Author: FilmNerd

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Though he was protective of his novel 20th Century Ghosts, Joe Hill had an idea for a potential sequel. Director Scott Derrickson said he would be interested if the first film were a success, which it was. On top of earning positive reviews, The Black Phone grossed over $161 million worldwide on a $16 – $18 million budget. Much of the original cast returned for the sequel, along with new additions like Demián Bichir and Arianna Rivas. Under the working title Mysterium, filming began in late 2024 in Toronto and Hamilton, with a $30 million budget. The studio hired cinematographer Pär M. Ekberg, whose prior credits include music videos for Coldplay, Beyoncé, and P!nk. Filming wrapped in January 2025, and while initially set for a July release, Universal delayed it for months. After premiering at Fantastic Fest in September, Black Phone 2 hit theaters worldwide in October.

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Synopsis

Four years after the last film, Gwen (Madeline McGraw) begins experiencing strange dreams about murders at Alpine Lake Camp. She persuades her brother, Finney (Mason Thames), and their friend Ernesto (Miguel Mora) to investigate. When they arrive at the camp, a severe blizzard traps them there with the remaining staff. The staff includes supervisor Armando (Demián Bichir), niece Mustang (Arianna Rivas), and counselors Kenneth (Graham Abbey) and Barbara (Maev Beaty). One night, Finney hears the broken payphone ringing nearby, answers it, and hears The Grabber (Ethan Hawke). Although dead, The Grabber swears revenge on Finney and plans to torment his sister through her dreams. Gwen realizes that The Grabber’s first victims were at the camp, and their bodies were never recovered. Hoping to weaken The Grabber, the group works with the staff to locate and recover the missing bodies. But soon, Finney and Gwen learn more than they ever expected.

Review

Black Phone 2, though not terrible, suffers from what many sequels face: finding a reason to justify its existence. The first film worked as a self-contained story that ends on a strong note, with no loose ends. The fact that one of the catalysts for making the sequel was the original’s success should say enough. Supposedly, Joe Hill had a “wonderful idea” for a sequel, which makes me wonder exactly what it was. Something tells me his “idea” might’ve involved taking “inspiration” from A Nightmare on Elm Street. I wouldn’t accuse this movie of being a rip-off, but there are more than a few similarities. You have a killer returning from the dead to seek revenge, who invades people’s dreams, and thrives off of fear. Granted, he only targets one person’s dreams, who happens to have dream abilities established in the first film, but still.

As with the last film, the cast delivers some excellent performances, notably McGraw, Thames, and Hawke. While I would’ve preferred having Mason Thames be the central focus, I liked that they gave Madeline McGraw the spotlight. Thankfully, it never feels like she takes the film away from him as they share equal screentime. Like the first film, Ethan Hawke steals the show as The Grabber, this time acting more aggressively and evilly. As silly as the movie gets at times, he takes the role very seriously, which I commend him for. Also, Demián Bichir makes a good authority figure at the camp, able to act relatable while remaining a devout Christian. The rest of the cast does a fine job, but none of them stand out as much as the leads. That said, the back-and-forths between Madeline McGraw and Maev Beaty are hilarious.

Scott Derrickson’s direction is still solid, feeling more like an ’80s slasher film in the best way. One standout element is how they convey the dream world by shooting those scenes using a Super-8 camera. The shoddy focus and muffled sound give these sequences an unnerving quality that heightens the tension. Unfortunately, the movie’s story falters, not only in its parallels to Wes Craven’s classic but also in its twists. Without going into spoilers, my best comparison would be to the twist in Halloween II. Essentially, the filmmakers tried adding a more personal connection between Finney and The Grabber, inadvertently making The Grabber less scary. Much like the sequel to the John Carpenter classic, this one isn’t terrible, but it feels wholly unnecessary. Overall, Black Phone 2 is a decent follow-up, but you’re not missing much if you decide to skip it.

Black Phone 2 is in theaters.

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In 2005, Stephen King’s son Joe Hill published 20th Century Ghosts, a collection of 13 short stories. One of these stories, The Black Phone, caught the attention of director Scott Derrickson and writer C. Robert Cargill. They hoped to adapt the story to film, but they shelved the project to work on Sinister and Doctor Strange. Due to disagreements with Marvel, Derrickson decided not to direct the sequel, so he continued working on The Black Phone. They saw numerous child actors for the leads before settling on relative newcomers Mason Thames and Madeleine McGraw. After securing a $16-$18 million budget from Blumhouse, which produced Derrickson’s Sinister, filming started in early 2021 in Wilmington. Filming wrapped in March, and the movie premiered at Fantastic Fest later that year. Following two delays from Universal, The Black Phone finally hit theaters in June 2022.

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Synopsis

In 1978 Colorado, young Finney (Mason Thames) lives with his sister, Gwen (Madeline McGraw), and alcoholic father, Terrence (Jeremy Davies). At school, Finney gets constantly harassed by the local bullies, but another classmate, Robin (Miguel Cazarez Mora), defends him. Gwen believes her dreams are prophetic, which catches the attention of Detectives Wright (E. Roger Mitchell) and Miller (Troy Rudeseal). Reports are circulating that someone known as “The Grabber” is abducting children, and they think her dreams can help. Unfortunately, Finney is kidnapped and held hostage by The Grabber (Ethan Hawke), who has sinister plans for him. When The Grabber leaves, a broken phone on the wall rings, and Finney answers, hearing the spirits of past victims. They help him find ways of escaping the basement while making sure The Grabber doesn’t catch on. Will Finney find a way out of the basement, or will The Grabber claim another victim?

Review

The Black Phone is a solid supernatural thriller that effectively tackles a serious issue without feeling exploitative. This movie feels like a reasonably accurate depiction of what happens when a child is abducted. It helps that the film takes place in the late 1970s, which was right around the era of “stranger danger.” Unlike similar movies that play up their retro setting, this one feels authentic to life back then. From the clothes and cars to the soundtrack, it feels like Scott Derrickson pulled straight from his childhood. Adding to this feeling is the cinematography by Brett Jutkiewicz, who effectively captures the decade’s look and feel. There’s also the haunting score from The Lighthouse composer Mark Korven, which combines synth sounds with harsh strings. The cherry on top is the dream sequences shot on Super 8, giving them a home movie vibe.

Shockingly, this was Mason Thames’s first film, which you wouldn’t expect given how stellar his performance is. He feels authentic as a kid facing a tough family life and constant bullying, trying to be a good brother. He has excellent chemistry with Madeline McGraw, as you really believe they are actual siblings. However, the real scene stealer is Ethan Hawke as The Grabber, one of the creepiest horror villains in recent memory. Since he wears a mask for most of the movie, his performance mainly depends on his body language and voice. What makes him even more frightening is that we don’t learn much about The Grabber’s backstory, which adds a layer of mystery. It’s also worth noting the masks designed by the legendary Tom Savini, each one unique and haunting. While the rest of the cast is strong, the film mainly focuses on Thames and Hawke, who are outstanding.

I’ve seen some people complain about the pacing and the plodding characterization, which I somewhat understand. At roughly an hour and 43 minutes, some parts feel slow and drawn out. Also, some characters feel like generic caricatures, including the alcoholic father, the stereotypical bullies, and the stock love interest. However, I’d argue that the deliberate pacing and stock characters help the world feel fully realized and lived in. You feel like you’ve traveled back to the 1970s to see what life was like back then. Some have criticized the use of supernatural forces to help our heroes, which is understandable, but it’s a unique twist. Despite its issues, this is still a solid horror thriller with a great cast and effective atmosphere. Overall, The Black Phone succeeds thanks to its mix of realism and supernatural, a great villain, and a solid story.

Buy The Black Phone from Amazon: https://amzn.to/4nl2hng.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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Where to watch The Black Phone

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[et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Since the late 2000s, Guillermo del Toro has expressed interest in adapting Mary Shelley’s influential novel, Frankenstein. Initially, del Toro announced his project would be part of a three-picture deal with Universal. Unfortunately, due to the failure of Universal’s Dark Universe following the 2017 Mummy, del Toro’s movie was scrapped. Over the years, del Toro repeatedly expressed his desire to adapt the story, stating it was his dream project. Eventually, Netflix stepped in to produce the film after del Toro’s Pinocchio won the Academy Award for Best Animated Feature. Oscar Isaac, Mia Goth, and Andrew Garfield initially signed on to star, but Garfield dropped out due to scheduling conflicts. After replacing him with Jacob Elordi, principal photography lasted from February to September 2024 around Toronto, Edinburgh, and Lincolnshire. Following its Venice International Film Festival premiere, Frankenstein had a limited release in October before debuting on Netflix in November.

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Synopsis

After being rescued by Danish sailors, Victor Frankenstein (Oscar Isaac) tells his tale to Captain Anderson (Lars Mikkelsen). He lost his mother when he was young, inspiring him to find ways to revive the dead. Despite being rejected by the scientific community, wealthy arms dealer Henrich Harlander (Christoph Waltz) became interested in his work. He agrees to fund Victor’s experiments and give him unlimited freedom, but tensions rise quickly between the two. Helping them is Victor’s brother, William (Felix Kammerer), who coincidentally is engaged to marry Henrich’s daughter, Elizabeth (Mia Goth). Against the odds, Victor brings his Creature (Jacob Elordi) to life and is overjoyed, but soon rejects his creation. After narrowly surviving an explosion, the monster struggles to find his place in a world that fears him. Soon, the Creature goes after his creator, who has long abandoned his work, seeking revenge for his mistreatment.

Review

Guillermo del Toro’s Frankenstein is another masterpiece created by one of the world’s best filmmakers. Much like Peter Jackson’s King Kong, you can see del Toro’s love for the material and his desire to handle it respectfully. The $120 million budget shows through the intricate sets, stunning makeup effects, and Dan Laustsen’s beautiful cinematography. There’s also Oscar-winning composer Alexandre Desplat’s haunting score, which brings a sense of melancholy to the film. It almost feels like watching a grand opera with cinematic elements because everything looks majestic. Having the film split between Victor’s and The Creature’s perspectives gives the story more depth than traditional methods alone. This approach echoes the book’s structure, which was told through diary entries and at least three characters’ retellings. Although the movie differs from the book, as most adaptations do, it remains the most faithful adaptation of Mary Shelley’s work.

Oscar Isaac delivers an outstanding performance as the ambitious yet foolhardy Victor Frankenstein, who is both sympathetic and conniving. While you get drawn in by his charismatic way of discussing his work, you also see his humanity slipping away. Jacob Elordi is the real standout as The Creature, performing exceptionally despite extensive makeup and prosthetics. Until he gains speaking abilities, much of his acting relies on body language and facial expressions, which he excels at. Christoph Waltz, Mia Goth, and Felix Kammerer shine, while Charles Dance and David Bradley effectively utilize their limited screentime. Lars Mikkelsen’s portrayal of Captain Anderson is also worth noting; he acts as the audience surrogate and becomes engrossed in Frankenstein’s story. Though initially skeptical of Victor’s tale, he soon comes to believe it and treats Victor and the Creature respectfully. He, like us, sees the beauty even in the beast.

However, as much as I loved the film overall, some hindrances keep it from being perfect. For one, while there are tons of amazing practical effects and sets, there is, unfortunately, the occasional CGI. Thankfully, the movie keeps these sequences to a minimum, and they add to the film’s hyperrealism. Also, parts of the film feel slowly paced and uneven in tone at two and a half hours. Much of the first half, which is told through Victor’s perspective, explores his backstory in more detail than other adaptations. Thankfully, the movie picks up once the Creature enters the picture, thanks mainly to Elordi’s performance. The film might feel bloated, but this was del Toro’s dream project, and I can’t fault him for that. Overall, Frankenstein is an extraordinary take on the source material that only someone like del Toro could achieve.

Watch Frankenstein on Netflix: https://www.netflix.com/title/81507921.

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Where to watch Frankenstein (2025)

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[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]In early 2022, writers Zach Akers and Skip Bronkie co-wrote a spec script for a sports horror film titled Goat. That summer, Monkeypaw Productions, through a deal with Universal, acquired the script, which it held for a few years. In 2024, the studio hired Justin Tipping, who earned acclaim for his directorial debut, 2016’s Kicks, to direct the project. The cast included veteran comedic/dramatic actor Marlon Wayans alongside relative newcomers Tyriq Withers and Julia Fox. With a $27 million budget, principal photography took place in and around Albuquerque, including exterior shots at Spaceport America. At some point before its September 2025 release, the studio retitled the film from Goat to Him. Ahead of the film’s debut, excitement grew, with many articles listing it as one of the top-anticipated releases. Following its premiere in Mexico, Him hit movie screens in September 2025.

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Synopsis

Since childhood, Cameron “Cam” Cade (Tyriq Withers) has admired the San Antonio Saviors and dreamed of joining them. Years later, Cam is an emerging football star preparing for the league combine. Sadly, he suffers a concussion that causes him to lash out at loved ones, leading him to refuse the combine. That’s when Cam’s manager, Tom (Tim Heidecker), offers him a chance to train with Saviors quarterback Isaiah White (Marlon Wayans). Excited to learn from his idol, Cam agrees and heads to a remote desert training facility. What follows are strange and gruesome exercises that push Cam’s limits. During this process, he experiences vivid hallucinations from his concussion, causing him to question what is real. Unknown to him, Isaiah is scheming to prepare him for something much more sinister than he can imagine. What unfolds is a battle of wills and strength between the newcomer and the GOAT.

Review

Ever since I first saw the trailer for HIM, I’ve been eager to see how wild it would be. While I can confirm that the film is indeed unhinged, it is sadly one of the year’s biggest letdowns. Monkeypaw Productions, Jordan Peele’s company, typically gives filmmakers the freedom to bring their vision to life. Besides Peele’s projects, the studio helped give Dev Patel’s Monkey Man a wide release after Netflix withdrew its support. That film had issues, but it showed promise; Justin Pipping’s Him, however, squanders potential. The movie tackles themes of exploitation, corruption, legacy, ambition, and celebrity, but with all the subtlety of an atomic bomb. It feels like Pipping wanted to send a message through this film by making it as obvious as possible. There’s nothing wrong with trying to deliver a message, but you need to be more subtle in your approach.

What makes the film even more disappointing is that it has plenty of good qualities to offer. First off, Marlon Wayans delivers one of the strongest performances of his career, since Requiem for a Dream. He’s vicious, brutal, and hard-hitting, but with a tinge of humor that makes him unpredictably off-putting. Relative newcomer Tyriq Withers also stands out as the hopeful, young Cam being groomed for success at a significant cost. Julia Fox is wonderfully bizarre as Isaiah’s eccentric influencer wife, looking like a cross between Lady Gaga and Gwyneth Paltrow. Another highlight is Jim Jefferies as Isaiah’s doctor, Marco, whose dry wit and passive-aggressive nature make him a memorable character. Another strong quality of this movie is its striking visuals, particularly in the cinematography and editing. Cinematographer Kira Kelly captures some striking visuals, and editor Taylor Joy Mason’s quick cuts give the movie a kinetic energy.

Sadly, this film is a case of style over substance, where everything looks great but feels hollow and empty. There are so many unbelievable moments that take you out of whatever profound emotion they were trying to convey. Initially, I thought these were hallucinations caused by Cam’s concussion, but over time, I realized these moments actually happened. Additionally, this movie features an over-the-top finale similar to the gruesome ending in Weapons, but that movie earned its ending. While the ending in Cregger’s film felt satisfying, this one’s ending feels inconsequential, and you want it to be over. Even at slightly over 90 minutes, the pacing is rough, with scenes dragging out way longer than they should. I honestly hate having to write this review, as I wanted to love this movie, but it was a letdown. Overall, HIM isn’t terrible, but it’s disappointing, which is almost worse.

HIM is in theaters.

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