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Sarah (7798 KP) rated Juliet, Naked (2018) in Movies
Jul 13, 2019
Not up to Nick Hornby’s usual standards
Nick Hornby’s books are marvellous, so adapting them into films is an obvious choice for getting a sure fire hit (a la About a Boy). However sadly this doesn’t quite work for Juliet, Naked.
The plot itself is fine, fairly interesting yet doesn’t appears to be very in depth and i feel like there’s probably a lot missing in this that was in the book. It’s a good idea, just not very well executed and a little dull. It tries for humour but isn’t particularly funny and the romance side is a little lacking too sadly. I’ve always liked Ethan Hawke and he’s good in this but perhaps a little underused, and Rose Byrne is good but her accent is definitely a bit dodgy! Not too sure what was going on with Chris O’Dowd though, I’m not his biggest fan anyway but I found him particularly irritating in this but that may have just been his character. It’s a shame really that this film appears to be lacking all of the usual magic you’d see with Nick Hornby. Think I’ll just go read the book.
The plot itself is fine, fairly interesting yet doesn’t appears to be very in depth and i feel like there’s probably a lot missing in this that was in the book. It’s a good idea, just not very well executed and a little dull. It tries for humour but isn’t particularly funny and the romance side is a little lacking too sadly. I’ve always liked Ethan Hawke and he’s good in this but perhaps a little underused, and Rose Byrne is good but her accent is definitely a bit dodgy! Not too sure what was going on with Chris O’Dowd though, I’m not his biggest fan anyway but I found him particularly irritating in this but that may have just been his character. It’s a shame really that this film appears to be lacking all of the usual magic you’d see with Nick Hornby. Think I’ll just go read the book.
LeftSideCut (3778 KP) rated The Black Phone (2022) in Movies
Aug 8, 2022
After a swift MCU detour, Scott Derrickson is back in the horror business, and it's a welcome return. The Black Phone is unpleasant and tense, well crafted in its execution and pacing, and possesses quite a bit of heart, portrayed by a great cast, the stand-outs of course being Mason Thames and Madeleine McGraw. The two child actors provide some outstanding performances and ensure that their character moments pack a punch. Opposite to them, Ethan Hawke gives us a genuinely creepy horror villain, a villain who is unhinged, and acts in a manner that is grounded in reality, reiterating what makes The Black Phone scary in the first place. This film plays on the very real fear that ones child could be taken. It's bleak, and hardly enjoyable, but it's effective. There are some moments of more supernatural horror, as well as a couple of well earned jump scares, and whilst this makes proceedings a little more unsettling, it doesn't take away from how utterly terrifying real life can be.
The Black Phone isn't perfect by any means, but it's a tight horror/thriller that looks great, and will worm its way under your skin.
The Black Phone isn't perfect by any means, but it's a tight horror/thriller that looks great, and will worm its way under your skin.
Gareth von Kallenbach (968 KP) rated Sinister (2012) in Movies
Aug 7, 2019
Sinister is a movie that surprised me. I love scary movies, but most of the time it is the pure humor that I find in what people think is scary these days that makes me love them. I figured I would walk into this movie and leave in the same mood I always do. Laughing about how many people jumped in the theater because of what happened on screen. But, this time, I was one of those people. For the first time in over a decade I found a scary movie that downright creeped me out and made me jump. Not just once, more several times.
Sinister opens with old super-8 footage of a family of four being hung from a tree in a rather unique way. The movie is set in a small town in Pennsylvania where Ellison Oswalt (Ethan Hawke; Training Day, Daybreakers) and his family (wife, daughter and son) are moving into a new house. Ellison is a true-crime writer, who hasn’t had a best-selling book in 10 years. His work in the true-crime field did not garner him any favor with the local law enforcement, and the Sheriff in particular would rather see him leave. Shortly, we realize that the house the Oswalt family has moved into the same house that the family in the opening scene lived in, this family is the basis for the book he is writing, and the house is also where they were murdered. This is unbeknownst to the family, except for Ellison himself.
Ellison finds a box in the addicts that is labeled home movies, and it contains several reels of super-8 footage. This footage helps him realize how and why the family from the opening scene were murdered, and their murders spanning from the late 60s to present day. Even more daunting, his discoveries as he moves forward in his investigation place his entire family in the path of a supernatural entity.
I am a firm believer that a film’s score can make or break a movie, despite how good the story is. Sinister did not fail in this department. With haunting melodies littered throughout the movie, and excellent timing by all punctuations, this film will definitely have you tense at exactly the right moments. The one bad thing I can say about this movie, and it was really more of a distraction than a bad thing, was Ethan Hawke’s voice. His voice seemed unnaturally deep compared to my experience with him in his previous roles, a thought which was echoed by many of my fellow critics in the theater. Overall, though, the movie was fantastic. With two interesting cameos in the movie, and a great little role for James Ransone (Inside Man, The Next Three Days), a relative known, and stellar acting from Ethan Hawke, this is a definite must see. Especially for date night, if you’re significant other is into scary movies that is.
Sinister opens with old super-8 footage of a family of four being hung from a tree in a rather unique way. The movie is set in a small town in Pennsylvania where Ellison Oswalt (Ethan Hawke; Training Day, Daybreakers) and his family (wife, daughter and son) are moving into a new house. Ellison is a true-crime writer, who hasn’t had a best-selling book in 10 years. His work in the true-crime field did not garner him any favor with the local law enforcement, and the Sheriff in particular would rather see him leave. Shortly, we realize that the house the Oswalt family has moved into the same house that the family in the opening scene lived in, this family is the basis for the book he is writing, and the house is also where they were murdered. This is unbeknownst to the family, except for Ellison himself.
Ellison finds a box in the addicts that is labeled home movies, and it contains several reels of super-8 footage. This footage helps him realize how and why the family from the opening scene were murdered, and their murders spanning from the late 60s to present day. Even more daunting, his discoveries as he moves forward in his investigation place his entire family in the path of a supernatural entity.
I am a firm believer that a film’s score can make or break a movie, despite how good the story is. Sinister did not fail in this department. With haunting melodies littered throughout the movie, and excellent timing by all punctuations, this film will definitely have you tense at exactly the right moments. The one bad thing I can say about this movie, and it was really more of a distraction than a bad thing, was Ethan Hawke’s voice. His voice seemed unnaturally deep compared to my experience with him in his previous roles, a thought which was echoed by many of my fellow critics in the theater. Overall, though, the movie was fantastic. With two interesting cameos in the movie, and a great little role for James Ransone (Inside Man, The Next Three Days), a relative known, and stellar acting from Ethan Hawke, this is a definite must see. Especially for date night, if you’re significant other is into scary movies that is.
LeftSideCut (3778 KP) rated The Northman (2022) in Movies
May 11, 2022
Robert Eggers continues his winning streak with The Northman, surely one of the most visually stunning and compelling movies in recent years. A Viking revenge story presented in his signature style is just cinematic crack waiting to happen as far as I'm concerned.
The first third is a fast moving setup that effectively establishes the characters and shows off quite an epic production. After that, The Northman becomes a tight and slow burning thriller as Amleth (Alexander Skarsgård) exacts a psychologically torturous revenge on the people who killer his father. It's a perfect marriage of powerful character drama, weird imagery, Viking culture and beliefs, bizarre gore, and fantasy set pieces, and it's slower pace ensures that it's utterly captivating.
The whole film looks incredible from start to finish and is complimented by a wonderful music score.
It's all cemented by a stacked cast. Skarsgård is a capable lead for sure, and is just a big walking muscle in this, the manly bastard. Anya Taylor-Joy is great as always, and the supporting cast boasts the likes of Nicole Kidman, Willem Dafoe, Ethan Hawke, and Claes Bang who are all stellar.
I can't heap enough praise on The Northman, another homerun from Eggers. I'd happily call it a masterpiece.
The first third is a fast moving setup that effectively establishes the characters and shows off quite an epic production. After that, The Northman becomes a tight and slow burning thriller as Amleth (Alexander Skarsgård) exacts a psychologically torturous revenge on the people who killer his father. It's a perfect marriage of powerful character drama, weird imagery, Viking culture and beliefs, bizarre gore, and fantasy set pieces, and it's slower pace ensures that it's utterly captivating.
The whole film looks incredible from start to finish and is complimented by a wonderful music score.
It's all cemented by a stacked cast. Skarsgård is a capable lead for sure, and is just a big walking muscle in this, the manly bastard. Anya Taylor-Joy is great as always, and the supporting cast boasts the likes of Nicole Kidman, Willem Dafoe, Ethan Hawke, and Claes Bang who are all stellar.
I can't heap enough praise on The Northman, another homerun from Eggers. I'd happily call it a masterpiece.
BankofMarquis (1832 KP) rated The Black Phone (2022) in Movies
Jul 19, 2022
Tense and Suspenseful
Part STRANGER THINGS and Part IT, the new Blumhouse film, THE BLACK PHONE, is a surprisingly effective horror/thriller that is reminiscent of the better Stephen King stories - and that just might be because the short story for which this film is based on is written by Joe Hill - Stephen King’s son.
Wisely set in a time before cell phones (like both Stranger Things and It), THE BLACK PHONE tells the tale of a small town in Colorado that suddenly falls victim to “THE GRABBER” - an individual who grabs young teenage boys and kills them.
Smartly Directed by Scott Derrickson (the first DOCTOR STRANGE film), THE BLACK PHONE is effective for it focuses on the isolation of being in captivity, the anxiety of not knowing when someone is going to come through the door of the cell and the relationships of the young teens caught in “The Grabber’s” web. Credit for this, of course, goes to Derrickson who dropped out of Directing DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (over “creative differences”) and chose this passion project as his salve - and the passion shows. It must also be pointed out that Derrickson, wisely, opts to up the tension of this film, rather than the gore, so this movie becomes a suspense flick and not torture-porn.
Derrickson also draws very good performances from the young actors playing the main roles of this film - Mason Thames (Finney), Madeleine McGraw (Gwen), Tristan Pravong (Bruce), Jacob Moran (Billy) and Miguel Cazarez Mora (Robin). All are believable in their well written roles bringing more than just one-dimension to their characters.
These kids are more than ably joined by adult actors like James Ransone (IT: CHAPTER TWO), Jeremy Davies (TV’s LOST) and E. Roger Mitchell (OUTER BANKS). All of these folks bring gravitas and reality to a story that does drift into the un-reality at times.
And then there is the performance of the always good Ethan Hawke as the villain of this piece - THE GRABBER. It is a masterful performance by Hawke who brings humanity to this monster. Almost every actor that plays a villain say that they try to see the film from the villain’s point of view and Hawke brings that to this character in spades and (almost) makes one want to root for him. It is one of the better villains realized on film in the last few years.
One quibble with The Black Phone, is that it does have a tendency to sag a bit (especially in the middle). It is in the middle of the film that one can tell that this movie was based on a SHORT story and so, by necessity, there is some padding.
But that is picking a nit in what is a smart and tense film, one that will have you on the edge of your seat until the end.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Wisely set in a time before cell phones (like both Stranger Things and It), THE BLACK PHONE tells the tale of a small town in Colorado that suddenly falls victim to “THE GRABBER” - an individual who grabs young teenage boys and kills them.
Smartly Directed by Scott Derrickson (the first DOCTOR STRANGE film), THE BLACK PHONE is effective for it focuses on the isolation of being in captivity, the anxiety of not knowing when someone is going to come through the door of the cell and the relationships of the young teens caught in “The Grabber’s” web. Credit for this, of course, goes to Derrickson who dropped out of Directing DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (over “creative differences”) and chose this passion project as his salve - and the passion shows. It must also be pointed out that Derrickson, wisely, opts to up the tension of this film, rather than the gore, so this movie becomes a suspense flick and not torture-porn.
Derrickson also draws very good performances from the young actors playing the main roles of this film - Mason Thames (Finney), Madeleine McGraw (Gwen), Tristan Pravong (Bruce), Jacob Moran (Billy) and Miguel Cazarez Mora (Robin). All are believable in their well written roles bringing more than just one-dimension to their characters.
These kids are more than ably joined by adult actors like James Ransone (IT: CHAPTER TWO), Jeremy Davies (TV’s LOST) and E. Roger Mitchell (OUTER BANKS). All of these folks bring gravitas and reality to a story that does drift into the un-reality at times.
And then there is the performance of the always good Ethan Hawke as the villain of this piece - THE GRABBER. It is a masterful performance by Hawke who brings humanity to this monster. Almost every actor that plays a villain say that they try to see the film from the villain’s point of view and Hawke brings that to this character in spades and (almost) makes one want to root for him. It is one of the better villains realized on film in the last few years.
One quibble with The Black Phone, is that it does have a tendency to sag a bit (especially in the middle). It is in the middle of the film that one can tell that this movie was based on a SHORT story and so, by necessity, there is some padding.
But that is picking a nit in what is a smart and tense film, one that will have you on the edge of your seat until the end.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
LeftSideCut (3778 KP) rated The Purge (2013) in Movies
Aug 8, 2021
Despite it's shortcomings, it's easy to see why The Purge ended up spawning a franchise and that's mainly down to it's tantalising premise. The whole "murder is legal for one night every year" idea is suitably dystopian, and yet feels uncomfortably plausible. It's a little slice of horror-plot gold.
This first entry however, is more of a tease of what could be, focusing on one family, in one location, on Purge Night.
It has a fair amount going for it. Two strong leads in Ethan Hawke and Lena Headey, a relatively charismatic villain, and a well paced narrative that manages to achieve some sort of tension here and there.
Unfortunately, it falls into silly action clichés during the final third. It's easy to lose count of how many times a main character is about to meet their demise, before being miraculously saved at the last second. It becomes a bit laughable by the time the credits roll. The plot beats around this point take a bit of a dive as well, with some last minute twists thrown in that don't really make a lick of sense. The action itself is fairly entertaining, but marred somewhat by all the crappy CGI blood flying around. And although the main villain has some entertaining aspects, his minions are just a bunch of cringy edge lords that unfortunately plague this entire series.
All that being said, The Purge is still a modest and tidy enough home invasion thriller that deserves a watch.
This first entry however, is more of a tease of what could be, focusing on one family, in one location, on Purge Night.
It has a fair amount going for it. Two strong leads in Ethan Hawke and Lena Headey, a relatively charismatic villain, and a well paced narrative that manages to achieve some sort of tension here and there.
Unfortunately, it falls into silly action clichés during the final third. It's easy to lose count of how many times a main character is about to meet their demise, before being miraculously saved at the last second. It becomes a bit laughable by the time the credits roll. The plot beats around this point take a bit of a dive as well, with some last minute twists thrown in that don't really make a lick of sense. The action itself is fairly entertaining, but marred somewhat by all the crappy CGI blood flying around. And although the main villain has some entertaining aspects, his minions are just a bunch of cringy edge lords that unfortunately plague this entire series.
All that being said, The Purge is still a modest and tidy enough home invasion thriller that deserves a watch.
Gareth von Kallenbach (968 KP) rated Brooklyn's Finest (2010) in Movies
Aug 8, 2019
The story of three cops Sal, Tango, and Eddie, “Brooklyn’s Finest” depicts a graphic understanding of the challenges faced by hardened policemen. Eddie (Richard Gere) is disgruntled and seven days away from retirement from the police force. Tango (Don Cheadle) is stuck undercover while his real life is breaking apart. Sal (Ethan Hawke) can’t afford to support his growing family. All three of them are about to have a week that will test who they are as cops in the not so clear-cut morals of the Brooklyn police force.
A hard-hitting and graphic film, “Brooklyn’s Finest” shows the complicated life of cops struggling to balance morals and justice. Audiences will find it strongly languaged, visually appalling, and emotionally striking. These cops are not the clean-cut ideals that serve and protect, but rather people who have intensified problems on the mean streets of Brooklyn.
For the three lead actors these roles offer significant stretch, particularly in the case of Gere, who displays a physical and emotional depth in the film that is engrossing. Another worthy performance is that of Wesley Snipes as Caz, a gang leader who has recently returned from prison and is now seeking a path to new better life. With complicated characters like these, the film takes a hold of viewers by examining right and wrong in the world of both cops and criminals.
In short, “Brooklyn’s Finest” is a well-paced gripping story played by strong actors. However, audiences should be warned that the tough subject matter and hardened characters make it a far cry from traditional police dramas. This is a film that is likely to offend those who have strong ties to the ideals of police life or a distinct dislike for violence. For the rest of the movie-going public, “Brooklyn’s Finest” is a well-scripted film that is hard to ignore.
A hard-hitting and graphic film, “Brooklyn’s Finest” shows the complicated life of cops struggling to balance morals and justice. Audiences will find it strongly languaged, visually appalling, and emotionally striking. These cops are not the clean-cut ideals that serve and protect, but rather people who have intensified problems on the mean streets of Brooklyn.
For the three lead actors these roles offer significant stretch, particularly in the case of Gere, who displays a physical and emotional depth in the film that is engrossing. Another worthy performance is that of Wesley Snipes as Caz, a gang leader who has recently returned from prison and is now seeking a path to new better life. With complicated characters like these, the film takes a hold of viewers by examining right and wrong in the world of both cops and criminals.
In short, “Brooklyn’s Finest” is a well-paced gripping story played by strong actors. However, audiences should be warned that the tough subject matter and hardened characters make it a far cry from traditional police dramas. This is a film that is likely to offend those who have strong ties to the ideals of police life or a distinct dislike for violence. For the rest of the movie-going public, “Brooklyn’s Finest” is a well-scripted film that is hard to ignore.
Andy K (10821 KP) rated First Reformed (2018) in Movies
Jul 6, 2019
Emotionless emotion takes its toll
Father Toller is a troubled man. Every day his convictions are being tested in the world all around him. His marriage failed due to the death of a child. A couple comes to him for help only to have that end in tragedy. The 250th anniversary of his home base church is coming up bringing with it all sorts of planning and the forced inclusion of one of the sponsors; a large company who is a leading contributor of pollution to the Earth. Then, his health deteriorates and he won't let others in to help or console him.
How can he stand by and let these things happen? He sits in on group therapy sessions at the church and is confronted by those who don't believe or are conflicted by what they see happening around them as well.
He is approached by a grieving woman and is torn by his own emotional reactions to her and her needs.
First Reformed is a character study of this troubled, religious man and his actions and reactions to his crumbling encounters with the world. He wants to say more, but feels he can't while staying true to his convictions.
Ethan Hawke has a great resume and is performance here is breathtaking and should've received at least an Oscar nomination. It seems he is often overlooked and has given great performances for years in films like Training Day, Dead Poets Society and Alive. His role here is complex and I would imagine difficult to portray someone who has to lead a muffled existence.
I am still digesting the ending of the film, so I am not sure how I feel about that yet.
Ask me again in a couple days. Unique for sure.
How can he stand by and let these things happen? He sits in on group therapy sessions at the church and is confronted by those who don't believe or are conflicted by what they see happening around them as well.
He is approached by a grieving woman and is torn by his own emotional reactions to her and her needs.
First Reformed is a character study of this troubled, religious man and his actions and reactions to his crumbling encounters with the world. He wants to say more, but feels he can't while staying true to his convictions.
Ethan Hawke has a great resume and is performance here is breathtaking and should've received at least an Oscar nomination. It seems he is often overlooked and has given great performances for years in films like Training Day, Dead Poets Society and Alive. His role here is complex and I would imagine difficult to portray someone who has to lead a muffled existence.
I am still digesting the ending of the film, so I am not sure how I feel about that yet.
Ask me again in a couple days. Unique for sure.
Andrew Thomas (363 KP) rated The Purge (2013) in Movies
Aug 12, 2020 (Updated Aug 19, 2020)
My first exposure to smart horror.
Contains spoilers, click to show
With the exception of SAW, I didn't have a high regard for modern horror films for a longtime...until I saw The Purge.
For starters, we have quality actors like Ethan Hawke and Lena Headey that portray two seemingly unsympathetic and unrelatable rich yuppies. But eventually they prove themselves to be resourceful and in possession of some morals...unlike the crazies outside who actively celebrate The Purge.
While the very notion of The Purge is outlandish and unrealistic in our own society, the writer/director does an amazing job grounding it in reality and making it appear to be possible. It also forces you to ruminate about yourself and what you would be capable of doing if you could behave however you wish without consequences. It also makes you take a closer glance at your friends and neighbors, forcing you to ruminate about how they might act during The Purge.
The only complaint I have is that the film throws alot of lore at you without any explanation. For example, the emergency broadcast alert that announces the commencement of The Purge includes the quote "blessed be our New Founding Fathers and America, a nation reborn" First time I saw this part I said "I don't like the sound of that" Who were these New Founding Fathers? What the hell has happened to America where The Purge is now the new normal?
In conclusion, The Purge restored my enthusiasm for modern horror and captured my imagination. I highly recommend it to anyone who is interested in ultra violent crime thrillers or dystopian future stories.
For starters, we have quality actors like Ethan Hawke and Lena Headey that portray two seemingly unsympathetic and unrelatable rich yuppies. But eventually they prove themselves to be resourceful and in possession of some morals...unlike the crazies outside who actively celebrate The Purge.
While the very notion of The Purge is outlandish and unrealistic in our own society, the writer/director does an amazing job grounding it in reality and making it appear to be possible. It also forces you to ruminate about yourself and what you would be capable of doing if you could behave however you wish without consequences. It also makes you take a closer glance at your friends and neighbors, forcing you to ruminate about how they might act during The Purge.
The only complaint I have is that the film throws alot of lore at you without any explanation. For example, the emergency broadcast alert that announces the commencement of The Purge includes the quote "blessed be our New Founding Fathers and America, a nation reborn" First time I saw this part I said "I don't like the sound of that" Who were these New Founding Fathers? What the hell has happened to America where The Purge is now the new normal?
In conclusion, The Purge restored my enthusiasm for modern horror and captured my imagination. I highly recommend it to anyone who is interested in ultra violent crime thrillers or dystopian future stories.
Chris Sawin (602 KP) rated The Black Phone (2022) in Movies
Jun 26, 2022
Ethan Hawke (2 more)
Madeleine McGraw
Leaves much of the horror to the audience's imagination
Writing is a bit silly at times (1 more)
Teases more story elements and horror than it reveals
A Juvenile Curtain Call of Death
Somewhere in North Denver in 1978, The Black Phone sees Finney (Mason Thames) and his sister Gwen (Madeleine McGraw) attempting to survive constant bullying at school and the abuse of an alcoholic father (played by Jeremy Davies). The missing kids in town are said to be a result of The Grabber (Ethan Hawke); a man who drives around in a black van with black balloons kidnapping and eventually killing kids. When Finney is suddenly taken by The Grabber, he’s told that the black phone in his room doesn’t work but then the phone rings.
Based on the short story of the same name by Joe Hill, The Black Phone is directed by Scott Derrickson (Doctor Strange, Sinister) and written by Derrickson and C. Robert Cargill (the two have been collaborating together on everything Derrickson has done since Sinister). What’s interesting is The Black Phone has mastered the art of subtlety and teasing its audience. The Grabber is introduced in the film similar to the shark in Jaws. You only see glimpses of him for the first third of the film. The black van will come into frame and the screen will immediately fade to black. The Grabber will park and get out of his van to abduct a kid, but he’ll purposely be out of focus. The Grabber lurks in the background like a shark waiting for that first drop of blood, which is essentially when Finney walks by alone.
The unfortunate aspect is that it feels like something is missing. The supernatural horror film keeps building and building that when the finale rolls around it feels like it isn’t a big enough payoff. Most of the violence and kills aren’t seen since the film deals with child and teenager victims. The audience is shown the end result instead; the wounds sustained by the victims that call Finney, The Grabber’s game of Naughty Boy, and Gwen being whipped with a belt by her father (you see him holding the belt and her crying, but we never see the contact). There’s artistry to leaving some things to the viewer’s imagination. In a time where horror has evolved into showing its audience every gruesome detail it’s become a forgotten art. It could also be a personal preference, but it feels like The Black Phone teases more than it reveals.
The writing of the film is as genius as it is ridiculous. Most of it is very good, especially with what Finney is building up to in the basement. The unveiling of the location of The Grabber’s house is silly though, especially since an entire police squad didn’t make the connection. Finney and Gwen’s mom is never seen since she’s passed during the events of the film, but she is mentioned. She apparently heard things and seen things that ended up in a fatal situation for her. Gwen has visions of The Grabber while she sleeps and Finney is able to receive phone calls from The Grabber’s victims because of the relation to their mom. This leads to one of the greatest lines in the film when Finney asks why no one has ever called before. “The phone rang, but no one heard it.”
Ethan Hawke’s performance is so mesmerizing that you wish he had more screen time. Even his motive behind what he intends to do with his victims is hinted at, but not really clarified. With all of the bodies piling up and the amount of phone calls Finney receives, the end result is always the same. The Grabber is slightly flamboyant in his demeanor and particular about how everything should play out. His mask and the fact that it resembles the comedy and tragedy masks that tend to symbolize the theater hint at this all being a performance for him. Things not going his way is like someone fumbling over their lines; it’s unforgivable.
Madeleine McGraw is not so secretly the best part of the film. Her career before The Black Phone has mostly been in voice acting (Cars 3, Toy Story 4, The Mitchells vs The Machines) and playing younger versions of other characters (Pacific Rim: Uprising, Ant-Man and the Wasp). McGraw gets a fair amount of screen time here and Gwen is an incredibly resourceful character and arguably the film’s biggest asset. McGraw’s performance is genuine as you believe every word she says. She’s hilarious as she has the best lines of dialogue in the film. Her portrayal of sadness and anguish is top notch as well as she has the most powerful and emotional sequence in the film that breaks your heart and only makes you sympathize with both her and Finney.
With supernatural dread lifted from the likes of Stir of Echoes and The Sixth Sense, The Black Phone features a breakthrough performance from Madeleine McGraw while Ethan Hawke’s hauntingly memorable turn as The Grabber is felt in a hair-raising sense; like someone who has unknowingly snuck up behind you and waits in your peripheral for that dramatic reveal. The Black Phone is a solid, pulse racing horror film that packs a punch, but seems like the type of film that simply won’t be as delectable on repeat viewings.
Based on the short story of the same name by Joe Hill, The Black Phone is directed by Scott Derrickson (Doctor Strange, Sinister) and written by Derrickson and C. Robert Cargill (the two have been collaborating together on everything Derrickson has done since Sinister). What’s interesting is The Black Phone has mastered the art of subtlety and teasing its audience. The Grabber is introduced in the film similar to the shark in Jaws. You only see glimpses of him for the first third of the film. The black van will come into frame and the screen will immediately fade to black. The Grabber will park and get out of his van to abduct a kid, but he’ll purposely be out of focus. The Grabber lurks in the background like a shark waiting for that first drop of blood, which is essentially when Finney walks by alone.
The unfortunate aspect is that it feels like something is missing. The supernatural horror film keeps building and building that when the finale rolls around it feels like it isn’t a big enough payoff. Most of the violence and kills aren’t seen since the film deals with child and teenager victims. The audience is shown the end result instead; the wounds sustained by the victims that call Finney, The Grabber’s game of Naughty Boy, and Gwen being whipped with a belt by her father (you see him holding the belt and her crying, but we never see the contact). There’s artistry to leaving some things to the viewer’s imagination. In a time where horror has evolved into showing its audience every gruesome detail it’s become a forgotten art. It could also be a personal preference, but it feels like The Black Phone teases more than it reveals.
The writing of the film is as genius as it is ridiculous. Most of it is very good, especially with what Finney is building up to in the basement. The unveiling of the location of The Grabber’s house is silly though, especially since an entire police squad didn’t make the connection. Finney and Gwen’s mom is never seen since she’s passed during the events of the film, but she is mentioned. She apparently heard things and seen things that ended up in a fatal situation for her. Gwen has visions of The Grabber while she sleeps and Finney is able to receive phone calls from The Grabber’s victims because of the relation to their mom. This leads to one of the greatest lines in the film when Finney asks why no one has ever called before. “The phone rang, but no one heard it.”
Ethan Hawke’s performance is so mesmerizing that you wish he had more screen time. Even his motive behind what he intends to do with his victims is hinted at, but not really clarified. With all of the bodies piling up and the amount of phone calls Finney receives, the end result is always the same. The Grabber is slightly flamboyant in his demeanor and particular about how everything should play out. His mask and the fact that it resembles the comedy and tragedy masks that tend to symbolize the theater hint at this all being a performance for him. Things not going his way is like someone fumbling over their lines; it’s unforgivable.
Madeleine McGraw is not so secretly the best part of the film. Her career before The Black Phone has mostly been in voice acting (Cars 3, Toy Story 4, The Mitchells vs The Machines) and playing younger versions of other characters (Pacific Rim: Uprising, Ant-Man and the Wasp). McGraw gets a fair amount of screen time here and Gwen is an incredibly resourceful character and arguably the film’s biggest asset. McGraw’s performance is genuine as you believe every word she says. She’s hilarious as she has the best lines of dialogue in the film. Her portrayal of sadness and anguish is top notch as well as she has the most powerful and emotional sequence in the film that breaks your heart and only makes you sympathize with both her and Finney.
With supernatural dread lifted from the likes of Stir of Echoes and The Sixth Sense, The Black Phone features a breakthrough performance from Madeleine McGraw while Ethan Hawke’s hauntingly memorable turn as The Grabber is felt in a hair-raising sense; like someone who has unknowingly snuck up behind you and waits in your peripheral for that dramatic reveal. The Black Phone is a solid, pulse racing horror film that packs a punch, but seems like the type of film that simply won’t be as delectable on repeat viewings.