The Black Phone: A Terrifyingly Tender Masterpiece (9/10)

The Black Phone: A Terrifyingly Tender Masterpiece (9/10)

Scott Derrickson’s “The Black Phone” doesn’t just creep you out; it burrows under your skin and stays there long after the credits roll. This isn’t just another jump-scare factory; it’s a deeply unsettling, surprisingly heartfelt, and masterfully crafted horror film that earns its almost perfect score.

From the opening frames, the film plunges us into the grim reality of 1970s Denver, a world choked by pervasive fear and the chilling presence of “The Grabber,” a child abductor whose methods are as terrifying as his vacant mask. Ethan Hawke delivers a performance that is nothing short of mesmerizing. He sheds his usual charismatic persona to embody a truly monstrous figure, a predator whose quiet menace is far more potent than any overt threat. His performance is a masterclass in subtle horror, making The Grabber one of the most memorable villains in recent memory.

But “The Black Phone” isn’t solely about the monster in the basement. At its core, this is the story of Finney (Mason Thames), a quiet, often bullied young boy thrust into unimaginable circumstances. Thames is revelation, carrying the emotional weight of the film with astonishing maturity. His portrayal of Finney’s fear, resilience, and burgeoning courage is utterly compelling. You root for him with every fiber of your being, and his journey is as captivating as any supernatural element.

What elevates “The Black Phone” beyond a standard abduction thriller are the spectral whispers from the black phone itself. These chilling calls from The Grabber’s previous victims, brilliantly portrayed by a series of young actors, are more than just plot devices. They become Finney’s only lifeline, a conduit for both terror and hope. The way Derrickson interweaves these spectral encounters with Finney’s desperate fight for survival is inspired, creating a unique and potent blend of supernatural horror and grounded terror. Each call is a tense dance, a desperate attempt to glean information while battling the immediate threat.

Derrickson’s direction is superb. He masterfully builds atmosphere, utilizing darkness and suffocating tension to create a palpable sense of dread. The film is beautifully shot, with a gritty realism that grounds the supernatural elements. The scares are earned, often relying on psychological distress and escalating dread rather than cheap tricks. Even the moments of violence are handled with a unflinching brutality that underscores the stakes.

The film also benefits from strong supporting performances, particularly from Madeleine McGraw as Finney’s foul-mouthed, fiercely protective younger sister, Gwen. Her own psychic abilities and desperate search for Finney add another layer of urgency and emotional resonance to the narrative. The sibling dynamic is a crucial anchor, providing moments of warmth and humanity amidst the darkness.

While the film skirts near perfection, a few minor pacing quibbles in the middle act prevent it from absolute flawless territory. However, these are easily forgotten once the electrifying, adrenaline-fueled climax kicks in. The final confrontation is a testament to Finney’s growth and the ingenuity of the children who have come before him, tying together the threads of horror and resilience with satisfying impact.

“The Black Phone” is a rare gem – a horror film that is as emotionally resonant as it is terrifying. It’s a story about overcoming trauma, finding strength in unexpected places, and the enduring power of human connection, even across the veil between life and death. For its masterful performances, chilling atmosphere, and genuinely compelling narrative, this is a film that deserves its near-perfect score and a place on your watch list. Don’t miss it.

I Give This Movie 9 Out of 10 Stars.