Tags
Anna Lore, Arianna Rivas, blumhouse, blumhouse productions, Demián Bichir, Ethan Hawke, film, horror, jason blum, jeremy davies, madeleine mcgraw, mason thames, Miguel Mora, movies, Scott Derrickson, universal pictures
Scott Derrickson returns to familiar ground with Black Phone 2 (2025), a sequel that stretches the eerie premise of his 2022 hit into icier, more supernatural territory — but the call doesn’t quite connect this time.
Set four years after Finney Blake’s (Mason Thames) narrow escape from The Grabber, the film finds the once-traumatised boy struggling to rebuild his life under the weight of memory and unresolved fear. His sister Gwen (Madeleine McGraw) remains gifted — or cursed — with psychic visions, and when she begins dreaming of three missing boys at a winter camp, the black phone begins to ring again. Only this time, the voice on the other end isn’t just calling from the past — it’s pulling them back into it.
Derrickson, who cut his teeth on Sinister and Deliver Us from Evil, once again demonstrates a clear mastery of atmosphere. His use of light and shadow is chillingly deliberate, and the wintry backdrop gives the sequel a haunting, desaturated beauty that recalls the nightmare logic of A Nightmare on Elm Street crossed with the isolation of Friday the 13th. The cinematography by Brett Jutkiewicz captures frost-bitten textures and dreamlike corridors of fear, keeping the mood taut even when the story falters.
And falter it does. Despite a promising setup, Black Phone 2 struggles to escape the confines of its own mythology. What once felt mysterious and emotionally grounded now feels repetitive and muddled. The attempts to expand The Grabber’s lore — turning him into a supernatural force rather than a disturbed man — rob the story of its primal fear. The original thrived on ambiguity; this sequel over-explains.
Mason Thames and Madeleine McGraw both deliver earnest performances, grounding their characters in shared trauma, but they’re hampered by dialogue that’s often clunky and exposition-heavy. Even the film’s pacing, once one of Derrickson’s strong suits, slips into uneven rhythms — long stretches of ghostly visions interrupted by bursts of predictable violence.
Still, credit where it’s due: Derrickson’s visual language remains potent. Echoes of Sinister resonate throughout, from the use of distorted sound design to the flicker of analogue textures, suggesting a filmmaker who still knows how to craft a mood. The Grabber, though used sparingly, continues to terrify — his mask, redesigned with subtle variations, remains one of modern horror’s most unsettling icons.
But for all its chills, Black Phone 2 can’t shake the feeling of déjà vu. It’s a sequel haunted not only by its ghostly antagonist but by the shadow of a stronger predecessor. Derrickson’s talent for visual dread is undeniable — he just needs a story worth listening to again.
The Prognosis:
Black Phone 2 has the atmosphere, tension, and menace you’d expect from Scott Derrickson, but not the clarity or emotional pull that made the original so striking. Despite its best efforts to evolve into a supernatural slasher, this follow-up never quite finds its signal.
In the end, Black Phone 2 just doesn’t have time to thaw out properly — it rings, but the line’s gone cold.
- Saul Muerte
Surgeons of Horror 