As the Stephen King adaptation machine continues to churn out films, quality often takes a backseat. The latest installment, The Black Phone 2, feels more like a tribute to King’s style rather than an original horror story. Set in a nostalgic 1970s small town, the film incorporates familiar tropes like psychic children, a high school cast, and a sinister neighborhood villain. While it draws heavily on pastiche, the movie ultimately suffers from being overstuffed, echoing some of the more cumbersome narratives found in King’s works.
Interestingly, the premise of The Black Phone originates from a short story by Joe Hill, Stephen King’s son. The film, which surprisingly grossed $161 million, explores the chilling tale of the Grabber, a sadistic killer who takes pleasure in prolonging the deaths of young boys. Although the film shies away from explicitly discussing sexual abuse, the character possesses a queer-coded essence, reinforced by Ethan Hawke's portrayal, which adds a layer of unsettling complexity to the villain. However, the film's opaque narrative prevents a deeper dive into these themes, leaving it as mere sleepover nightmare fuel.
As Blumhouse Productions seeks to reclaim its former glory, the pressure mounts for Black Phone 2 to deliver a successful follow-up. With recent projects like Wolf Man and M3gan 2.0 underperforming at the box office, the stakes are high. The challenge lies in transforming a short story into a compelling film that can potentially launch a franchise.
The first film concluded with the protagonist, Finn (played by Mason Thames), defeating the Grabber with the help of ghosts and his psychic sister. This conclusion forces writer-director Scott Derrickson and co-writer C Robert Cargill to shift the narrative towards a supernatural realm in the sequel. Unlike the iconic Freddy Krueger, the Grabber lacks creativity and humor, with Hawke opting for a more serious portrayal this time around.
The sequel finds Finn and his sister Gwen (played by Madeleine McGraw) snowed in at an alpine Christian camp for kids. This setting not only serves as a backdrop but also attempts to expand on the characters’ backstories. Unfortunately, the contrived scene-setting makes the script feel ungainly and distracts from the main storyline. Additionally, the religious undertones incorporated into the narrative aim to appeal to church-going audiences, further complicating a plot that could have thrived on simplicity.
While the film’s atmosphere can be grand at times, it often falls short in delivering genuine scares. The grainy 8mm texture used to differentiate between dream and reality feels overly self-aware, detracting from the unpredictability one expects from a nightmare scenario. At just under two hours, Black Phone 2 struggles to maintain engagement, echoing the issues found in earlier Blumhouse films.
In conclusion, The Black Phone 2 serves as a reminder of the challenges faced when adapting short stories into feature films. While it may appeal to die-hard fans of horror, it ultimately fails to deliver a convincing argument for the birth of a new franchise. The next time the phone rings, it might be best to let it go unanswered.
