Black Phone 2

Scott Derrickson's follow-up is a convincing evolution from the first film

Horror appears to be the last remaining genre where filmmakers deliver surprising new ideas. This is due to the small budgets, which allow more creative freedom. Still, the genre is not spared the exploitation of endless sequels, thus most good horror films are likely to have been watered down in endless follow-ups. Director Scott Derrickson delivered two great original horror films in Sinister (2012) and The Black Phone (2021) (apart from his continuing work in the anthology V/H/S films). Without Derrickson, Sinister 2 (2015) proved an incomprehensible slog, but the American director has returned for the follow-up Black Phone 2 (2025).

Black Phone 2 picks up 7 years after the events of the first film, we see how Finn (Mason Thames) carries the trauma of surviving the serial killer The Grabber (Ethan Hawke) in the first film. Finn carries anger and resentment, and continues to hear ringing phones in his day to day, teasing his past ordeals. Yet it’s his psychic sister Gwen (Madeline McGraw) who is now the target of The Grabber, who appears to be haunting her dreams from beyond the grave.

The Black Phone was based on a short story from Joe Hill, and whilst this sequel is completely original, the concept of The Grabber calling from beyond the grave was Hill’s contribution. Black Phone 2 is co-written by Derrickson and C. Robert Cargill, and they do a better job than most horror sequels in evolving their story and premise. It would have been a shame to make the Grabber, yet another invincible baddie, continuously returning from the dead a la Jason Voorhees or Michael Meyers. Instead, Black Phone 2 works as an analogy for processing grief and trauma; Finn and Gwen learn that they only way to move forward with their lives is by confronting their past. The film effectively weaves itself with events in the first film, making it appear almost as if these two entries were planned together. This provides an added emotional depth to the first film, and makes this sequel an organically necessary next chapter.

That’s not to say that Black Phone 2 doesn’t suffer from sequilitis. Derrickson avoids most sequel pit-falls, but still resorts to the beats of: an expanded world and cast, a lengthening runtime, and a build-up of lore. Given the skill of the screenwriting and direction, however, most of these elements come across as harmless and even intriguing; yet at other times they became self-indulgent, as the compact tension of the first film gave way to a more navel-gazing instead. Towards the finale this is especially felt as mystery beats became redundant and the lead-up to the climax is needlessly elongated.

Curiously, while this is a direct sequel to Black Phone 2 it felt in many ways like a spiritual remake of A Nightmare on Elm Street (1984), as the Grabber becomes a Freddy Kreger-like villain using dreams to harm his victims. Derrickson and Robert Cargill have much to credit Wes Craven, even in direct dramatic beats and scares. Black Phone 2 delves more into the supernatural than the first film, which whilst it had a surreal element, was grounded in a physical terror. This is largely gone in the sequel, which bases its horror on the supernatural, making scares unpredictable yet also more distant; there is no scene that grips you as Finn sneaking past a seated, sleeping Grabber from the first film.

Black Phone 2 does an intriguing and effective protagonist switch. While Finn is a major character in the narrative, the real lead is Gwen. This helps refresh the confrontation with the Grabber without cheapening the arc of Finn in the first film. If he had to re-learn the same lessons in this sequel, it would have annulled his character journey from the first film. By passing the torch to Gwen, this helps Finn evolve in a different way, while keeping the same thematic confrontation with the Grabber intact.

The Black Phone wowed audiences with its two child stars, which showcased a maturity and control of their characters beyond their age. Since then, the two actors have grown their resume and abilities. Thames is nearing A-list status, having fronted the remake of How to Train Your Dragon (2025) earlier this year. The American actor showcases the hidden pain and festering guilt within Finn with a subtlety and restraint, worthy of the best performers. McGraw likewise is spectacular in an expanded role from the first film. Hers is the character viewers have to endear themselves to. She threads the needle between her psychic distress and familial trauma, without resorting to clichés. Instead, she delivers a balanced and contained approach that allows larger emotional moments to stand out. Hawke is menacing if scant, being more of an unseen presence than physical threat.

In the end, Black Phone 2 is an enjoyable and satisfying follow-up. Derrickson and Robert Cargill organically evolve their story and characters, while delivering new themes and scares. The film features stupendous performances, but isn’t free from certain sequel pitfalls, with a final third that slows the pace down unnecessarily. Derrickson demonstrates, however, that even a cash-grab, unplanned sequel can be a gripping and enjoyable movie if the right talent answers the phone.  

7.1/10