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When The Black Phone hit theaters in 2022, it delivered more than just a period horror story. It tapped into something darker, something quieter, and something that lingered long after the credits rolled. Directed by Scott Derrickson (Sinister, Doctor Strange) and adapted from a short story by Joe Hill, the film tells a tale set in the 1970s but driven by timeless fears: abduction, voicelessness, and the desperate hope for survival.
Set in a sleepy Denver suburb, the film follows 13-year-old Finney Blake (Mason Thames), a quiet and soft-spoken boy who gets kidnapped by a masked man known only as The Grabber (a deeply unsettling Ethan Hawke). He wakes up in a soundproof basement where a disconnected black phone begins ringing… but only Finney can hear it. On the other end: the voices of The Grabber’s past victims, calling to help Finney survive what they could not. Derrickson creates an atmosphere that’s both claustrophobic and nostalgic. Muted tones and hazy cinematography ground the story in the gritty texture of 1970s suburbia. It was a time when kids roamed free, but danger lurked nearby. The fear here isn’t just the masked villain; it’s the silence of adults, the absence of trust, and the helplessness of children in a world that fails to protect them.
Mason Thames gives a standout performance as Finney, capturing the fear, vulnerability, and eventual grit of a boy forced to grow up too fast. Madeleine McGraw steals scenes as Gwen, Finney’s fiercely loyal younger sister who has psychic dreams and refuses to stop searching for her brother. Gwen’s role is crucial. She’s not just comic relief or a background character. She’s active, brave, and determined in a way that most genre films reserve for adult protagonists.
While the film doesn’t feature a broadly diverse cast, Gwen’s character, a girl with supernatural insight who’s constantly dismissed by adults, resonates with marginalized voices. Her story reflects how often children (especially young girls) are ignored or silenced, and how power can grow in those quiet places. The film also skirts around heavy themes of trauma, child abuse, and resilience without ever sensationalizing them.
Recently, Blumhouse announced a sequel, The Black Phone 2, and the teaser images show a snowy landscape. This is a stark contrast to the sweltering suburbia of the first film. Snow could symbolize isolation, memory, and the emotional frost that follows trauma. It also hints at a new location, or a psychological shift. If Finney and Gwen return, they’ll likely be older, and their lives… their pain… more complex.
The original story ends with Finney walking out of the basement alive, but not unchanged. A sequel could follow how that experience shaped him: Is he haunted? Is Gwen still dreaming? And what does survival mean in the long run, especially for kids who never had the tools to cope? Could The Grabber return? Or will his legacy manifest in new ways like a copycat, a relative, or even the ghosts themselves seeking justice?
There’s also room for expanded representation. If the next chapter moves into high school or early adulthood, we could see a more diverse set of characters and stories. Perhaps others who have experienced similar horrors or are drawn into Gwen’s psychic world.
The Black Phone worked because it didn’t over-explain or over-stylize. It let fear live in the quiet, in the disconnected phone, in the moments between screams. If the sequel can hold onto that emotional tension, while giving space to the trauma and truth that follow survival, then The Black Phone 2 could offer something rare: a horror sequel with heart, perspective, and purpose.
Watch the trailer for The Black Phone 2 below
Coming to theaters October 17th, 2025
You can also stream The Black Phone (2022) on Peacock to catch up before its sequels release.
