arguably Derrickson’s most mature and emotionally resonant film to date. He skillfully weaves these complex themes into a taut, suspenseful narrative that grips the audience for its entire 102-minute runtime. The film retains Derrickson’s signature directorial style but employs familiar techniques in fresh ways to deepen the emotional core, ensuring nothing feels gratuitous or like a mere gimmick.
Director Scott Derrickson collaborates with young actor Mason Thames on the set of the supernatural thriller the black phone movie
A prime example is Derrickson’s use of the “grainy home-movie” aesthetic, previously seen in Sinister. In that film, these sequences served to deliver shocking, disturbing glimpses of horrific murders. In The Black Phone, this style serves a dual purpose. Narratively, it distinguishes Gwen’s psychic visions from the present-day reality. Emotionally, and more powerfully, it offers poignant, somber flashbacks to the lives of The Grabber’s previous victims. We see brief moments of their lost innocence, allowing the audience to connect with them swiftly and deeply. Their tragic fates underscore the peril Finney faces, making his situation even more terrifying. The tragedy isn’t just that children were murdered; it’s that these specific children, whom we briefly get to know, had their lives cruelly cut short. It’s a remarkably effective and sensitive use of the technique, showcasing Derrickson’s unique directorial voice.
More Than Horror: A Coming-of-Age Tale
Through these directorial choices and a steadily escalating sense of dread, the black phone movie crafts a compelling character arc for Finney. Introduced as a kind-hearted but timid boy unable to stand up for himself, he is thrust into a situation demanding extraordinary courage. His journey becomes the film’s true narrative heart – a somber yet ultimately beautiful story about discovering inner strength when confronted with the worst possible circumstances.
Similar to Guillermo del Toro’s Crimson Peak or M. Night Shyamalan’s The Sixth Sense, the ghost story elements and the surface-level serial killer plot primarily serve a deeper character drama. Here, the horror framework supports the story of two children forced into premature adulthood by immense trauma. The ghostly phone calls are not just plot devices; they are integral to Finney’s development. Each conversation provides a piece of the puzzle needed to potentially escape The Grabber, while simultaneously fostering Finney’s courage and resourcefulness. The ghosts empower him, guiding his transformation from victim to survivor.
Brady Hepner as the tough Vance Hopper stares down Mason Thames as Finney Shaw in a tense scene from the black phone movie
While Gwen’s arc receives slightly less screen time, it remains impactful. She grapples with the reality of her psychic abilities, a gift her father rejects due to his own unresolved grief (a heart-wrenching backstory element). Gwen must learn to trust her visions, as they represent the only hope of finding Finney, the person she loves most. Her faith is challenged, but her fierce determination never wavers. She endures her own trials, mirroring her brother’s fight for survival in his more immediate, physical danger.
Standout Performances Elevate the Film
These demanding character arcs are brought to life by extraordinary performances from the young leads. Mason Thames makes an incredible feature film debut as Finney. It’s easy for horror movie victims to become frustrating characters, but Thames imbues Finney with such sympathy and quiet intelligence that the audience remains firmly invested in his fate. He masterfully portrays Finney’s vulnerability while simultaneously showcasing his growing resourcefulness and resolve. He never feels weak, embodying the qualities of a true horror protagonist: not just a victim, but a hero fighting back.
Madeleine McGraw is equally captivating as Gwen. From her first appearance, she radiates a fiery energy, delivering sharp lines with perfect comedic timing while conveying fierce loyalty and love for her brother. Her aggressive spark and unwavering spirit make her instantly lovable. The chemistry between Thames and McGraw is phenomenal, making their sibling bond feel entirely authentic and deeply affecting. Even when separated for much of the film, the strength of their connection resonates, a testament to the life these young actors breathed into their roles.
Mason Thames as Finney Shaw and Madeleine McGraw as Gwen Shaw portray a strong sibling bond in the black phone movie
Ethan Hawke delivers one of the most unsettling performances of his career as The Grabber. Notably, his full face is almost never shown, obscured by disturbing masks or, initially, clown makeup and sunglasses. This technique effectively erases the familiar “Ethan Hawke” persona, leaving only the terrifying enigma of the killer. Hawke crafts a character that blends unsettling mannerisms – perhaps invoking hints of Michael Jackson or John Wayne Gacy – into a truly menacing figure whose presence keeps the audience on edge throughout Finney’s ordeal. A scene where he calmly threatens Finney is particularly chilling. We sense a deep-seated pathology driving his horrific actions, but the film wisely refrains from providing a backstory or explicit motivation. Like Heath Ledger’s Joker or Javier Bardem’s Anton Chigurh, this ambiguity makes The Grabber infinitely creepier and one of the most memorable horror villains in recent years.
Supporting turns also impress. Derrickson regular James Ransone provides welcome comic relief as Max, an eccentric amateur sleuth convinced he can crack the case. Jeremy Davies adds layers to the potentially stereotypical role of the alcoholic father, Terrence Shaw. He clearly loves his children but is broken by grief. It’s a nuanced performance that adds emotional weight to the family dynamic, only slightly overshadowed by the powerhouse performances of the three leads.
Jeremy Davies as the troubled father Terrence Shaw holds his daughter Gwen, played by Madeleine McGraw, in the black phone movie
Atmosphere and Authenticity
The film’s unnerving atmosphere is significantly enhanced by Mark Korven’s score. Known for his work on The Lighthouse and The Witch, Korven crafts music that builds suspense while also echoing the classic horror scores of the 1970s and early 80s, reminiscent of John Carpenter’s work on Halloween. It’s eerie and effective, perfectly complementing the film’s period setting. Derrickson also curates an excellent soundtrack featuring hits like Sweet’s “Fox on the Run,” grounding the black phone movie firmly in its 1978 setting and adding another layer of authenticity.
Does The Black Phone Movie Deliver?
Finding significant faults with a film as engaging and well-crafted as The Black Phone is difficult. Derrickson and Cargill demonstrate a deep understanding of the horror genre, skillfully navigating and often subverting common clichés. They excel at immersing the audience in Finney’s perspective, anticipating and addressing the viewer’s “why doesn’t he just…?” questions by showing Finney attempt logical escape strategies. While perhaps one or two moments might slightly stretch credulity regarding escape attempts, the narrative logic remains remarkably tight and believable within its terrifying context. The execution is clean, professional, and consistently suspenseful.
Ethan Hawke as the terrifying villain The Grabber, his face hidden by a disturbing mask in the black phone movie
Conclusion: A Must-See Horror Gem
Ultimately, The Black Phone earns the highest recommendation. It stands as Scott Derrickson’s finest directorial effort to date, a chilling and emotionally resonant ghost story arguably unsurpassed since The Sixth Sense, and a genuine highlight of modern horror cinema. It masterfully blends supernatural terror with a poignant coming-of-age narrative, anchored by exceptional performances, particularly from its young leads and a terrifying Ethan Hawke. While it delivers genuine scares and intense suspense, prospective viewers should know this is far more than a simple jump-scare fest. The black phone movie offers smart, character-driven horror – a somber, frightening, yet ultimately hopeful film that captivates from the first frame to the last. If you’re seeking a truly outstanding and thoughtfully crafted movie experience, look no further.
