‘Black Phone 2’ Review: Grisly Violence Meets Powerful Emotion In Horror Sequel

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Church youth camps have a unique atmosphere – they feel both warm and a little unsettling. The shared activities like praying, singing, eating together, and playing games create a strong sense of community, but they can also be a bit creepy. Being out in a remote camp after learning about Jesus casting out demons, for instance, can make things feel extra spooky.

It’s surprising that we haven’t seen more horror movies explore the natural fear of empty, isolated places. However, director Scott Derrickson does just that with *Black Phone 2*, creating a frightening and surprisingly thoughtful horror film. The movie isn’t just visually striking – think a serial killer ice skating with an axe! – it also manages to be genuinely moving and emotionally resonant.

The new film, *The Black Phone*, continues the story that began with Joe Hill’s short story. The first movie ended with Finney (Mason Thames) killing the serial kidnapper known as The Grabber (Ethan Hawke), helped by the spirits of his previous victims. Now, we find Finney and his sister, Gwen (Madeleine McGraw), in high school, still dealing with the trauma that made them famous. Gwen, who had crucial psychic abilities in the first film, is now experiencing frightening new visions, shown through a grainy, red-toned visual style. These visions include her deceased mother (Anna Lore) answering a phone at a mysterious camp, and a frozen lake where the bodies of The Grabber’s victims carve their initials into the ice with their final breaths.

Driven by a need to understand her disturbing visions, Gwen enlists Finney and a classmate, Ernesto, to travel with her to the snow-covered Lake Alpine camp. Once there, they meet Armando, the camp supervisor, his niece Mustang, and two other staff members. Gwen and Finney soon discover their mother used to work at the camp, and they join the staff and campers in trying to unravel how the visions of deceased children relate to the present danger posed by the Grabber.

What makes *Black Phone 2* interesting is that the filmmakers accept the spiritual side of life as a natural part of the world. It’s often frustrating to watch characters argue about whether a supernatural threat is actually real. In this movie, the villain, the Grabber, returns as a vengeful ghost. He’s most dangerous when people are asleep or dreaming, which allows him to connect with the physical world and cause trouble. As Ethan Hawke’s character explains, the Grabber is fueled by “his hate” and the lingering memories of Hell. He’s essentially a force of divine judgment with a personal vendetta, and being a spirit frees him from the limitations of having a body.

Setting *Black Phone 2* at a church youth camp immediately shows us that the characters readily accept the existence of demons, angels, and everything in between. It’s more interesting to watch how they *react* to the supernatural, based on their own beliefs, rather than having to be convinced it’s real. This idea comes to a head in a particularly intense scene where the Grabber attacks Gwen while she’s sleepwalking in the kitchen, violently throwing her around. The scene puts us right there with Gwen as she appears to be beaten by an invisible force. But instead of being paralyzed by fear, Finney, Ernesto, and the church staff bravely try to fight back, creating a much more dynamic and gripping sequence.

The characters struggle with more than just physical challenges. Thames delivers a powerfully moving performance as a young man haunted by the violence he’s seen and committed. It’s easy to feel overwhelmed by hardship when you’re young, believing that trauma will last forever. But those with life experience understand that life is long enough to include both good and bad times, and that present pain doesn’t have to define us. Time doesn’t necessarily heal all wounds, but it does give us the perspective to cope with them. Bichir’s character, Armando, offers this strength to Finney, telling him he’s resilient enough to move past his experiences. McGraw fully embodies the role of Gwen, committing herself completely to the demanding physical and emotional challenges, and she meets every one with impressive skill.

The film uses Super 8 footage, beautifully shot by Pär M. Ekberg, to create a truly frightening atmosphere, even in quiet scenes. The grainy quality feels like a disturbing home video, and the distorted colors and framing make it seem like we’re looking into another, unsettling world. One memorable scene shows Gwen walking through her empty cabin, where the red heating pipes cast an eerie, hellish light. The film constantly creates the feeling that we’re witnessing something forbidden, which makes the later violent scenes even more impactful.

The violence in this film is intense. The first movie had plenty of disturbing deaths of children, and this sequel somehow manages to escalate it, with equally gruesome fates befalling young characters. In *Black Phone 2*, Derrickson doesn’t shy away from showing these horrific events. The intention is to shock and disgust, but the scenes are also visually striking, creating memorable, albeit disturbing, images – like a particularly gruesome moment involving a window and a child’s face, leaving a horrifying piece of flesh behind.

What truly makes *Black Phone 2* effective is its skillful blend of harsh realism and genuine emotion. Gwen’s faith is open and honest, but it’s not naive or simply hopeful; she mixes her prayers with raw language, passionately pleading with God for safety – not just for herself, but for everyone around her. The film shows how spirituality can exist even in difficult circumstances, suggesting that the sacred and everyday life don’t have to be in conflict. By treating belief with respect, *Black Phone 2* presents grace and love as powerful forces that can fight against darkness and evil.

The sequel to *Black Phone*, titled *Black Phone 2*, had its first public screening at Fantastic Fest in Austin, Texas, where critics also shared their reviews. The film will be released in theaters on October 17th.

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2025-10-17 19:18