Film Review Black Phone 2 (2025) – Terror That Refuses to End

 

Black Phone 2 | 2025 | 1h 54m
Genre: Psychological Horror / Supernatural Horror / Horror | Country: US
Director: Scott Derrickson
Writers: Joe Hill, Scott Derrickson, C. Robert Cargill
Cast: Ethan Hawke, Mason Thames, Madeleine McGraw
IMDb: 6.1
My Rating: 7/10

Finn’s past trauma is awakened once again when the phone starts ringing—this time, it doesn’t just haunt him, but also threatens Gwen’s safety. The shadow of the Grabber, which should have been buried, returns demanding attention, forcing them to face fears that never truly ended.

Warning:

Contains scenes of violence, alcohol, and illegal drugs.

 

Synopsis:

Four years after the traumatic events that nearly took his life, Finn is still living under the shadow of fear. The phone occasionally rings again—voices of spirits asking for help—and although Finn tries to ignore it, he still picks it up just to silence the sound that continues to haunt him.

Meanwhile, Gwen begins experiencing strange dreams. The Grabber, who should have been gone for good, returns as a looming threat, carrying unfinished vengeance. That terror slowly shifts toward Gwen, turning her into the target of a crime meant to make Finn experience the same loss.

Unwilling to be dragged back into the nightmare, Finn is finally forced to confront his past in order to protect Gwen. Their journey to Alpine Lake Camp is not merely an escape—it becomes a meeting point for memories of their mother, restless spirits seeking help, and a threat that must be stopped before it’s too late.

Will they manage to break the cycle of terror, or will they be trapped in the same cycle of death once again?

 
Review:

Shadows of the past we struggle to bury often return without warning, dragging us back to our most vulnerable state. Black Phone (2025) brings back the horror of its predecessor The Black Phone (2021), not by repeating the same terror, but by digging into Finn’s trauma—one that time has never truly erased.

The film opens with a mysterious phone call—this time from someone who doesn’t even realize who they are connected to. This illogical connection becomes an effective entry point, emphasizing that trauma in the Black Phone universe knows no boundaries of space or logic. The impact of the previous film slowly reveals itself, affecting not only Finn but also those around him.

The conflict develops gradually. The threat doesn’t come solely from the Grabber, who was believed to be finished, but also from the characters’ internal fears. Finn tries to suppress old wounds, Gwen continues to be seen as strange because of her dreams, and their father refuses to accept his children’s abilities—together forming a circle of conflict that feels more emotional than physical.

Unlike the first film, which was confined to a narrow space, this sequel opens its world into broader locations. Tension arrives in a different form, with the antagonist now feeling more like a shadow—the spirit of the Grabber seeking revenge without a fixed form. This choice creates a quieter type of horror, though it doesn’t always maintain consistent pressure.

The resolution is executed fairly neatly. Character development is clear, and mysteries planted from the beginning find their answers. However, compared to the first film, there is a noticeable shift in focus, especially in how Gwen’s abilities are visualized. If dreams once functioned merely as clues, they now nearly merge with reality.

Unfortunately, the Black Phone itself feels increasingly sidelined. The story gradually shifts its focus from the phone to dreams, which—while interesting—feels somewhat disconnected from the title. This isn’t a failure, but it does create a gap between concept and representation.

Long-standing questions about the Grabber’s background are once again left unanswered. The film seems to deliberately postpone these explanations to make room for a future sequel. The same goes for the victims, who this time feel more anonymous, losing the emotional depth that was subtly present in the first film.

The addition of new characters does enrich the world, but not all of them carry enough weight to leave a lasting impression. Some exist merely as narrative functions rather than fully realized individuals.

On the technical side, the performances remain solid—especially Finn’s actor, who conveys emotional exhaustion without overdoing it. Visuals and editing also help clearly separate dream sequences from reality, keeping the story’s rhythm stable.

One lingering question throughout the film is: why did the Grabber return? If revenge was his goal, why did he wait four years? Where was he during that time? These questions remain unanswered, seemingly reserved for a third installment—a promise that may or may not pay off the curiosity it has already built.

Ultimately, Black Phone (2025) is not simply about the return of the Grabber, but about trauma that refuses to end. The film chooses to venture deeper into psychological territory, even if it means sacrificing some focus and depth in its supporting characters.

 

Memorable Scene:

The camp owner tries to talk to Finn and offers him simple yet meaningful advice. Finn’s trauma may not be obvious, hidden behind his efforts to always appear strong. However, the camp owner sees it honestly and asks Finn to stop running—to face his fear so he doesn’t remain trapped inside it.

This scene serves as a reminder that many of us choose to hide our wounds just to seem okay. Buried trauma doesn’t disappear; it waits for the right moment to resurface. Making peace doesn’t mean forgetting—it means acknowledging that the pain exists and deserves to be accepted.

 
Memorable Dialogue:

“Hell isn’t flame, Bill. It’s ice.”

Ending:

Happy Ending

Recommendation:

Worth to Watch

(Aluna)