When Scott Derrickson’s The Black Phone arrived in 2021, it felt like a lightning strike: a self-contained, high-concept thriller that managed to turn a basement and a disconnected rotary phone into a site of profound supernatural dread. In 2025, we find ourselves back in the orbit of the malevolent Grabber with Black Phone 2, a production from Blumhouse Productions and Crooked Highway. Directed once again by Scott Derrickson and co-written with his long-time creative partner C. Robert Cargill, the film had its high-profile world premiere at Fantastic Fest on September 20, 2025, before hitting North American theaters on October 17, 2025.
The story picks up several years after the events of the first film. Finney, now seventeen and played once again by Mason Thames, is no longer the victim, but a survivor attempting to navigate a world that won't let him forget his past. However, the focus shifts slightly toward his sister Gwen (Madeleine McGraw), whose psychic abilities have matured into something far more volatile. When she begins receiving calls in her dreams from the infamous black phone, she is lead to a horrifying new mystery involving three boys stalked at a remote winter location known as Alpine Lake. The film matters because it attempts to answer a difficult question: how do you build a franchise around a villain who has already been defeated? By blending the grit of the 1970s with a more expansive, dream-based horror, Derrickson and Cargill have crafted a sequel that feels both necessary and terrifying.
Story and Screenplay: Breaking the Boundaries of the Basement
The narrative quality of Black Phone 2 is defined by its refusal to simply repeat the "boy in a room" formula. Instead, the screenplay takes the foundational concept of the first film and allows it to bleed into the real world. The transition from the suburban basements of Denver to the isolated, snowy wilderness of the Alpine Lake camp is a brilliant structural move. It provides a sense of "open-air claustrophobia," where the vastness of the winter landscape feels just as trapping as a concrete cell. The pacing is deliberate, taking its time to explore Finney’s PTSD before plunging the audience into the new crisis.
What makes the script truly original is the way it treats the "Black Phone" itself. It is no longer just a physical object found in a basement; it has become a psychic conduit that bridges the gap between the living and the dead across distances. The themes of sibling loyalty and the "inheritance" of trauma are woven deeply into the plot. The script’s primary strength is its internal logic. It establishes clear rules for how the Grabber can operate from beyond the grave, making his presence feel like a lingering infection rather than a cheap jump-scare tactic. If there is a weakness, it is that the introduction of the new camp supervisor, Armando, played by Demián Bichir, feels slightly underutilized in the grand scheme of the lore expansion. However, as a story about the resilience required to face a monster twice, the screenplay is a triumph of genre writing.
Acting and Characters: A Legacy of Resilience and Terror
The lead performances in Black Phone 2 provide the emotional anchor that prevents the supernatural elements from feeling too far-fetched. Mason Thames returns to the role of Finney with a matured, hardened edge. He is no longer the trembling child we saw in the first film; he carries himself with a weary defensive posture that feels entirely authentic for a survivor of his caliber. Madeleine McGraw is equally impressive, if not more so, as Gwen. She has always been the heart of the series, and here she is given much more to do as she wrestles with the terrifying responsibility of her "vibrations" and dreams. The chemistry between the two remains the best part of the franchise, a believable bond forged in the fires of shared trauma.
Then, of course, there is Ethan Hawke. His return as the Grabber was the biggest question mark for many fans, but Hawke manages to find a way to make the character even more unsettling. By operating through the dreams and visions of the characters, he becomes a more abstract, elemental force of evil. Hawke’s physicality, even behind the masks, remains his greatest tool. The supporting cast is bolstered by Demián Bichir, who brings a grounded, authoritative presence to the Alpine Lake setting, and the return of Jeremy Davies as the father, Terrence, who is now a man desperately trying to make amends for his past failings. The addition of the three new boys provides a fresh stakes-driven element that keeps the tension high, ensuring the audience has something new to care about alongside the returning favorites.
Direction and Technical Aspects: Winterized Horror
Scott Derrickson’s vision for this sequel is markedly different from the first, yet it feels like a natural evolution. He trades the sepia-toned, dusty heat of the 1970s suburbs for a cold, blue-hued winter aesthetic that is captured beautifully by cinematographer Pär M. Ekberg. The visual composition at Alpine Lake is stunning, using the white snow to highlight the stark, dark silhouette of the Grabber’s influence. The lighting choices are particularly effective during the dream sequences, where the world feels slightly "off," creating a liminal space that is deeply uncomfortable to inhabit.
The production design by Patti Podesta is top-notch, successfully creating a camp environment that feels like it has a history of its own. Every cabin and every patch of woods feels like it could be hiding a secret. The editing is sharp, particularly in the way it cuts between Gwen’s dreams and the reality of the boys being stalked. It creates a frantic, parallel-narrative energy that builds toward a heart-pounding climax. Derrickson’s direction proves that he understands the "rhythm" of fear, knowing exactly when to hold a shot to build dread and when to release it for maximum impact. The film is bloodier and more visceral than its predecessor, yet it never feels like it is leaning on gore for the sake of it. Every drop of blood feels like a consequence of the Grabber’s return.
Trailer Black Phone 2 (2025)
Music and Atmosphere: The Sound of Lingering Trauma
The atmosphere of Black Phone 2 is perhaps its most impressive feat. It manages to sustain a mood of "unavoidable destiny," where the characters feel like they are being pulled back into a nightmare they thought they had escaped. This is heightened immensely by the film’s score. In a notable move, the score was composed by Atticus Derrickson, the director’s son, in his feature film debut. It is a brilliant first effort, trading traditional orchestral swells for a more industrial, atmospheric soundscape that feels like a dial tone from hell. The music doesn't just support the scenes; it actively invades them, mirroring the intrusive thoughts and dreams that plague Gwen and Finn.
The sound design is equally meticulous. The "ring" of the black phone has been redesigned to sound more distorted and ghostly, a signal that the barrier between worlds is thinning. The use of silence is also masterfully handled, particularly in the snowy woods where the only sound is the crunch of footsteps, making every other noise feel like a potential threat. This audio-visual combination creates a tone that is heavier and more oppressive than the first film. It creates an experience where the audience feels the "cold" of the setting and the "chill" of the Grabber’s voice in equal measure. It is a rare sequel where the audio elements are just as memorable as the visual scares.
Strengths and Weaknesses
What works well:
- Lore Expansion: The film successfully moves the concept of the black phone into a psychic, dream-based realm without losing the internal logic of the series.
- Return of the Cast: Thames and McGraw have aged into their roles perfectly, providing a grounded emotional center.
- Ethan Hawke’s Presence: Even in a more spectral form, Hawke remains one of modern horror’s most terrifying villains.
- The Winter Setting: The Alpine Lake location provides a fresh, visually arresting backdrop that differentiates this film from the first.
- Atticus Derrickson’s Score: A phenomenal debut that creates a unique, haunting auditory identity for the sequel.
What doesn't work:
- Underdeveloped New Characters: While the new boys provide stakes, characters like Armando could have benefited from more screentime and depth.
- Climactic Familiarity: The final showdown, while exciting, hits some predictable sequel beats that feel a bit safe compared to the risks taken earlier in the film.
- Pacing in the Middle: The transition between the psychological drama of Finn’s life and the high-stakes horror at the camp occasionally feels a bit jarring.
- Slight Over-reliance on Dreams: Some viewers might find the heavy focus on Gwen’s dream-state visions to be a bit repetitive by the third act.
Final Verdict: A Worthy Heir to the Grabber’s Legacy
Rating: 4/5 stars
Black Phone 2 is a "killer good time" that defies the odds of the horror sequel curse. It is a film that respects the trauma of its protagonists while understanding that the audience is there for the thrills and the scares. By moving the action to Alpine Lake and expanding the supernatural capabilities of the Grabber, Derrickson and Cargill have created a movie that feels like a natural companion piece rather than a forced cash-grab. It is bloodier, more ambitious, and technically superior to the original in several ways, marking it as a standout release for the 2025 horror season.
Who should watch it? This is an essential watch for fans of the first film, as it provides a meaningful continuation of Finney and Gwen’s story. If you enjoy "lore-heavy" horror sequels like Dream Warriors or Candyman: Farewell to the Flesh, you will find much to admire here. It is also a great pick for those who appreciate high-quality production design and atmospheric scores in their genre cinema.
Who might not enjoy it? Those who preferred the grounded, "true crime" feel of the first film’s basement setting might find the shift into more overt supernatural dream-logic to be a bit too fantastical. If you are particularly sensitive to themes of child endangerment or intense psychological trauma, this film’s expanded focus on the Grabber’s methods might be a bit too much to handle. Additionally, if you were hoping for a completely new story with a different villain, the Grabber’s spectral return might feel like a retread.
Recommendation: I strongly recommend Black Phone 2 for a theater viewing. The scale of the winter setting and the immersive quality of Atticus Derrickson’s score are best experienced in a dark room with a massive sound system. It is a rare sequel that takes a significant risk and mostly lands on its feet. Just make sure you’re prepared to never look at a ringing phone the same way again.
 Movie Review: A Chillingly Effective Expansion of Supernatural Lore That Proves Some Nightmares Never Truly Hang Up){kind=link}
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