The Black Phone

This film is based on Joe Hill's 2004 short story of the same name. Hill's father, Stephen King, had already written IT , so it's not surprising that both father and son are involved in mysterious child abduction cases.

To adapt a short story into a full-length film, the creators added many new elements. The original portrayal of The Grabber's behavior wasn’t altered, though his self-introduction was slightly modified—he initially presents himself as a "part-time clown" but in the movie, it becomes "part-time magician." Nonetheless, the film still carries echoes of IT .

The Grabber is played by Ethan Hawke, who also portrays a villain in the Marvel series Moon Knight in the same year. The original story mentions Grabber’s real name is Albert Shaw, but offers little detail about his background.

After Finney answers the phone, we learn that only he and the Grabber can hear the phone ring. The Grabber denies it, claiming it’s just static. This reminds me of a moment in the movie when Gwen's father lashes out at her, forcing her to repeatedly deny her psychic abilities, making her question her own powers.

Interestingly, Finney's family also shares the last name "Shaw," which leads me to speculate that the Grabber and Finney's younger brother, Max, could be reflections of the main characters' sibling dynamics. In The Grabber’s childhood, he was likely abused by his father or another family member due to his psychic abilities.

The film is set in 1975, and looking back 20 to 40 years, we wonder what kind of family would install a phone in the basement. Perhaps the basement was once the Shaw family's central gathering place, which would explain the presence of the phone and toilet. However, as Grabber began hearing phone calls that no one else could hear, the elders cut the phone line and gradually stopped visiting the basement.

Whenever Grabber misbehaved, he would be locked in the basement. When he escaped, he would receive a violent beating. This is the origin of the "naughty boy" ritual.

One aspect I didn’t fully understand is the significance of the mask for The Grabber. He always plans to kill the child, so there's no reason to worry about exposing his face. Yet when Finney knocks the mask off, The Grabber immediately covers his face in panic. This suggests the mask holds some deeper psychological significance, possibly as a form of defense or self-protection.

As for the adult Max, he became a drug addict, a clear indication of the lasting trauma from his childhood.

Some critics point out that Grabber could have killed Finney right away, but instead chose to risk being discovered by his brother and kept him alive in the basement. The movie provides an explanation: Finney wasn't killed because he avoided playing the "naughty boy" game, thanks to the phone's help.

For Grabber, killing isn’t the goal—it's about forcing the victim to follow a ritualistic process. Each step must be completed before the next one can proceed. The significance of the killings lies in recreating the twisted cycle of abuse and ritualizing it like obsessive-compulsive behavior.

A Hollywood interview with screenwriter C. Robert Cargill explains this very well:

Q: "To me, the film is about the cycle of abuse across generations. The Grabber mentioned that the phone hasn't worked since he was a boy. So, are you implying he was recreating this twisted 'Naughty Boy' game that his dad made him play?"

A: "Or another family member, yes. We don’t dive deep into it, but the thread you should pull at is that this is something he's trying to recapture. Even his profession as a magician may be tied to that nostalgia. He's doing a magic act in the '70s, which was popular in the '30s and '40s, so there’s an echo of the past that created him. He's ritualized this as a form of re-living or re-experiencing that trauma."

Q: "Max, as an adult, likely endured the same abuse, but turned to drugs and obsession as coping mechanisms. This made me think about Gwen and how she handles her abuse much differently than Finney. You wanted us to juxtapose the two sets of siblings, right?"

A: "Absolutely. The film is about dysfunction, the resilience of youth, and how we can overcome trauma. It can either make us stronger, or, as it does with Grabber and Max, it can damage us irreparably."

In terms of tone, aside from some jump scares, the film feels less like a traditional horror movie and more like a dramatic thriller with horror elements. At its core, it explores the transmission of violence and trauma in dysfunctional families. Not every child has psychic abilities, but there will always be kids who suffer from domestic abuse.

In the film's ending, Mr. Shaw begs for the siblings’ forgiveness, and perhaps, through Finney and Gwen, the cycle of abuse has finally been broken.

1. The film starts with a seemingly ordinary teen baseball game, which looks uneventful at first but actually hides deeper intentions. This opening scene sets up the perfect foundation for the final revenge, as it would be implausible for a small, skinny teenager to strangle an adult using a phone wire. However, a pitcher with immense strength makes it completely believable.

2. The boy’s sister has psychic abilities, inherited from their mother, and the boy is aware of her powers (asking her if she can still dream after their friend is kidnapped). This shows that the boy is familiar with the supernatural and has an extraordinary acceptance of it, possibly even possessing some psychic ability himself. So, when the boy is trapped and receives the supernatural phone call for the first time, he briefly feels scared but quickly calms down and begins to communicate with the ghost. An ordinary child wouldn't even hear the phone ringing (as mentioned in the movie), and even if they did, they would probably be too terrified to think about using the ghost's help to escape.

3. The boy may be somewhat timid and introverted, but he is clever, calm, and a top student, so when trapped, he is able to use the information passed on by the ghosts to actively work on his escape.

4. In the first 25 minutes, although it mainly serves as setup, the film does a good job of clearly establishing the background and the main characters. The sister's storyline is given more screen time at the beginning, which makes sense, but once the boy is trapped, her storyline doesn't require much further elaboration, and the film streamlines it accordingly.

5. The only moment that genuinely startled me was the sudden appearance of the boy from the newspaper. Up until then, the ghosts had only manifested through voices, so it lowered the viewer’s guard.

6. During the middle part, the police conduct a routine check on the house where the boy is held. The sound of a dog barking is heard, but its presence is never fully revealed. This dog’s barking contributes to the boy's failed escape attempt.

7. When the boy is breaking through the wall above the toilet and manages to remove the panel but can't open the freezer door, the subsequent breakdown and tearful sobbing was genuinely heartbreaking and authentic. Despite being calm, the boy is still just a teenager, trapped for days and learning he is about to be killed. The hope of survival he had just kindled is shattered once again, and anyone would collapse in such a situation.

8. The film presents a kidnapping story that gradually turns into an escape room-type thriller. The natural instinct to protect teenagers emotionally makes it even more gripping for the audience.

9. Regarding the villain: Many people criticized the lack of a background for the antagonist, but given the number of psychotic killers in the U.S., that’s not really the focus. From the information provided in the film, it can be inferred that the villain spent time in a basement as a child, likely being abused whenever he made mistakes. Since he also hears the phone ringing, it's probable that his family members were also psychotic killers.

10. The only small bug in the plot is that the villain doesn't notice the basement window bars have been removed. However, considering the villain’s overconfidence in his own design and his daring attitude (even killing while living with his brother), it makes sense that he wouldn't pay attention to these minor details. As for the wall-breaking scene after the failed escape, when the villain throws him back into the basement and plans to kill him the next day, whether he noticed the broken wall or not isn't important.

Lastly, although the boy isn't the typical handsome lead, he leaves a lasting impression. He’s got star potential and great acting skills. After his revenge, his character's demeanor and energy completely change.

Boy, your sister is rooting for you, looking forward to seeing you grow.

Undeniably, the film has some plot holes, but overall, it’s a really good movie.

1. The Antagonist

Many people say things like “the villain is weak” or “why keep the boy alive”—did they even watch the movie properly?

The antagonist is a twisted man who wants to play his “Naughty Boy” game. He repeatedly leaves the door unlocked. Finney receives warnings from the spirits via the phone that the killer wants to play games, to punish the abducted kids, and only after the game will the next steps follow.

So, if we outline the villain’s behavior pattern:

Abducts kids → locks them in the basement → manipulates them psychologically → deliberately leaves the door unlocked → waits upstairs all night for the kid to try escaping → uses the excuse of “bad behavior” to beat them → (potentially more cycles) → finally kills them

Is he just lonely? I don’t know. But saying he’s dumb or that his behavior is incomprehensible feels inaccurate. He simply has his own disturbing ritual.

2. Gwen

And Gwen? Some ask: what’s the point of portraying a foul-mouthed little girl? Were you even paying attention?

Let’s break it down—

Gwen’s family:

Her mom had clairvoyant abilities she couldn’t handle—so she took her own life.

Her father is drowning in grief over his wife, and his daughter showing signs of similar abilities causes him intense pain. He tries to suppress it, but ends up physically abusing her.

Her brother Finney—introverted and meek, doesn’t stand up to bullies or talk to his crush.

So Gwen, in this environment, is portrayed as independent, rebellious, but also deeply responsible—especially when it comes to her brother.

When Finney gets beaten up, she grabs a rock and charges in to help. (A subtle and brilliant detail is when she too gets punched and quietly moves to sit beside the very bully who hit her. She’s not portrayed with an invincible protagonist aura—she’s just a regular girl, but a brave one.)

She constantly prays, hoping for dreams to guide her. At first she’s polite, but eventually resorts to screaming profanities—that’s because her brother has been kidnapped and she’s desperate. She wants to help, but gets no answers. Can’t you understand why she’d lose it?

And her outburst at the police? That too makes sense. They show up at her school, accuse her of leaking investigation details or imply she's suspicious. Given her father’s harsh suppression of her abilities, she’s always tried to hide them. Her aggression stems from distrust and fear. A “little angry girl” is more understandable than people think.

3. Finney

Now back to Finney—some say he only survived due to plot armor, that he was the weakest but still made it out. That’s not entirely wrong, but what really matters is Fin’s composure . He only breaks down once; otherwise, he’s constantly thinking, constantly trying to escape.

(His mom had clairvoyant abilities. Gwen clearly has them. And Finney talks to the dead kids via the phone. So I believe he has latent abilities too.)

Fin’s escape was made possible in part by the ghost kids, yes—but he was also a calm, independent thinker. As Robin said: even when Finney gets knocked down, he always gets back up. Everyone shows courage in their own way, and Finney’s was silent, enduring, and powerful.

4. The Ghost Kids

Why didn’t the ghost kids just directly kill the villain?

Because in this film’s world, ghosts can’t directly interact with the physical world. They need Gwen and Finney as mediums. That’s just the movie’s rule. In some movies ghosts can kill people, in others they can’t—it depends on the setting.

Maybe everything Fin experienced was just in his imagination. Or maybe the ghosts were real, and everything they tried before was like progress on a quest. Finney benefited from their past efforts, picking up where they left off. That interpretation also fits.

I watched it last night, and I’m still emotionally affected. A very well-made film. So many of the children’s characters—Robin, Bruce—left a strong impression. Still mourning them.

Please don’t always focus on “plot holes” or “that didn’t make sense.” Slow down and really watch. Try to understand the narrative structure and the film’s internal logic. The Black Phone might not be perfect in every detail, but it’s nowhere near as bad as some claim.

Everyone’s entitled to their opinion, of course. But if you don’t understand it, please don’t dismiss mine.

Last Friday marked the official theatrical release of The Black Phone , the latest horror film from genre powerhouse Blumhouse Productions. Being the idle person I am, I went to catch a midday screening.

The Black Phone is directed by Scott Derrickson, best known for helming Doctor Strange (2016) . Prior to that, in 2012, Derrickson directed the moderately popular horror film Sinister , where he collaborated with actor Ethan Hawke. Now, a decade later, Derrickson and Hawke reunite in The Black Phone , only this time Hawke plays the villain. Reuniting alongside him behind the scenes is C. Robert Cargill, Derrickson’s long-time screenwriting partner. The two co-wrote Sinister and Doctor Strange (Cargill is listed on IMDb, though not on Douban). Just like Sinister , The Black Phone is produced by Jason Blum, founder of Blumhouse.

(From left to right in the old photo: Derrickson, producer Jason Blum, Ethan Hawke, Cargill)

I vividly remember discovering Sinister online some 5 or 6 years ago—it was often described as an underrated gem in horror circles. Back then, I only watched the first half, but as a fan of found footage aesthetics, I found it excellent. When I rewatched it in full last year, my love for the first half remained, but I was quite disappointed by the second half. This disconnect is something I didn’t feel at all while watching The Black Phone , which I think speaks to a narrative improvement—perhaps because the story was adapted from a short story by Joe Hill (Stephen King's son).

The film opens with a seemingly ordinary scene: a young boy, fresh off a little league MVP win, rides his bike through a sunny neighborhood, cheerfully greeting a girl as he passes. The upbeat original score complements the youthful atmosphere perfectly. Then, a black van slowly creeps past the boy, and the screen fades to black as eerie music plays and the film credits roll in. This sequence, among others, instantly reminded me of It . The plot of The Black Phone feels particularly close to the 1990 It miniseries’ first part: the setting is the 1970s, and all the major characters (except the villain) are kids. The story follows a pair of siblings—Finney and Gwen. Gwen has inherited clairvoyant abilities from their mother and occasionally dreams of the kidnapped children. Compared to his assertive sister, Finney is shy and frequently bullied, largely ignoring the child abductions in town—until his protector and best friend Robin disappears. Then, Finney becomes the next target of the ominous black van.

(Finney and Gwen)

For those who’ve seen the trailer or read the synopsis, the film’s title is self-explanatory. After being kidnapped and locked in a basement, Finney discovers an old, disconnected black rotary phone mounted on the wall. Although his captor insists the phone has never worked, Finney keeps hearing it ring. What starts as a terrifying noise gradually reveals itself to be a supernatural lifeline. On the other end of the line are the spirits of the children previously abducted and murdered by the same killer. Each child attempts to help Finney in their own way. In this sense, Finney’s path to escape is also a journey of growth, full of traps and setbacks. The film uses the classic “setup and payoff” structure to show this transformation. As I mentioned, Robin—the friend who once protected Finney—disappears early in the film. It’s Robin’s ghost who ultimately gives Finney the strength to rise up and fight back. By the end, Finney has evolved from a timid victim into someone capable of killing his captor with his own hands. While the story arc may not be groundbreaking, the film delivers its suspense and tension with polish. Part of that polish comes from its use of restraint and retro-style dream sequences. Other kidnapped kids are shown vanishing through brief black-van fades or vague POV shots, maintaining a sense of mystery. And the VHS-style visuals used for Gwen’s dreams not only fit the 70s aesthetic but add to the film’s atmosphere.

Other highlights include casting and dialogue. I felt the two child actors playing Finney and Gwen had fantastic chemistry. Their performances made them genuinely likable and easy to root for. One standout line comes when Robin tells Finney his dad takes him to see horror films like The Texas Chain Saw Massacre . Finney replies that his own father forbids violent movies. Cut to a later scene of Finney secretly watching the 1959 horror classic The Tingler on late-night TV. Since the story is set in the ’70s, the mention of Texas Chain Saw clearly refers to the original 1974 version. That film, often hailed as the scariest of its franchise, doesn’t rely on gore to be horrifying—it uses oppressive atmosphere instead.

The Texas Chain Saw Massacre (1974) 7.2 1974 / USA / Thriller, Horror / Tobe Hooper / Gunnar Hansen, Marilyn Burns I’m going to a 35mm midnight screening of it next month—can’t wait!

(Original poster for The Texas Chain Saw Massacre)

To wrap things up, I’ll just touch on The Black Phone ’s one major shortcoming. While the villain is creepy and strange, the character still feels underdeveloped. He could’ve used more background. That said, if you’re not interested in the new Minions movie this long weekend, but you love suspense or horror with a positive arc, I’d definitely recommend checking out The Black Phone . And if it’s not playing near you, then—like Robin in the film—I’d recommend watching the original Texas Chain Saw Massacre instead. It’s always good to change things up once in a while.

Overall, The Black Phone is an impressive and well-executed film. Its setup, plot, and performances are all solid, with no major missteps. Every detail and narrative thread eventually serves a purpose, showcasing the creators’ excellent command of storytelling—even if the film feels a little too polished and conventional at times, lacking major surprises. The imagery of the black balloons and yellow raincoat inevitably evokes comparisons to It , but the movie ultimately stands as a testament to the team’s ability to deliver a tight and effective story.

That said, The Black Phone might be better described as a youth adventure film with supernatural elements than a traditional horror or thriller. It’s not a coming-of-age drama, so the boy’s downtrodden life before his abduction isn’t the emotional focus. It’s not a brainless horror flick, so the police and family members aren’t invisible or irrelevant. And it’s not an old-school suspense film where the villain is a terrifying, omnipotent evil. In fact, Ethan Hawke’s villain feels more like a symbol than a character—his face is mostly obscured by a mask that’s clearly designed to sell merch, split into interchangeable top and bottom halves. He rarely shows his full face, only flashes in and out during abductions and killings, and leaves barely a trace of menace. This makes it clear that the real protagonist is the boy. With the guidance of the murdered children—each passing along their accumulated knowledge—the final “lucky one” manages to escape, giving peace to the dead and growth to the living.

Beyond the boy’s repeated attempts, failures, and resilience in clinging to every opportunity for survival, The Black Phone also weaves in a quiet undercurrent of familial sorrow. The boy has lost his mother, and his father is an abusive alcoholic. Even the villain seems to have had a traumatic childhood. Both he and the boy can hear the disconnected phone ring, hinting that the killer may have once been a victim of violence himself—someone who eventually learned to ignore the phone’s piercing cries. Of course, that doesn't excuse his crimes. His hands are stained with blood, and he fully deserves his fate.