Tag Archives: Scott Derrickson

Black Phone 2 — Derrickson Dials Back the Horror, But the Line’s Gone Cold

16 Thursday Oct 2025

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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

Detectives, Damnation, and Derrickson: Revisiting Hellraiser: Inferno

02 Thursday Oct 2025

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By the year 2000, the Hellraiser franchise had drifted far from its grisly, surreal origins under Clive Barker. What had once been a baroque tale of desire, pain, and cosmic horror had, by its fifth entry, morphed into something altogether more familiar: a standard-issue psychological thriller with the faintest whiff of Cenobite leather stitched across it. Scott Derrickson’s Hellraiser: Inferno epitomises this era of crowbarring unrelated stories into the franchise, taking what could have stood alone as a grim detective noir and grafting Pinhead and his puzzle box onto its framework.

The film follows Detective Joseph Thorne (Craig Sheffer), a morally compromised cop whose corruption and addictions lead him down a spiralling rabbit hole of violence, betrayal, and surreal torment. Along the way, he encounters the infamous Lament Configuration, unleashing the Cenobites. Or at least, in theory. In practice, Doug Bradley’s Pinhead barely registers, appearing only in fleeting, spectral cameos as though contractually obligated. It’s a curious bait-and-switch: marketed as a Hellraiser sequel, but functioning more as a hallucinatory morality play about guilt and punishment.

Craig Sheffer delivers a performance that is both strange and strangely compelling. His Thorne is less a hardened detective than a man visibly unraveling from frame one, his paranoia and sweaty desperation walking a fine line between over-the-top and hypnotic. His odd choices give the film its only real personality, even when the script veers into derivative territory.

For Scott Derrickson, Inferno marked his feature debut, and in hindsight, it reads like an intriguing blueprint. The seeds of his fascination with morality, spirituality, and personal damnation—later explored more successfully in The Exorcism of Emily Rose and Sinister—are all present here, though buried under the constraints of direct-to-video horror branding. His direction adds a layer of polish and atmosphere to what otherwise could have been disposable.

The Prognosis:

In the end, Hellraiser: Inferno is less a Hellraiser film than a late-night cable thriller wearing Cenobite skin. It embodies the era when Dimension Films would shoehorn iconic franchises into unrelated scripts, keeping names alive while draining them of identity. As such, it’s both frustrating and oddly fascinating—a film that feels at once forgettable and, in retrospect, a small but notable stepping stone for Derrickson.

  • Saul Muerte

Faith on Trial: The Exorcism of Emily Rose and the Rise of Scott Derrickson

08 Monday Sep 2025

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Scott Derrickson’s The Exorcism of Emily Rose took an unusual approach to the possession subgenre, merging courtroom drama with supernatural horror. Loosely based on real events, the story centres on the trial of Father Moore (Tom Wilkinson), accused of negligent homicide following the death of Emily Rose (Jennifer Carpenter) after an exorcism. Defense attorney Erin Bruner, played by the ever-reliable Laura Linney, takes on the controversial case, quickly discovering that the line between legal fact and supernatural possibility is more porous than she imagined.

Linney’s grounded, intelligent performance gives the film its emotional and dramatic spine, portraying Bruner as a pragmatic lawyer whose certainty erodes in the face of unexplainable events. Opposite her, Jennifer Carpenter delivers a startlingly physical and haunting turn as Emily — her possession scenes rely as much on contortion and raw emotional vulnerability as on special effects, resulting in moments that are difficult to shake.

For Derrickson, Emily Rose marked a turning point. It demonstrated his ability to balance human drama with genre tension, an instinct he would refine in Sinister (2012) and push into blockbuster territory with Doctor Strange (2016). His most recent horror outing, The Black Phone (2021), saw him return to smaller-scale supernatural terror, blending coming-of-age suspense with eerie menace — a film that not only reaffirmed his horror credentials but also earned a loyal following. With a sequel to The Black Phone on the horizon, Derrickson’s ongoing trajectory suggests a director who remains committed to keeping one foot in the realm of genre thrills while continuing to evolve as a storyteller.

The Prognosis:

Not all of Emily Rose lands seamlessly — the tonal shifts between legal procedural and possession horror can be jarring, and the pacing occasionally stalls. Yet its ambition, anchored by two strong performances and an early showcase of Derrickson’s genre-bending skill, makes it a memorable entry in 2000s horror. While it may not deliver unrelenting terror, it offers a gripping glimpse at a filmmaker whose best work was still ahead.

  • Saul Muerte

The Gorge (2025) – A Visually Striking Yet Uneven Descent

16 Sunday Feb 2025

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Scott Derrickson’s The Gorge (2025) is a film brimming with promise, a high-concept action thriller that attempts to blend existential depth with pulse-pounding survival horror. Known for his ability to balance terror and emotion (The Exorcism of Emily Rose, Sinister, Doctor Strange), Derrickson crafts an ambitious narrative, but despite its stunning visual execution and compelling leads, the film struggles to fully immerse the audience before it reaches its true stakes.

Miles Teller and Anya Taylor-Joy bring a welcome chemistry to the screen, embodying two highly trained operatives assigned to opposite sides of a seemingly insurmountable gorge. Their dynamic is at the heart of the film, offering a blend of tension and reluctant camaraderie that gradually builds into something more profound. Teller’s rugged intensity contrasts well with Taylor-Joy’s ethereal yet steely resolve, making their interactions compelling even when the story falters.

The film’s core themes—uncertainty, forced isolation, and the necessity of connection—are its most intriguing elements. The gorge itself serves as both a physical and metaphorical chasm, a representation of the vast emotional and ideological distances that separate us. Derrickson is no stranger to exploring the psychological strains of confinement and survival, and The Gorge is at its best when it leans into this existential unease. The idea that we must plunge into the abyss together to find true connection is a powerful one, but the film often stumbles in delivering this emotional payoff.

The emergence of the mysterious evil lurking below should serve as the catalyst for a gripping second half, yet the film lingers too long on its setup. While tension builds effectively, the story meanders in its attempt to establish a connection between the leads, losing narrative momentum before the stakes fully materialise. By the time the horror takes centre stage, the audience’s investment feels slightly strained, making the ultimate conflict feel less urgent than it should.

The Prognosis:

Derrickson’s visual craftsmanship and the undeniable chemistry between Teller and Taylor-Joy elevate The Gorge, making it an intriguing but flawed experience. Its themes of human connection and survival resonate, yet the film struggles under the weight of its own philosophical ambitions, delaying the inevitable descent into true terror. By the time the audience is fully engaged, it feels as though the film has only just begun to reveal its true depths. A fascinating misstep, but a misstep nonetheless.

  • Saul Muerte

The Gorge is available to stream on AppleTV+

Movie review: V/H/S/85 (2023)

04 Wednesday Oct 2023

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Having secretly shot the latest instalment in the V/H/S/ franchise back-to-back alongside V/H/S/99, Bloody Disgusting are set to release V/H/S/85 on the streaming platform, Shudder. This time around sees one of the pioneer directors of the franchise David Bruckner (The Ritual) with his segment Amateur Night return to add more flavour to the proceedings. It’s clear that Bruckner is going from strength to strength in his storytelling with a bent towards science fiction, evident with bringing Hellraiser before a contemporary audience. Bruckner’s V/H/S. Segment Total Copy is peppered throughout the feature and follows a group of college teachers pushing past their skillset into untapped territory. In doing so, they venture into a domain that slowly spirals out of control. 

Joining Bruckner is a team of bold visionists, each with their own unique style spilling forth into an eclectic union of enterprising stories. My own personal liking leans towards Scott Derrickson’s (Sinister) segment Dreamkill; which is a psychic-bending, slasher frenzy that twists and turns delightfully towards a gripping climax. For fans of Derrickson’s work, there is an easter egg in there which arcs back to one of the characters from The Black Phone. Another segment I enjoyed was No Wake, directed by Mike P. Nelson (Wrong Turn) who feels as though he is in his element with his traditional found footage tale set on a lake retreat. We follow a group of teens who get more than they bargained for when they are slowly being picked off by a hidden assailant, and then pick up the tale further into the feature when we see the story complete from the assassin’s point of view. The other two entries are just as compelling with Natasha Kermani’s segment TKNOGD; following performance artists tackle technological gods and Gigi Saul Guerrero’s (Bingo Hell) segment, God of Death, taking you to the depths of Mexico in the wake of an earthquake which has awoken a once dormant God.

The Prognosis:

For its’ sixth entry into the franchise, V/H/S/85 is arguably the most diverse and compelling. It allows each director to spin their tale using their individual voices, without the detriment to the final reel. Enjoyable and fragmented to create a blend of disturbing, visionary narratives.

– Saul Muerte

V/H/S/85 is screening on Shudder from Friday 6th October.

Notable links:

Movie review: V/H/S/99

Movie review V/H/S/94

Movie Review: The Black Phone (2022)

14 Thursday Jul 2022

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Crafted from the short novel by Joe Hill (Horns), The Black Phone has been given the feature length treatment from a screenplay by Scott Derrickson and C. Thomas Cargill. The novel itself is only 45 pages long, but the writing duo manage to expand on this to produce a descent film that embellishes the characters on display with great success/.

Derrickson (Sinister, The Exorcism of Emily Rose) also takes on directing duries and with this weighty script, manages to accentuate some cracking performances from his lead cast, two of whom are child actors. It is an area often remarked as problematic when working with young actors, primarily in capturing natural performances, but Derrickson shows no such obstacles in the final product.

Mason Thames deserves high praise for his portrayal of 13 year old Finney; a boy who falls into the shadows of American suburbia, often bullied reducing his frame further still. Finney isn’t completely invisible though, and there are those who are aware of his kind-hearted nature. Chief among them is his sister Gwen (Madeleine McGraw, another fine performance) who also has a supernatural and psychic gift. She is even more than a one note mystique though as Gwen is a strong, defiant, physical and yet comical character, providing Finney with the crutch he so needs to survive. The question is whether he can survive when Gwen is not physically there to support him. Their relationship and this paranormal link between the siblings  is integral to the movie, championing their individual strengths and providing the heart of the film, which beats steady and strong throughout hte narrative.

Once Derrickson spends quality time in allowing the audience to identify and connect with these characters, including a overbearing, drunk father (Jeremy Davies) who is struggling with his own demons, the rug is pulled from under our feet, as swiftly as Mason is swept into the back of a black van by child serial killer nicknamed The Grabber (Ethan Hawke) disguised as a part time clown. There are indicators here that Finney isn’t going to go quietly however, as he manages to cut The Grabber’s arm with a toy rocket.

Hawke is magnificently haunting as the antagonist, pulting out all the stops in making The Grabber a menacing figure. This is further supported by the manner in which he hides for the majority of the movie behind a sinister mask, designed by the great Tom Savini. Underneath his guise, he also harbours a fractured personality; a combination of sombre, playful and destructiive. This range needs to be in the hands of a master for the threat to have any nearing on Finney, and Hawke plays the fearful tune with heartfelt integrity.

When Finney awakens, he finds himself in  a soundproofed basement, with just a mattress, a toilet, and the titular black phone. The master stroke to the narrative is through the twist in the tale. This is not a straight forward drama, but one firmly entrenched in a spiritual nature, as Finney soon learns that he is not alone in the basement, but is accompanied by the presence of The Grabber’s child victims. One by one, they make themselves known to Finney, providing him with the ammunition he may need to overpower his kidnapper, and maybe, just maybe win his freedom along the way.

This journey is filled with tension and hope, a balance that Derrickson flicks the audience between, sometimes with some much-need humour to juxtapose the weight of the situation. It is this dalliance that is Derrickson’s gift, keeping his audience hooked until the end. 

The Prognosis:

Scott Derrickson once again proves to be a master of the macabre in his latest outing.
In weaving together a spiritual tale about finding your inner strength in order to overcome aversity, with some incredible performances from its lead cast, he has produced one of the greatest films of the year.

  • Saul Muerte

Horror Movie Campout – Sydney (2017)

12 Sunday Mar 2017

Posted by in Australian Horror

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WHEN I first heard about the Horror Movie Campout earlier this year, I instantly fell in love with this notion of a festival dedicated to like minded individuals all eager to have their appetite for all things blood and gore.

I had to be there and immerse myself amongst the horde and delight in the horror that lay before me.

So, I have to thank the organisers of this event for setting the stage for what was a truly awesome night ahead.

As you can see from the video below, I was pumped.

And then some.

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There was plenty to keep the crowd satiated, from a death chamber, side entertainments such as magicians, eating contests, and of course the bar, food trucks, laser tag, and did we mention the bar?

The main attraction though, would be two features for the night that were selected for the night by the horde themselves from a selection chosen by the Horror Movie Campout committee.

Check out our responses in the video below.

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So that concludes our assessment of the festival.

A special nod to all the horror fans and those that came dressed to suit the occasion.

Some great cosplay action going on including Freddy, Jason, and that dastardly Michael Myers.

Bring on the next one.