Black Phone 2 Movie Review (Spoiler Free)

When Ghostface becomes Freddy Krueger in a Sinister premise. This sequel to the surprise abduction thriller of 2022 is an alright follow-up with continuity issues.

Genre: Horror

Director: Scott Derrickson

Cast: Mason Thames, Madeleine McGraw, Ethan Hawke, Miguel Mora, Jeremy Davies, Demián Bichir, Arianna Rivas, Ana Lore, Maev Beaty & James Ransone.

Run Time: 114 min.

US Release: 17 October 2025

UK Release: 17 October 2025

German Release: 23 October 2025

With the success of 2022's The Black Phone, based on a short story by Stephen King’s son Joe Hill, a sequel was inevitable. Though Hill is known for being protective of his horror collection “20th Century Ghosts”, he personally pitched director Scott Derrickson an idea for a potential follow-up inspired by the Grabber's iconic mask. As someone who listed the first film among my favourite horror releases of that year, this sequel was, of course, high on my list to watch. Having finally caught it in theatres, I walked out satisfied enough; however, I felt like it was an unnecessary addition.

So, dream with me through my review of Black Phone 2.

Four years after Finney killed the Grabber, his sister Gwen starts receiving calls in her dreams from the black phone, witnessing disturbing visions of three boys being stalked at the winter camp Alpine Lake. Meanwhile, Finn himself struggles to adjust to life after his captivity.

Derrickson, together with C. Robert Cargill, penned the script based on ideas by Joe Hill for a follow-up. The screenplay itself is ambitious, expanding the lore and maintaining the ghostly core of the original. It creates an effective, freaky ambience, wrapped around the grounded, emotional core narrative that expands on the brother-sister dynamic. At the same time, it successfully brings back the Grabber in an organic way.

Unfortunately, it also stumbles over some illogical concepts. The supposed connection between the Grabber and Finney’s family is unnecessary, while introducing inconsistencies within its own ghostly mythology. Some scenes are dragged far too long by padding out exposition plus including heavy-handed religious undertones, which slow down the uneven pacing. The heartfelt finale, though, feels unearned.

The dialogue remains this movie’s weakest link, often sounding inorganic and clunky. The overbearing religious themes weigh down the quality of conversations further, while Gwen’s excessive swearing seems forced, distracting from stronger emotional beats.

On the other hand, the strong performances from the leads are this horror’s shining point (no King pun intended). Madeleine McGraw once again delivers a powerful performance as Gwen, perfectly projecting her inner turmoil as she struggles with the toll of her gift, perfectly onto the screen. Her chemistry with Mason Thames, who returns as Finney - Gwen’s brother - remains natural. Thames himself gives another great turn, conveying the trauma of his past brilliantly.

The stand-out performance, however, goes to Ethan Hawke as the Grabber. Though his screentime is limited, his short presence as the villain is chilling enough to dominate the screen with shock. As to the character himself, the decision to expand on his background was narratively necessary, but some of those added connections were pointless.

The rest of the supporting cast give magnificent renditions throughout, but are, regrettably, underwritten, plus underdeveloped. This is especially true of Terrance, the father, played by Jeremy Davies, whose arc is stagnant, despite his larger part in the first film. The same goes for the new character of Mando, the supervisor of the Alpine Lake camp; he is a compelling persona, yet never thoroughly explored.

Contrary to its predecessor, this sequel ups the ante visually. The violence is more visceral and graphic, especially involving children, making for some deeply uncomfortable moments. The effects are largely practical in nature, using detailed prosthetics, as well as some fantastic wirework. This adds a layer of authenticity to the nightmare sequences.

At the same time, the dream segments have a hauntingly ethereal quality, brought forward by the effective blend of clean, digital cinematography that slowly bleeds into the grainy, grimey Super 8 texture, a clear callback to the director’s earlier work, Sinister. Long, unbroken takes, during specific conversations, help to build immersion through the emotional weight. The colder colour palette reflects the winter setting.  

The music, composed by Atticus Derrickson, sounds like a natural evolution of Mark Korven’s eerie track for The Black Phone. The sound effects mixing into the music create a heightened discomfort, using silence to increase suspense rather than filling space. 

---

Verdict: This sequel doesn’t quite reach the haunting brilliance of its forerunner, but its visual flair and performances are highlights. The overall direction, just like the screenplay, lacks at times an imaginary focus. Leaning heavily on the preceding events, the narrative is less capable of standing on its own. Heavy-handed Christian motifs and inconsistencies in self-established lore bog the story down. That said, the emotional sibling bond remains the film’s strongest heartbeat, grounding the story amid supernatural chaos. The scares are well executed, thanks to a magnificent Ethan Hawke. The supporting cast is intriguing, yet underdeveloped. The camera work is impressive, making use of a blend of modern digital cameras, with the Super 8 aesthetics. Effects are mostly practical, giving the dream plane a realistic touch. All in all, this is a good enough follow-up that does not quite capture the magic of its precursor. I’ll give Black Phone 2 a 6.5 out of 10. 

Did you see Derrickson’s 2022 The Black Phone? Are you looking forward to this one? Leave a comment below with your thoughts on this sequel. Thank you very much for reading!