As we enter the mid-point of 2022, the horror genre continues to cement itself as one of the essential genres in cinema. With films such as X, Scream, Hatching, Fresh, and The Sadness, it’s safe to say the genre has never been richer. Little did cinephiles know that the best horror film of 2022 thus far would not be one of those, but Scott Derrickson’s The Black Phone; a captivating, terrifying tale that captures real life horrors and trauma and molds them into a horrific thrill ride.
The Black Phone follows Finney, a shy boy who lives with his sister Gwen, and their overly abusive father. With their father’s constant physical abuse, Finney does all he can to be the guardian of the household and protect Gwen from their father’s wrath, while Gwen follows suit and protects Finney from constant bullying in school.
Through their own familial trauma, a child murderer nicknamed “The Grabber” (Ethan Hawke) is on the loose as police hunt him before he grabs his next victim. Soon enough, Finney is captured and held in a basement. The basement is bare with only a mattress, a toilet, and a disconnected black wall phone. When the black phone in the basement begins to ring, Finney answers and realizes he may have the help he needs to escape The Grabber before he’s killed.
Adapted from Joe Hill’s short story of the same name, director/co-screenwriter Scott Derrickson and C. Robert Cargill’s screenplay not only expands on Hill’s story in effective fashion, but offers a dual narrative dealing in the supernatural that not only makes Finney and Gwen’s bond closer but adds stakes to both characters. Often times horror includes a number of disposable characters, but in the case of The Black Phone, the characters here serve a purpose and expand on the overall narrative, rather than just remain fodder for a killer.
With an incredibly dark and tense film, you’d think the comedy would sorely be lacking, however, Derrickson and Cargill are able to add some levity with some humorous moments that don’t hurt the film’s overarching dark tone. Their screenplay is also a patient one where it ultimately is dependent on its atmosphere to create the scares until its third act puts the bow on this elite film.
While the duo’s screenplay is top-notch, the performances transcend this film into greatness. Mason Thames (Finney) and Madeleine McGraw (Gwen) give some of the best child performances in a horror film in quite some time. Thames puts the film on his shoulders and gives a performance that’s both confident and authentic. By the film’s conclusion, there is character growth for Thames’ Finney that’s hard to ignore.
McGraw is just a delight and effectively executes the more humorous moments in the film with exquisite timing. McGraw’s dramatic chops are also on display as the fear and hope of both losing and finding her brother never leaves her performance. She is a young actress to be on the look out for future projects.
Ethan Hawke, who rarely plays villains in films, is down right terrifying as The Grabber. From moments where Hawke’s performance evoke fear with his eyes, to sitting in a chair waiting to use his belt on someone, Hawke’s menace never leaves when on screen. Please, oh please can there be more villains played by Hawke in future films.
Brett Jutkiewicz’s cinematography is spectacular as he captures the 70’s aesthetic to make The Black Phone feel like a long lost film from the 70’s that would make a great drive-in double feature with The Texas Chainsaw Massacre. Balancing both the real world and Gwen’s dreamlike state, Jutkiewicz’s lens is the cherry on top of an already great film.
It’s been two years since Blumhouse has had a horror film to rave about, but The Black Phone is certainly that. A film that not only is a landmark for 2022 horror, but a film that cements Joe Hill as a writer whose works should be at the top of studios’ list for adaptations.
