Another day, another Blumhouse-backed horror film is upon us. Since 2013, there has not been a year in which at least two Blumhouse horror films weren’t released. Their newest release is The Black Phone.
Adapted from a short story by Joe Hill (Stephen King’s son), The Black Phone tells the story of the latest victim of a mysterious serial kidnapper who must follow the instructions he receives through a disconnected black phone as his only hope for escaping captivity.
The Blumhouse camp rarely, if ever, misses when it comes to horror, and The Black Phone has some high expectations after a six-month delay in being released. Does it continue Blumhouse’s record of horror excellence?
The Black Phone has a lot going for it, starting with the reunion of Scott Derrickson and C. Robert Cargill. With Derrickson in the director’s chair and Derrickson and Cargill on the script, this film features many of the same characteristics as their hit Sinister films. They include a premise rooted in a childhood memory or trauma, ties to yesteryear, jump scares, and the use of suspense to create an effect that’s more chilling than bloodcurdling.
For this outing, Derrickson and Cargill take a more reality-based approach. Instead of a mythical figure, they use child abduction as the film’s catalyst for fear, which is effective because abduction can happen to anyone. Setting the story in 1978 is another potent tool that heightens the audience’s fear because child abduction was an issue that had the nation’s attention, similar to the way mass shootings have it now.
The jump scares are as present as ever, but Derrickson brings them at a slower pace, building the tension at the core of The Black Phone. It gives the film a chilling touch that lingers throughout as the audience tries to put together the puzzle laid forth by the story. The slower pace also allows the audience to develop genuine care and concern for the children at the film's center. This level of detail behind the camera made The Black Phone more suspenseful than horror and a more emotional experience for the viewer.
In front of the camera, The Black Phone boasts some serious talent, but not in the way one would expect. It’s pretty much a given at this point that Ethan Hawke will deliver regardless of the part. His portrayal of The Grabber is no different, despite its different from any villain in his filmography.
The thing that makes Hawkes’s The Grabber stand alone in comparison to his other villainous roles is he creeps you out with few words and without showing his face. One of the film’s more affecting scenes is Hawke simply sitting in a chair with his mask on while his latest victim is locked away and posing no threat. It’s one of Hawkes’s more fascinating performances in a career filled with fascinating performances.
However, Hawkes’s adolescent co-stars make The Black Phone go. The fictional brother-sister duo of Mason Thames, who plays the film’s protagonist, and Madeline McGraw, his sister, skillfully play opposite sides of the same coin. While both characters are sharp, Thames’s Finney is timid and introverted, and McGraw’s Gwen is confident and assertive. Their connection and ability to hit those critical traits of their respective carry The Black Phone, specifically McGraw, who also provides much of the film’s comic relief.
The premise is hardly new. Its biggest name doesn’t have anywhere close to the most lines. The effects? Nothing remotely special. Yet, The Black Phone is still a quality chillsfest. Derrickson and Cargill reunite to craft a thriller that sticks to their tried and true formula of well-placed jump scares, suspense, and crafting a story that connects to the real-life fears of its audiences. Hawke does a lot with a little as the Grabber, but the children of The Black Phone do the heavy lifting, with Thames and McGraw delivering strong performances that give the film its heart and almost everything else.
The Black Phone probably won’t win over anybody looking for something in the vein of Jason, Freddy, or Michael Myers. However, if you’re a little patient and appreciate a slower pace for a big payoff, The Black Phone is a must-see.
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