Hold on tight, because Black Phone 2 is here to challenge everything you thought you knew about sequels. After the haunting success of The Black Phone (2021), fans were skeptical—could lightning strike twice? The original was a near-perfect, self-contained horror masterpiece, leaving many to wonder if a follow-up could ever measure up. Director Scott Derrickson thought so, and while the sequel might feel like an unnecessary addition, it’s undeniably a gripping and entertaining ride.
Set four years after the first film, the story reunites us with Finney and his sister Gwen, both still grappling with the scars of their childhood abductions. Finney, now 17, is eager to leave the past behind, but Gwen, at 15, starts experiencing eerie visions of a Christian camp and whispers of The Grabber’s return. And this is the part most people miss: The Grabber, who was definitively killed in the original, makes a supernatural comeback, tethered to Gwen through her visions. This shift from the grounded realism of the first film to a more slasher-inspired, supernatural tone is bold—but is it a risk too far?
The film’s logic does stretch at times, and the narrative can feel slightly disjointed. Yet, this creative freedom allowed Derrickson to experiment visually and emotionally, and the results are stunning. With a budget $12 million larger than its predecessor, the mise-en-scène is a standout, particularly in Gwen’s disorienting visions, which carry a chilling ‘found footage’ quality. The cinematography, lighting, and clever use of Super 8 footage give the film a nostalgic, vintage edge that elevates it beyond typical horror fare.
But here’s where it gets controversial: While the suspense is masterfully crafted—with deliberate pacing and an atmosphere amplified by a isolating snowstorm—the story’s supernatural twist feels forced. Bringing back The Grabber as a ghostly figure dilutes the realism that made the original so compelling. Couldn’t they have introduced a new killer tied to Gwen’s visions, or explored another child receiving calls on a black phone? The film leaves too many questions unanswered, like why Gwen has these visions or how The Grabber is connected to them.
Another issue is the lack of genuine stakes. Once it becomes clear the main characters are safe, the tension wanes, and the ending feels anticlimactic. Yet, the technical brilliance and emotional performances—especially from Madeleine McGraw as Gwen—make it hard to stay mad. McGraw’s ability to convey fear, determination, and anger at just 16 years old is nothing short of remarkable.
A pleasant surprise is the introduction of Ernesto, Robin’s younger brother from the first film, played by Miguel Mora. This addition brings much-needed Mexican-American representation to the horror genre, and Mora’s natural maturation since the last film adds depth and continuity. The sound design also deserves praise, from the haunting hum of wind against the cabin to the jarring ring of the black phone, every element heightens the tension without relying on cheap jump scares.
So, was Black Phone 2 necessary? Probably not. But does it matter? The experience of watching it is so immersive that the question feels almost irrelevant. Here’s a thought-provoking question for you: Can a confusing storyline be forgiven if the rest of the film is a technical and emotional triumph? Let us know in the comments—do you think this sequel was worth the call, or should some stories stay unanswered?
