Review | The Black Phone 2 (2025)

Scott Derrickson has dialled in another winner with The Black Phone 2. The film is a tense and enjoyable sequel. Grabber beware!

After delivering a refreshing and chilling horror in The Black Phone, Scott Derrickson returns this week for another outing with The Grabber in The Black Phone 2. With Ethan Hawke’s kiddie killer finally getting his comeuppance in the film’s finale, he has found a way to return from the grave for a new reign of terror. With Mason Thames, Madeleine McGraw, and Ethan Hawke all reprising their roles and Derrickson back in the director’s chair, the film has all the same ingredients for the perfect sequel. But can Derrickson do the unthinkable and dial in another banger? Or has The Grabber snatched his last victim?

REVIEW

Fear not, horror fans, because Scott Derrickson has delivered another winner with The Black Phone 2. The film is an enjoyable and tense sequel. By linking the film’s emotional hook to the brilliant shoulders of Mason Thames and Madeleine McGraw, it delivers a dark, ominous, and poignant ride. While the plot borrows heavily from previous classics in the genre, it just does enough to earn its stripes and deliver a solid sequel.

Some fans might find the limited role of Ethan Hawke’s sadistic antagonist puzzling this time around; after all, his screen time is criminally limited. However, it allows the teenage stars to shine, and the character development is worth the payoff. In the end, the film is a fun, familiar, and safe popcorn movie that will entertain the masses in spades. With Halloween season right around the corner, who could ask for more?

THE PLOT

For the most part, the narrative this time around is remarkably straightforward. After slaying The Grabber in the finale of the previous outing, Finney Blake (Mason Thames) is struggling to come to terms with his ordeal. Dealing with the symptoms of PTSD, the teenager struggles to control his anger and lashes out at anyone daring to test his new, harder edge. His sister Gwen (Madeleine McGraw), on the other hand, is once again struggling with her hereditary psychic gifts and is having visions of past events linked to their mother.

Soon, her visions lead the duo to a recently reopened summer camp that their mother once attended. But once there, however, the local payphone begins to ring and Finney quickly finds himself talking to more victims of The Grabber’s sadistic games. With the onslaught of a fierce winter storm, the party finds itself cut off from civilisation with only the camp’s staff on hand to see them through. But as Gwen’s dreams begin to take a darker turn, and the voices of The Grabber’s victims become all too real, Finney quickly discovers that his arch nemesis has found a way back from the cold afterlife and intends to exact his revenge.

A NIGHTMARE AT CAMP ALPINE LAKE

From here, the plot splits into multiple storylines, each focusing on a member of the cast as they try to unravel the meaning behind Gwen’s visions. Gwen embarks on a quest to solve the mystery of the late killer’s victims, while a dark presence threatens her life in her dreams. Meanwhile, Finney learns of The Grabber’s paranormal return and spends the film attempting to rescue his sister from his grasp. However, his efforts are consistently thwarted since all their encounters are confined to her dreams. At the same time, the camp’s staff, led by the dependable Armando (Demián Bichir), begins searching the premises for clues that will help solve the mystery of The Grabber’s return. Sound familiar? It has a similar vibe to Freddy vs. Jason, doesn’t it?

Having The Grabber escape purgatory by using the same telephone hotline as his victims is a clever way to bring Ethan Hawke’s character back, and it works well in this context. However, Derrickson has clearly borrowed the “dream killer” trope from Wes Craven’s A Nightmare on Elm Street and updated it for a modern audience. This could be seen as a form of hero worship or a nod to a mentor, but regardless, this plot point is overly reminiscent of Craven’s classic film.

ALPINE LAKE

The same can be said for the film’s setting. By choosing a previously abandoned summer camp, Derrickson openly invites comparisons to the “Friday the 13th” franchise. Alpine Lake becomes a de facto stand-in for Camp Crystal Lake, complete with a lake, isolated cabins, and a history of tragic killings. While this may be a homage to the adventures of Mrs. Voorhees’ baby boy, any horror fan will likely scoff at the parallel and treat it for what it is—a blatant rip-off.

In reality, the plot feels completely unoriginal, relying heavily on elements borrowed from the pillars of the genre. I understand that resurrecting serial killers can be a challenge, but surely writers Scott Derrickson and C. Robert Cargill could have come up with something original instead of recycling most of the plot of the sequel from other movies.

SNOW JOKE

Thankfully, the film’s use of snow and ice makes up for the copied narrative and adds an Arctic twist to proceedings. By setting the film in the snow, Derrickson allows room to showcase the darkness of the afterlife against the cleanliness of the snow-covered camp, and the juxtaposition works extremely well. The contrast of light and dark makes for a compelling watch, and the tonal shifting sets the tone for a truly creepy outing for The Grabber.

Speaking of the serial killer, it is terrific to see Ethan Hawke back in costume for another outing. In the previous film, he established himself as a legitimate horror icon, but in the sequel, he cements that status. Having The Grabber escape from purgatory by using the same phone line as his victims is a masterstroke, setting up many a thrilling encounter. These are mostly confined to dream sequences. But when Derrickson allows Hawke to flex his killer muscles, the true wickedness of the character erupts like a volcano.

THE GRABBER

Watching the vindictive killer stalk Gwen in her dreams is a welcome treat, and much like Freddy Krueger before him, he thrives on abusing and tormenting his victim before he goes for the killer blow. This newfound freedom allows Hawke to delve further into the character and transform him from a human kiddie killer into a legitimate supernatural force. In the first film, he enjoyed diving into his depravity, revealing a loathsome human being. But in the sequel, he truly comes to the fore to deliver a chilling performance that will cement the character in the annals of horror legend. What’s more, the new ghostly version of The Grabber has some new tricks up his sleeve. These manifest in some truly horrifying moments that are sure to have audiences grabbing the arm of their chairs in fear.

Indeed, some of the killer’s antics in this sequel rival those of Freddy and Jason for gore and plain nastiness. There are some seriously eye-watering kills in this film. Still, the added gore and spooky elements elevate it from a typical crime thriller into a legitimate ghost story, setting it apart from its predecessor. The mandate is further emphasized by his new demonic appearance, which is primarily a result of the injuries he sustained in the previous film. In this installment, The Grabber’s mask presents a more chilling vision of the demon underneath. It licks its fangs and speaks in its customary nerve-shredding voice, which is gloriously eerie.

THE CAST

Thankfully, it isn’t only Ethan Hawke who gets time to shine in this sequel. Both Mason Thames and Madeleine McGraw bring their A-Game here, and the film is all the better for it. Derrickson’s mandate of putting the children’s ordeal as the focal point of the first film was a stroke of genius. But in the sequel, with both actors now several years older, they grow into the role with refreshingly committed energy, which Derrickson uses to attach our emotional hook. Like the first film, Thames brings Finney back to life with remarkable conviction, using the PTSD angle to add more layers to his character.

Madeleine McGraw, on the other hand, becomes the central character of the film and has the opportunity to develop her role much more than she did in previous works. By the time the credits roll, McGraw fully takes charge of the story, propelling it forward with her impressive performance. By positioning Gwen as the primary protagonist, the film introduces a refreshing dynamic, and her confrontations with The Grabber are among the film’s most enjoyable moments. What’s more, Derrickson uses these moments to mine the previous outing for some truly emotional beats that serve as the heart of the story. These connections allow the director to add some well-laid breadcrumbs that connect both films and their plots. The outcome of these encounters lingers long after the credits have rolled, leading us into an emotional and poignant last act that is worthy of the price of admission alone.

ATMOSPHERE

The film’s successes are enhanced by the remarkable atmosphere that Derrickson creates in this sequel. The trailer famously declared, “Hell isn’t fire, it’s ice,” and this idea serves as the film’s central theme. The arctic setting amplifies the sense of isolation, making the relentless snow and ice feel even more oppressive as the story unfolds. The score, composed by the director’s son, Atticus, intensifies the feeling of dread with its haunting tones and suffocating soundscapes. In contrast to the previous film’s score, composed by Mark Korven, which utilized a retro ’70s vibe, this sequel’s score fully embraces a horror aesthetic. These chilling themes and subtle musical cues enhance the jump scares, leaving audiences on edge—a true hallmark of a great horror film, albeit a wholly unoriginal one. 

VERDICT

Overall, The Black Phone 2 is a worthy, if flawed, sequel that does just enough to stick the landing. In the previous film, Ethan Hawke captivated audiences as the sadistic serial killer, but here he propels himself to ghostly greatness alongside the best of the genre. His bloodcurdling spell as The Grabber is the stuff nightmares are made of. His terrifying nuances will have your skin crawling every time he is on screen, which sadly, is sorely lacking this time around. In a reversal from the last film, it’s Madeleine McGraw and Mason Thames who truly steal the show in this sequel.

Both young actors capture our attention with their impressive performances, and the emotional beats of the screenplay serve to showcase their talent to the fullest. In the end, Derrickson’s sharp screenplay, remarkable atmosphere, chilling villain, and haunting score transform The Black Phone 2 into a compelling sequel, one that will delight fans this Halloween. While it may not be the most original sequel, The Black Phone 2 serves as a chilling reminder of The Grabber’s terrifying persona. In the first film, he was portrayed as a sadistic child killer, but here, he is transformed into an eternal demon, one that will haunt us for years to come.

Just beware of strange phone calls…

 

The Black Phone 2 is set to release in UK cinemas on October 17th.

 

 

 

 

 

 

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