There are many things that can induce fear whether it be darkness, a stranger, or maybe even a call from an unknown number. ‘The Black Phone’, a supernatural thriller that combines all the above, has been written and directed by Scott Derrickson (The Exorcism of Emily Rose and Deliver Us From Evil) with bone-chilling results. With special thanks to Universal Pictures, we at MKAU were invited to an early screening to test our resolve.

Starring a very busy as of late, Ethan Hawke, in yet another immersive and visceral role, after recently seeing him in ‘The Northman’ it’s safe to say he isn’t afraid of embracing his wild side. His role as ‘The Grabber’ is every parent’s worst nightmare that there is someone out there, waiting to take their child. The close and terrifying relationship he garners with the young Finney (Mason Thames), who the story focuses on, was a harrowing journey that dragged the viewer along for the bumping ride. Special credit must go to Ethan Hawke, with most of his screen time behind a Mask, his inflections and expressive eye movements had to convey a mountain of character alone.

The distraught performance through Gwen (Madeleine McGraw) gave an outsider’s perspective to the horrors of being in close proximity to a missing person, she was able to steal a scene with conviction and some damn good comedic timing if I say so myself.

The world built around Detective Wright (E. Roger Mitchell) and Detective Miller (Troy Rudeseal) gave urgency to the dwindling window of opportunity as well, their action grew more and more hastily the longer Finney was missing. Being set in the late ’70s, there were obvious tells of course with stellar set design and wardrobe, but the behaviours, dialogues, and mannerisms from each character involved, highlighted a time where the general public at large was only just coming to terms with serial kidnappings.

What I found to be one of the most compelling aspects of the movie was actually all of the events that lead to Finney’s eventual kidnapping and the events happening outside of his prison. Both Gwen and Finney take turns in a manner of speaking to deal with their nightmare of a father, who offered a very real and raw take on parental abuse. Over the course of the movie Gwen’s connection to her visions clashes with her father who has ended up in a drunken spiral over his wife’s suicide due to her own visions. Gwen and her mother shared this gift and in a brutal display, Gwen is beaten by her father in an attempt to stifle Gwen by embracing her gift. It was guttural to watch as the viewer is left feeling powerless as the only way she can help her brother, is to defy her father.

While not being an original creation this is in fact an adaptation of the short story of the same name by Joe Hill. Significant work has gone into the nuance of the story itself, an already trying topic is given an even deeper narrative with its connection to the afterlife. The supernatural elements were just enough to separate itself from everyday life, without overstepping the mark and making it a full-blown affair. As a writer, the need to know what happens next or how does this all connect is a powerful tool, one which was used with careful deliberation. The narrative was able to give the viewer just enough, each time that question begged an answer, it helped maintain a steady flow so the viewer wouldn’t get caught up in the details and must stop to digest a chunk of information.

A compelling story can only carry you so far when it comes to film, one must never underestimate the weight of cinematography and musical score. Especially for a thriller, for a full body experience, seeing the vacant basement that was Finney’s prison, drowning in darkness matching the weather growing grim as his time was running out. An eerie tone that turned disturbing suddenly, made the environmental storytelling strike you across several senses at the same time. It was befitting to have the unnerving feeling compliment Ethan Hawke’s unsettling presence; it was made even better to have the musical score rise with intensity as the film progressed.

A common trope with any “scary” film is the crutch of the jump scare, whether in place of genuine narrative or ways to pad a movie. The Black Phone seemed to be aware of this troupe and managed to keep the jump scare moments without sacrificing the quality of the build-up to them. With a relatively short run time of 103 minutes, there was enough time to build a foundation, enthral the viewers and keep them guessing about the greater implications of the film. Moments that seemed insignificant at first, were revealed as puzzle pieces that intertwined between different subplots which ended in a deeply satisfying final act.

The Black Phone hits a home run in the psychological horror genre, it kept me guessing, kept me invested, and continued to deliver satisfying twists and turns. There were so many moments that in hindsight made something click that makes me want to dive right back in and see the film in a different light. This is without a doubt a Blumhouse Production special, one which begs you to solve the puzzle before the credit’s role.

Written by: Shane Fletcher