The Black Phone (2022)

What makes The Black Phone linger is how it turns a simple, terrifying setup into something unexpectedly human: a supernatural chill ride with the pulse of a coming-of-age story. Scott Derrickson builds dread with atmosphere instead of cheap noise, letting the tension seep into every shadowy corner while giving the characters room to feel real. Ethan Hawke is chillingly controlled as The Grabber, but it’s Mason Thames and Madeleine McGraw who give the film its beating heart—kids who aren’t just victims, but fighters. It’s intense and dark, so it may not be for viewers who avoid stories about abducted children, but if you want a smart, well-acted horror-thriller with emotional weight, this one delivers.

The Black Phone is aiming for a slick, Stephen King–style supernatural thriller where a kid’s resourcefulness and eerie guidance from beyond the grave become the engine of survival. The problem is it often plays more like a moody suspense drama than a full-blooded horror film, with stretches that drag and a few “just go with it” plot beats that can deflate tension. If you’re expecting relentless scares and airtight logic, you may find it uneven—and Ethan Hawke’s villain, while creepy on paper, doesn’t always land with the impact you’d hope. Still, the film has a strong central performance from Mason Thames, a memorable concept, and enough atmosphere to work if you prefer slow-burn dread over nonstop terror.