The Black Phone

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... (07/16/2022)

Hill's collection Bobby Conroy Comes Back from the Dead is pleasantly old-fashioned, surprisingly often discontented, and chilling in several places. Overall, however, its title promises something different, specifically a compilation of small unpleasant horrors that an uninformed reader would expect from King's son. The Black Telephone, on the other hand, is one of the weaker pieces in the book. It is a short suggestive story full of only partially fulfilled potential, with two successful parts, and what harms it the most is the fact that it takes place in one location. Promising a film adaptation seemed like a very bold idea to me, but Scott Derrickson and C. Robert Cargill surpassed themselves. They dug deep into the story, where in the original only names jumped out, they added significant plot lines, and they turned Gwen, played by the incredible Madeleine McGraw, into an equal main protagonist. And yet I'm not sure about the way they explain key events. In many places, they only mention one sentence (the mother's death, the father's motivation, conditions in Finney's prison, the killer's convenient blindness towards broken or tidy things, the willingness of the police to listen to unorthodox solutions), but they rarely expand on it. Of course, I was able to read between the lines in this case, but it's a solution in the style of "If I see it there, then it's there". But if it was really just viewer theories and lucky writing coincidences, it would be dead ends or even plot holes, and that would be a shame in this case. So I lean towards the version that everything is perfectly thought out and that's exactly how I should feel – torn. (08/17/2022)

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. (07/23/2022)

Scott Derrickson has got the touch like few others. It's shot in exactly that unsettling thriller tone, plus it has top-notch sound design. Narratively, it's maddeningly unbelievable (from the kid fights to the phone gags to the final showdown), but overall it holds together by the skin of its teeth in some weird way. It's not much, but for unpretentious one-time viewing it's doable. [60%] (07/18/2022)

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. (04/06/2023)