Cinema Scholars presents a review of director Scott Derrickson’s upcoming horror film The Black Phone, in theaters Friday, February 4, 2022.
Introduction
“Children in peril” films have always been a staple of Hollywood thrillers since the early days of cinema. While these types of stories usually revolve around some sort of grand adventure or self-assigned quest, very few movies have dug into the worst imaginable peril for a child- being kidnapped.
If you grew up in the 70s and 80s, black and white images of missing children on milk cartons were inescapable. Stories of kids being snatched from their bikes and thrown into unmarked, windowless vans never to be seen again, helped create legions of today’s helicopter parents. It’s no surprise that the recent surge in the popularity of true crime media comes in large part from an entire generation whose formative years were dominated by Adam Walsh’s toothless grin peering from every newsstand and TV special.
And yet, stories that capture a person’s worst fears are the ones they are drawn to time and time again. Undoubtedly, morbid fascination plays the biggest role in the draw to such dark ideas. However harrowing tales of horror can also be incredibly cathartic. Being terrified provides a unique sort of release and relief, even when (especially when?) the scenarios are exceedingly troubling.
In Scott Derrickson’s latest spine-tingler, The Black Phone, the director challenges the boundaries of one of our deepest fears, by delving into a lurid tale of child abduction and all the terror that particular brand of nightmare entails.
Synopsis
Co-written by Derrickson and C. Robert Cargill (Doctor Strange, Sinister franchise) and based on the short story by author Joe Hill, The Black Phone takes place in Denver in 1978, when the only kind of parenting was free-range. Baseball, bikes, and bullies dominate the local landscape for young Finney Shaw (Mason Thames) and his constant sidekick, younger sister Gwen (Madeleine McGraw). By day the Shaws can be found tag-teaming in knockdown drag-out fights with local hoodlums. But back at home, the loyal siblings help each other deal with their troubled, widowed father, and the demons he can’t seem to shake.
When an ally of Finney’s from school suddenly disappears without a trace, rumors about “The Grabber” start to circulate among the local kids. Before the full-on stranger danger sets in, however, Finney finds himself the next victim of the mysterious masked maniac. Trapped in The Grabber’s dingy basement prison, Finney’s only hope comes in the form of mysterious phone calls from the creepy old-fashioned (even by 70s standards) black phone affixed to the subterranean wall.
Analysis
The Black Phone is not for the easily triggered. Though there are light-hearted moments peppered throughout the film, the overall tone is downright mean. Derrickson pulls zero punches. The bullies are vicious, the adults are problematic, and the hard knocks are brutal. Remember, this was a time before kids got participation trophies and social-emotional lessons at school. Children, even young ones, really did fend for themselves a majority of the time, back in the day. The Black Phone leans into this long-lost fact of life for past generations. The result a horribly unexpected coming-of-age tale.
Nostalgia horror aside, The Black Phone is also full of the typical embellishments genre fans have come to know and love. As Finney tries to maneuver his way out of his awful predicament, there’s plenty of hair-raising jump scares (the genuine kind). There’s also creepy kid ghosts with various levels of gore, and the constant threat of the menacing Grabber.
Further Discussion
Perhaps the most terrifying part is the mystery of Finney’s impending doom. Ghastly details subtly revealed about past victims’ plights only help increase the overarching feeling of dread. Derrickson leaves most of the troubling specifics to the imagination, once again proving that big scares are more often fueled by psychological impact, rather than visual gags.
Though the horror themes in the film pretty much follow the usual formula, a surprisingly strong story of a brother/sister bond sets The Black Phone firmly apart from the standard sinister fare. These kids have each other’s backs through thick and thin. Their unconditional devotion to one another feels like a breath of fresh air when compared to the typical contemporary depiction of snarky, antagonistic siblings.
Performances
Speaking of the kids, The Black Phone belongs to Mason Thames and Madeleine McGraw who portray the loyal Shaw duo.
Appearing in nearly every scene, Thames amazes as the imprisoned Finney. The young actor’s understated performance feels uncomfortably real, as the somewhat shy character mumbles his way out of his literal and figurative shell. From humorous scenes to moments of utter despair, Thames ably shows the full spectrum of his talents through Finney’s most unfortunate fate.
As little Gwen, Madeleine McGraw’s performance is anything but diminutive. Yes, the wise-cracking, foul-mouthed kid sister trope is nothing new. Yet, McGraw’s impeccable delivery elevates her character beyond mere cliche. Thankfully, her range reaches way past spunky, landing her portrayal firmly in tear-jerking territory as well. No doubt, many will leave The Black Phone and immediately search IMDB to find out who the heck the tiny spitfire is. Keep your eye on the amazing Miss McGraw.
Of course, no scary movie could really work without a bad guy, and who knew Ethan Hawke could fit this bill so naturally? While the Oscar-nominated actor is usually associated with somewhat more sympathetic characters, it sure is fun to see Hawke play against type as the menacing Grabber. Even with his face obscured by an unsettling mask (designed by splatter master Tom Savini) for the majority of The Black Phone, Hawke’s seething portrayal is bone-chilling.
In addition to Hawke’s convincing malice, the seasoned actor somehow seems more physically imposing in this role, than those roles he has played in the past. It’s one thing to exert emotional intimidation as an actor, but quite another to seemingly transform into a more physically threatening form. Hawke seems to have mastered all of the above to a terrifying effect.
Conclusion
While The Black Phone’s throwback context will hit the Gen X sweet spot, the creepy underdog story has broad enough appeal to resonate with every generation. A satisfying dose of childhood moxie, late-70s nostalgia, and just enough visual shock value to supplement the overwhelming fear of the unknown makes The Black Phone one of the most anticipated horror films of 2022.
Universal Pictures is releasing Blumhouse Productions’ The Black Phone in theaters nationwide on Friday, February 4, 2022.
