Black Phone 2 Movie Review: Fear returns in a darker, more intense and unsettling sequel

Black Phone 2 review

‘Black Phone 2,’ directed by Scott Derrickson, was released in theatres on 31st October and stars Ethan Hawke, Mason Thames, Madeleine McGraw, Jeremy Davies, and Demian Bichir.

Darker, bolder return

‘Black Phone 2’ arrives as a colder, more ambitious follow-up to Scott Derrickson’s 2021 horror hit. The sequel moves beyond the original’s claustrophobic basement setting to explore the lingering effects of trauma and guilt. You can almost feel the chill in the siblings’ home, the way shadows cling to corners. It’s a film about memories that refuse to stay buried and fears that travel from room to room.

Derrickson’s direction is confident; he controls pacing and mood tightly. Unlike the first film, which thrived on the unknown, this one asks what happens when fear doesn’t end—it follows the calls of the past into the present.

The result is a film that honours its predecessor while building a world that’s richer, darker, and a little unpredictable.

Haunting siblings, lingering threats

Set in 1982, four years after the Grabber's death, Finney Blake (Mason Thames) is still struggling with the trauma of his past.

His sister Gwen (Madeleine McGraw), whose psychic dreams once helped save him, begins experiencing new and terrifying visions that suggest that even though the Grabber (Ethan Hawke) is dead, his presence hasn’t completely vanished. Her dreams lead them to Alpine Lake Camp, a place their mother once worked, where a series of murders has started again.

Along with their friend Ernesto (Damian Bichir), they reach the camp just as a snowstorm traps everyone inside. Soon, the black phone begins to ring again—this time with the Grabber’s voice calling from beyond, hungry for revenge. As Gwen’s dream injuries begin showing up on her body, the siblings discover that their mother, Hope, was one of his earlier victims. The calls eventually pull them into a dark space where the past and nightmare collide.

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Expanding the mythos

What sets ‘Black Phone 2’ apart is its ambition. Derrickson expands the mythology and gives the supernatural elements more weight, turning the story into a horror mystery rather than a simple ghost tale. Dreamlike sequences and eerie landscapes dominate, giving the film a nostalgic nod to 1980s horror.

The supernatural threat feels similar to Freddy Krueger from ‘A Nightmare on Elm Street,’ haunting dreams and memories instead of reality. There are parts of the film that slow down the momentum with too much explanation, but the film keeps a steady, tense atmosphere throughout.

Derrickson and co-writer C. Robert Cargill know how to create dread with silence and memory, letting quiet moments scare more than the overt horror ever could.

Performances carry the film

Performances carry the movie even when the story stretches. Mason Thames as Finney shows restraint, capturing the exhaustion of living with unresolved fear. Madeleine McGraw shines as Gwen, braver yet still fragile beneath her exterior.

Their sibling chemistry feels real, and it makes the supernatural moments land harder. Ethan Hawke’s presence as The Grabber is more psychological this time, haunting the film even when he’s off-screen. Jeremy Davies adds emotional depth as a guilt-ridden father, while Demian Bichir as Mando brings subtle gravitas in a smaller role.

The cast balances quiet family moments with jolting horror, keeping the film grounded even as it ventures into stranger, more surreal territory.

A thoughtful, unsettling sequel

‘Black Phone 2’ might not be as tight or shocking as the first film, but it’s a thoughtful continuation that respects what made the original work.

It’s less about jump scares and more about living with past trauma. Derrickson uses horror to explore memory, family, and resilience, giving the film an emotional backbone that many sequels lack. Some viewers may find the expanded mythology less terrifying, but the depth of character work makes up for it.

It’s clear the film isn’t trying to reinvent the genre—it’s trying to grow within it. And it succeeds. It’s a sequel that works because it ties personal trauma to a broader sense of inherited fear—showing how violence can seep into families and linger for years.

Rating: 3.5/5