by Foster Harlfinger, Contributing Writer
The Black Phone marks director Scott Derrickson’s first film in six years following the success of Marvel’s Doctor Strange in 2016. Though the film markets itself as horror, The Black Phone would more accurately be described as a thriller with a supernatural twist. Set against the backdrop of a 1978 Denver suburb, The Black Phone acts as an effective ghost story and serial killer film hybrid. Though the disparate elements of the film may not always mesh perfectly, this is an awesomely tense and emotionally involving film, and Derrickson’s passion for genre filmmaking shines throughout every second of The Black Phone.
Ethan Hawke stars as The Grabber, a child abductor with a penchant for menace and theatricality. Between this, Moon Knight, The Northman, and the upcoming Glass Onion (Rian Johnson’s follow-up to Knives Out), Ethan Hawke might just be 2022’s film and television MVP. Given the man’s seemingly never-ending slew of terrific performances as of late, it will come as no surprise that he completely owns this role. In a particularly inspired choice by Derrickson and co-screenwriter C. Robert Cargill, The Grabber features a surprisingly minimal amount of screen time. Though some audience members may lament the lack of depth afforded to his character, this choice added significantly to the fear and mystery surrounding The Grabber à la Hannibal Lecter in The Silence of the Lambs.
The Black Phone is led by up-and-comers Mason Thames and Madeleine McGraw, who play siblings Finney and Gwen, respectively. Casting younger actors in the leading roles of a film can be a risky move, but as the success of properties like It and Stranger Things have shown us, a well-cast crew of child leads can be a massive boon to your film, and The Black Phone is no exception. Thames, in particular, deserves plenty of credit for his ability to effectively convey the emotional arc of his character, which doubles as the emotional crux of the film, all in his first feature film role.
The Black Phone also features character actors audiences may recognize like Jeremy Davies and a particularly coked-up James Ransone. Though the cast largely hits the mark, the performances from the peripheral characters are unfortunately hit-or-miss. Certain performers feel as if they belong to a different film, resulting in a handful of stilted line readings and a bit of awkward tonal inconsistency. This same tonal inconsistency occasionally affects the film’s overall structure, which acts as a hodgepodge of various genre elements. In particular, the comedy, while effective, does not always mesh with the horror elements as smoothly as Get Out or The Evil Dead franchise.
However, in spite of whatever surface-level flaws can be found within The Black Phone, this is one of the most exciting and thrilling rides of the year. Derrickson’s directing prowess is in full force here as he makes a number of refreshingly creative stylistic choices in the film’s presentation. Grainy 8mm footage, dramatic musical cues from composer Mark Korven, creative use of slow motion and out-of-focus cinematography, and convincing period-accurate costuming and set design are just a few of the creative offerings Derrickson and company provide. Special attention must also be given to the great prosthetic makeup artist Tom Savini, who designed the instantly iconic masks worn by The Grabber in the film. Don’t be surprised if these masks make their way into your neighborhood Halloween stores by the end of the summer.
Fans of the director’s previous works know that Derrickson often tackles themes of spirituality with varying degrees of nuance, particularly within the horror genre. Films like The Exorcism of Emily Rose or Deliver Us from Evil tackle the classic horror trope of demonic possession, while Doctor Strange naturally lends itself to explorations of mysticism and sorcery as its super-powered protagonist engages in a quest of spiritual and emotional exploration. The Black Phone sees Derrickson using the film’s supernatural elements as means of finding the light in the darkness. If one wishes to search for a deeper, more concrete interpretation, the visions and communications from the dead received by our two leads in the film seem like an unorthodox metaphor for prayer or “messages from above.” Perhaps this view stretches beyond the intent of the film, but such is the joy of the medium. Even if only a small percentage of viewers will enjoy dissecting the under-the-surface spiritual themes of The Black Phone, most audience members will be able to connect with the journey of our protagonist as he gains self-confidence amidst a backdrop of trauma and abuse.
The Black Phone is a tense and engaging thriller from beginning to end. Though the film does not quite reach the full potential of its supernatural premise, the familiar structure makes for a refreshingly straightforward theatergoing experience with just enough surprises to keep you hooked. Derrickson’s love for genre filmmaking and passion for providing his audiences with a fulfilling cinematic experience makes The Black Phone a great time at the movies.
Score: 8/10
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