Introduction
I’ve always appreciated when filmmakers love a genre so deeply that they create an homage in its honor. That’s exactly what Scott Derrickson and C. Robert Cargill have done with the Black Phone films. Their affection for 1970s B-movie horror is unmistakable, and their latest entry, Black Phone 2, proves they’re building something special. This isn’t a typical sequel so much as a continuation. A second chapter in what feels like a larger, evolving story. While it follows the 2021 film, Black Phone 2 expands upon its foundation with confidence and care.
Synopsis
Set four years later, in 1982, the story finds Finney and his sister Gwen navigating high school life. They’re recognizable figures in their small world, but still outsiders. Finney has hardened into a “takes-no-guff” teen verging on a bully, while Gwen’s prophetic visions have made her the target of ridicule. Both remain haunted by their past encounters with the Grabber.
In a clever inversion of the “Final Girl” trope, Finney faces the psychological fallout of survival, while Gwen’s visions draw her into investigating a possible earlier Grabber case at a Christian camp. Her story takes center stage in this latest installment, but Finney’s continued struggle adds emotional depth and balance.
Discussion
Derrickson and Cargill’s love for vintage horror is clear, but The Black Phone 2 transcends homage. It captures the aesthetic of late-’70s and early-’80s horror, the flat color palette, the grain, the analog feel, while delivering sophisticated storytelling and layered character work. The dialogue is purposeful, the pacing deliberate, and the tone deeply atmospheric.
Among the new additions, Robin’s brother Ernesto stands out as a refreshing presence, supportive, believable, and emotionally grounded. Supporting performances from Demián Bichir as Mando and Ariana Rivas as Mustang enrich the film’s world, bringing authenticity and heart to the camp setting. I only wish Jeremy Davies’s role as the guilt-ridden father had been expanded. His talent deserves more space.
Ethan Hawke once again delivers a haunting performance as the Grabber. His portrayal is unnerving yet strangely magnetic, and his brief scenes are enough to remind us why the character became instantly iconic.
Visually, Black Phone 2 is stunning. Cinematographer Par Ekberg uses flat tones and a subtle film grain to evoke the texture of 1970s cinema. The dream sequences, likely shot on 8mm or 16mm, have a haunting, home-movie quality that heightens the unease. The real snow and ice of the Toronto shoot add a tangible chill, grounding the supernatural in realism. The camp scenes, with their stark winter beauty, even recall The Shining in their isolation and composition.
The film also benefits from its restraint. Practical effects dominate, with little reliance on CGI. The makeup design for Hawke is excellent, and the production design nails the look and feel of 1982 Denver and the rural camp. Even small touches, like a Duran Duran reference, feel true to the period. I had to double-check the timeline myself, remembering that they hit big around 1983 when I was a senior in high school.
Conclusion
More continuation than repetition, Black Phone 2 deepens the original’s world with eerie confidence and emotional resonance. Ultimately, the film succeeds both as a chilling horror film and as an evolution of its predecessor. Derrickson and Cargill are in complete sync, and their work here feels both reverent and original. It’s the rare sequel that deepens the story without diluting its mystery. We needed a strong, unsettling horror film this Halloween season, and Black Phone 2 delivers the goods.
