A supernatural tinged horror thriller, 2021’s The Black Telephone (based upon Joe Hill’s short story of the same name), co-written and directed by Scott Derrickson, might never have you seeing those long corded, wall mounted phones in the same way ever again.
Set in 1978, we follow Finney (Mason Thames), and, to a lesser extent, his younger sister Gwen (Madeline McGraw), in what should seemingly be an idyllic childhood in Denver. But, just below the surface, all is not right. Their mother, who had some sort of supernatural future telling ability, sadly killed herself (in many ways, due to this unusual gift), while their father, Terrence (Jeremy Davies), has turned into such a bad drunk due to her suicide, that he beats his children if they make too much noise (he does the same to try and stomp out any abilities his kids might have as well). Meanwhile, Finney is being bullied at school, and perhaps worst of all, a mysterious somebody, ominously nicknamed ‘The Grabber’ (Ethan Hawke), has been kidnapping children in the area.
With the police stymied, all that is known about the perpetrator is that he leaves black balloons at the scene of each nabbing. . . the children never to be heard from again. Soon it is Finney that is grabbed.
Placed in a soundproof, seemingly inescapable basement, the creepy Grabber, nearly always wearing a devilish looking mask (in one form or another), is more interested in playing mind games with the tween than anything else. It is what feeds his mania. . . the slow, torturous tête-à-tête between the two that is clearly stacked in his favour – all leading to the darkest of conclusions.
Yet, as Finney stews in this foreboding cement tomb – a place that features nothing other than a toilet, a couple of rolled carpets, a bolted down cot, and a black phone with its wire cut, this very extension to the outside world begins to ring. Not of this world, it is the spirits of the dead youths who came before, looking to help him out of his predicament. Will these communications from the other side be able to help him escape from this hell hole? Might his sister, with her own dream visions, provide some aid from the outside? And perhaps most importantly – will the cops ever be able to do anything competent at all in one of these types of movies?
Almost magically capturing the aesthetic of the era, Derrickson and his team utilize retro cars, music (“Free Ride” and “Fox on the Run” are two examples), set design (including a pretty cool pinball machine, while it is an inspired choice to play horror movies from the 50s while the kids are watching tv late at night), and an ominous phone to set the mood of the piece. Even more impressively, flashbacks and visions, which feature prominently in the picture, are shot with a Super 8 camera – adding an eerie and wholly accurate flair to the moments.
But even more important are the characters. No persona, big or small, is left wholly one dimensional. . . the script providing some depth to each and every actor – even the apparitions that in other features you’d never truly meet. It is a worthy gesture, providing said tidbits for even the smallest of characters – a decision that adds heart and depth to the piece. Yet, in the end, this is all centred on Hawke and the much younger Thames. . . the former fusing a near pantomime with deliciously vile voice work (each movement measured, every pitch curdling – perhaps a touch reminiscent of Joaquin Phoenix’s take on the Joker – not only for the fact that he seems to be some sort of failed party clown), while the much younger star confidently sticks with the Oscar nominee. . . his bond before being kidnapped with actress (and supposed sister) McGraw a natural one that is both heartwarming and endearing – making the viewer all the more desperate for a hopeful reunion at the climax.
A stylish horror flick that at times feels a bit more like a supernatural thriller, The Black Phone is just another example of how horror has thrived over the past decade or so. Small on budget but big on creativity, it leaves an impact with the viewer, finding inspiration from past whilst also exploring new ground in the genre as well. So, the telephone is ringing. . . what are you going to do?