The Black Phone

Scott Derrickson is a decent craftsman, and his films always look good. But in The Black Phone, he tries to combine the thriller-style theme of a kidnapper (reality) with a ghost story (fantasy) in a rather more mechanical than creative way, and it doesn’t really work. The ghost-story elements serve only to hinder the plot development. The bad guy is insufficiently scary and underdeveloped. We don’t even find out what his motive is. The dramatic storyline with the weak, violent father is not given enough space. The “someday you will have to stand up for yourself” motif has drive, but it's aimed only at a teen audience. The most stable pillar of the film is young Mason Thames in the lead role. This won’t be the last we’ve heard of him. (08/09/2022)

Like the source material, which is not one of the best pieces in the collection (in fact, I didn't remember the story at all, unlike others), the film version of The Black Phone is not a groundbreaking work. Actually, it’s not even horror, rather a thriller with supernatural elements. Is it a shame? Quite the contrary! The film is so well shot and acted (the child actors, the brother and sister, are perfect) that it is strongest in those scenes where nothing supernatural happens and it’s simply about people. The supernatural is important, but in the exact spirit of Hill, it's not really explained properly and serves more as a deus ex machina, which was fine with me. The excellent period atmosphere and the superb villain took care of the rest. (23/07/2022)

For a film that was supposed to be one of the highlights of this year's horror season, The Black Phone is terribly basic. There's really nothing extra beyond what the synopsis says and what the trailer showed. I kept hoping that Derrickson and Hill held some sort of ace up their sleeve, but alas. It's well made, it has quality actors and likeable characters, a creepy bad guy, but what's the point when it's more period atmospheric than scary, the rules of how the supernatural works float in a vacuum, the finale lasts about a minute, and the only minor plot surprise elicits raised eyebrows rather than appreciative shock at the screenwriter's abilities. A watchable genre film, but we should demand more from Scott Derrickson's cinematic horror. (20/07/2022)

Scott Derrickson and Ethan Hawke have already shown us in Sinister that they are both masters in their respective fields, but this is not the case in The Black Phone, and the result is pure average without any ambitions, record-breaking efforts or above-average genre peculiarities. Hawke doesn't do much, the idea is a simple abduction thriller with elements of the supernatural, ghosts and sci-fi abilities, but as a whole it doesn't come together very well and the balancing act between real and unrealistic sci-fi didn’t sit well with me at all. There are a few good scares, but there’s no atmosphere to speak of, nor is there any fear for the child protagonist, not to mention the fact that the in the end we are not given any explanations. Fortunately, the film is pulled towards the average by a fairly reasonable running time and a solid pace that doesn't get boring, but the initial feedback from satisfied critics is unwarranted, as there is simply nothing here that will make me remember the film in a week's time. If it hadn't had so much hype, I'd say a decent average, but with the expectations I went into it based on the reviews, I'm actually quite disappointed in the end with how "ordinary" an affair it is... (16/07/2022)

In my eyes, Scott Derrickson has done it again, and hasn't faltered once in his career, including that piece of craft slavery in the form of a Marvel movie. He's just a smart kid. I could actually do without the supernatural element here, but I understand that it is crucial to the development of the plot. It's not horrifically spooky, but it's finely unsettling, the seventies production design paces flawlessly, and Ethan's masks are creepy enough to make his personality both repulsive and appealing. And on top of that, a double pleasure: the performance of the charismatic boy Mason Thames and the discovery that Jeremy Davies can give a solid performance if the director leads him to do so. I give a shout-out to the musical dramaturgy for Pink Floyd's "On the Run" (from the album "Dark Side of the Moon") at the very end. (06/04/2023)