This review is based on a screening which took place at the 2025 Fantastic Fest Film Festival. Black Phone 2 will be released theatrically in the United States on October 17.
In the wrong hands, movie sequels can feel like cynical cash grabs. When studio executives see films like Sinister or The Black Phone rake in big box office numbers, the temptation to churn out a quick follow-up can be overwhelming, often prioritizing profit over genuine creative vision. However, a truly great sequel can expand on original ideas and unlock exciting new storytelling avenues, surprising audiences in the best way possible. Director Scott Derrickson and co-writer C. Robert Cargill clearly understand this, refusing to let Black Phone 2 become just another tired Hollywood retread. Instead, their efforts deliver a sequel that captures the spirit of iconic horror villains like Freddy Krueger, promising a fresh nightmare until a new A Nightmare on Elm Street arrives.
The original Black Phone was a standalone story by Joe Hill, never intended for a sequel. This uncharted territory becomes Derrickson and Cargill’s greatest advantage. Ethan Hawke reprises his role as The Grabber, no longer merely flesh and bone, but a terrifying boogeyman manifesting in your darkest dreams, inflicting pain that leaves very real scars. Yet, The Grabber’s return is far from a cheap Wes Craven imitation. The filmmakers’ new horror vision is an ambitious evolution of The Black Phone, demonstrating that horror sequels don’t have to endlessly repeat old tricks. Despite drawing inspiration from familiar slasher tropes, like Jason Voorhees’ campground setting, this film breaks free from the repetitive cycle often seen in franchises like Friday the 13th.
Put simply, Black Phone 2 is a punk rock horror sequel. Derrickson and Cargill choose to deepen the evil rather than simply replaying old hits. The Grabber transforms from a child abductor into a demonic entity, complete with unsettling ice-skating prowess. Finney, haunted by his past, is now portrayed by returning actor Mason Thames as a traumatized teenager, while Madeleine McGraw, also back from the first film, takes center stage as Finney’s sister, Gwen. She taps into her lucid dreams and clairvoyant abilities to confront the lingering evil. The quiet Denver suburbs are replaced by the stark, blizzard-swept landscape of the Alpine Lake Catholic sleepaway camp, sending icy chills down your spine as The Grabber appears with a terrifying, freezer-burned visage. This sequel boldly differentiates itself from the original, refusing to rely on familiar beats. The filmmakers seize their second chance, delivering far more than a simple churn-and-burn continuation.
The film is an ambitious evolution of The Black Phone that proves horror sequels don’t have to recycle the same cheap thrills for another go-around.
The horrific events of the first Black Phone understandably leave Finney and Gwen profoundly traumatized, leading to a deep exploration of their characters. Finney attempts to dull his pain with marijuana, constantly stalked by apparitions of The Grabber, while Gwen answers the calls of the black phones, driven by a desperate search for answers and a desire to help other lost souls. The script delves into the psychological toll of grief and unease, dissecting Finney and Gwen’s emotional damage. At times, the pacing can feel a bit slow before The Grabber’s malevolence fully resurfaces. The film also introduces Demián Bichir’s camp supervisor, whose biblical insights and unwavering faith inject a layer of spirituality into the grim narrative, sparking theological discussions about the nature of evil. Ultimately, however, Black Phone 2 remains Finney and Gwen’s story. It’s a somber, sibling-led ghostbusting drama that feels heavily melancholic until the halfway mark, when The Grabber’s grip intensifies, turning emotional wounds into gaping chasms and escalating the terror to breathtaking levels.
This isn’t to say Black Phone 2 is only gripping when children face dire threats. Rather, it’s the constant anticipation of impending snowscape horrors that keeps you on edge, a subtle distraction while Finney and Gwen battle their internal demons. Miguel Mora returns as Ernesto Arellano, honoring his brother Robin’s memory as Gwen’s budding love interest. Jeremy Davies delivers a redemptive performance as the now-sober Terrance, the supportive and loving father to Finney and Gwen. These character developments are crucial for illustrating how post-traumatic stress can shatter a family, yet they’re interwoven with a hopeful message that brighter days can indeed prevail. However, the film’s nearly two-hour runtime is noticeable. While not overtly detrimental, there are moments when a slight acceleration would have been welcome.
Despite these minor pacing concerns, Black Phone 2 is a rich slasher mystery that explores themes transcending life and death. Ethan Hawke’s portrayal of a vengeful, deceased Grabber is pure fire and brimstone. His decaying, unmasked face, revealed to amplify the horror, bears gruesome scars straight from Hell. Derrickson masterfully uses a Super 8 camera filter to signify Gwen’s entry into The Grabber’s dream realm, where she confronts her tormentor alone – a clever visual cue that clearly distinguishes between reality and the dreamscape. These sequences evoke an old-school, eerie Hollywood charm, making it feel as though Gwen is trapped in her own unsettling film. Then, we are abruptly pulled back to the harsh reality, where she’s bleeding or violently thrown about like an invisible ragdoll. Derrickson ensures the stakes are horrifyingly real in both universes, unleashing visceral violence that leaves audiences stunned.
For all its thoughtful introspection, Black Phone 2 remains a fresh and innovative take on traditional slasher tropes. It even embraces the stereotype of horror sequels going completely bonkers, with The Grabber executing an entire icecapades routine on magical frozen blades. The film is brimming with playful touches – from snowmen bearing The Grabber’s malevolent smile to his maniacal conversational taunts. Yet, Black Phone 2 offers more than just shocking gore and dreadful realizations. Derrickson and Cargill skillfully explore complex themes of self-imprisonment and profound recovery, ultimately delivering a powerful and uplifting message. But before reaching that resolution, they plunge their characters into desperate situations. It’s a lot to process, and sorrow weighs heavily, but ultimately, the filmmakers succeed in leaving us feeling uplifted while still satisfying our cravings for slasher goodness.
Verdict
Black Phone 2 is an effective sequel that truly invigorates the franchise. Colorado’s blustery winter conditions provide a pristine, snowcapped backdrop for The Grabber’s horrifying origins, where he compels Finney and Gwen to confront their personal demons from beyond the grave. This film delves deeper into how survivors process trauma rather than simply offering a woodland killing spree, yet it doesn’t shy away from splattering white snow with blood like a Jackson Pollock painting. While Black Phone 2 might take a moment to hit its stride, once every element harmonizes – from The Grabber’s supernatural vendetta to Gwen’s developing medium-like abilities – it proves to be a more than worthy follow-up. The film serves as an excellent example of how sequels can push boundaries, embrace standalone appeal, and prioritize originality over predictable rehashes, ultimately rewarding fans without manipulating their loyalty.