The Black Phone
Set in a Denver suburb in 1978, the film tells the story of Finney Shaw (Mason Thames), a shy thirteen-year-old boy who, after witnessing the disappearance of several peers, is abducted by the serial killer known as "The Grabber" (Ethan Hawke).
Finney wakes up in a soundproofed basement, furnished with a mattress, a toilet, and, on one wall, an old-fashioned black phone, seemingly disconnected. Despite the cut cord, the phone inexplicably begins to ring. By answering, Finney discovers he can communicate with the spectral voices of The Grabber's previous victims.
These spirits, driven by the desire for Finney not to meet the same fate, offer him crucial clues and help for his escape attempts, based on their own failed tries. Meanwhile, Finney's little sister, Gwen (Madeleine McGraw), who inherited the ability to have premonitory dreams from her deceased mother, desperately tries to find her brother using her visions and collaborating, at a distance, with local detectives. Finney must use all the courage his deceased "mentors" have passed on to him to outsmart his ruthless captor.
The Black Phone, directed by Scott Derrickson and based on the short story by Joe Hill, is a film that transcends the simple horror formula to offer a tense, psychologically engaging, and surprisingly emotional experience. It is a triumph of atmosphere and performances that makes it one of the most successful titles in the genre recently.
The film's strength lies in its ability to mix a disturbing kidnapping thriller with wisely measured supernatural elements. The setting, placed in the 1970s, is vivid and gritty, contributing to a palpable sense of isolation and fear in an American suburb.
Mason Thames (Finney) is exceptional in the role of the timid, bullied young protagonist, whose forced journey of growth is the beating heart of the narrative. His anguish and determination resonate with the viewer, making every escape attempt desperately engaging. Equally memorable is Madeleine McGraw (Gwen), his little sister, whose resilience and psychic abilities provide a crucial line of hope and a touch of the supernatural.
But it is Ethan Hawke who steals the show. As the kidnapper, "The Grabber," he delivers a terrifying and unsettling performance, concealed behind an assortment of shifting masks. His villain is not loud or exaggerated, but calculating, disturbed, and insidious, making his every appearance a moment of pure tension. I must also add that I found Ethan Hawke very sexy in this performance, a detail that adds a perverse fascination and a striking contrast to the horror of the character.
The central idea of the black phone, through which Finney receives spectral calls from previous victims, is brilliant. It is not a narrative shortcut, but a vehicle for a deep theme of post-mortem solidarity and for giving Finney the tools—both physical and emotional—to fight for his survival.
The Black Phone is a horror that breathes fear without relying solely on cheap jump scares. It is a tale of survival, resilience, and the strength that can be found even in the darkest moments. Absolutely recommended for those looking for an intelligent horror film with well-developed characters and a finale that delivers a cathartic rush of adrenaline.
