Ethan Hawke as The Grabber in The Black Phone, directed by Scott Derrickson.
James Cole Clay // Film Critic
THE BLACK PHONE
Rated R, 102 minutes.
Director: Scott Derrickson
Cast: Ethan Hawke, Mason Thames, Madeleine McGraw, E. Roger Mitchell, Jeremy Davies and James Ransone
The first thing that comes to mind when processing a genre exercise is intention. What did the filmmakers want to accomplish with this particular story? What unique tools can they deploy from their belt to engage the audience? Scott Derrickson’s spooky coming-of-age tale, THE BLACK PHONE, executes all these elements with love for the genre. But in today’s filmmaking landscape, adoring horror is not enough. Nevertheless, Derrickson and his trusty screenwriter, C. Robert Cargill, have the goods to make a sturdy film that smoothly navigates a familiar territory for a savvy horror audience.
Adapted from Joe Hill’s short story of the same name, Cargill and Derrickson lean into the elements prevalent in Hill’s legendary father’s (Stephen King) work without pandering to the audience, who are absolutely familiar with the story that’s unfolding before their eyes.
Front and center in the marketing for the film is a musty-looking Ethan Hawke with a painted white face, talking in a squeaky voice and preying upon unsuspecting children like he’s a murderous clown. The audience will see Hawke’s turn from indie heartbreaker to horror decapitator – and relish in the process.
The trailer flashes to a young teenage boy (Mason Thames) trapped in a basement by a man wearing a distorted version of a jester mask named “The Grabber.” The titular black phone rings, and some familiar voices from beyond task our hero with advice on how to get back his freedom.
That’s pretty much the pitch, and for me, it delivers on its promise. Come for Ethan Hawke and stay for a group of late ’70s-era teens outsmarting a serial killer.
Cargill and Derrickson have worked quite well together as a genre team by not forcing the “elevated horror” vibes that A24 has coined in the court of public opinion. Instead, it’s a film that sticks in the memory bank because it comes from a place of caring about its characters. While it’s got a few corny jump-scares, it’s quite effective — especially when the kids walk down the street whispering, “the Grabber.” (A chilly autumnal breeze went down my spine.)
THE BLACK PHONE’s pickle-jar-tight screenplay comes equipped with a solid B-plot showcasing some of the best acting I’ve seen this year in Madeline McGraw, who plays the younger clairvoyant sister to our story’s lost boy. She laughs, she cries and is totally moving in the part as she goes toe-to-toe with screen-weirdo Jeremy Davies. This isn’t your classic kids vs. adults type of wish fulfillment; it’s a survival story with little ear wormed lessons.
With murky basements, an inexplicable supernatural plot element, and throwback needle drops, this is a graduated version of STRANGER THINGS that, hopefully, audiences will discover in theaters. But if Universal and Blumhouse play it right, it will have crossover appeal in the VOD market. But it’s not my job to look into the tea leaves of what audiences will enjoy. Providing context for an earnest film that is actually a creative move for a major studio is in short supply.
Grade: B
THE BLACK PHONE is now playing in theaters.
