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ClareR (5779 KP) rated The Cutting Place (Maeve Kerrigan #9) in Books
Mar 31, 2023
I’m becoming addicted to these Maeve Kerrigan books. Ok, I’ve only read Cruel Acts before this, but I’ve now bought all the others, and I’m writing this having read the book that comes AFTER The Cutting Place. So.
The characters of Maeve Kerrigan and Josh Derwent are, I’ll be honest, my main motivation for reading these books. The chemistry between them is quite something!
The cases are fascinating too. A mud lark on the Thames finds a human hand. DNA results say it belongs to a missing journalist, and so Maeve is pulled into what the journalist was last investigating: The Chiron Club. A private members club for rich, privileged men.
It’s not all about the case, and that’s what I like most about these books - the mix. Maeve’s new boyfriend Seth, isn’t as he at first seems, and a secret that Maeve has been keeping from Josh is revealed in the worst possible way.
These are just fantastic books, and I will be reading the backlist. That should keep me occupied 😳
The characters of Maeve Kerrigan and Josh Derwent are, I’ll be honest, my main motivation for reading these books. The chemistry between them is quite something!
The cases are fascinating too. A mud lark on the Thames finds a human hand. DNA results say it belongs to a missing journalist, and so Maeve is pulled into what the journalist was last investigating: The Chiron Club. A private members club for rich, privileged men.
It’s not all about the case, and that’s what I like most about these books - the mix. Maeve’s new boyfriend Seth, isn’t as he at first seems, and a secret that Maeve has been keeping from Josh is revealed in the worst possible way.
These are just fantastic books, and I will be reading the backlist. That should keep me occupied 😳
Billie Wichkan (118 KP) rated The Guilty Party in Books
May 22, 2019
On a night out, four friends witness a stranger in trouble. They decide to do nothing to help.
Later, a body washes up on the banks of the Thames – and the group realizes that ignoring the woman has left blood on their hands.
But why did each of them refuse to step in? Why did none of them want to be noticed that night? Who is really responsible?
And is it possible that the victim was not really a stranger at all?
You did nothing. That doesn’t mean you’re innocent.
The Guilty Party is a twisted psychological thriller that keeps coming back to the question "WHAT WOULD YOU DO?"
A very morally complex very well written novel.
The plot is very layered and delves into Toxic Friendships and makes you look into yourself and others more deeply.
Was gripped from the beginning as the tension just keeps building.
You will read through different PO-V's to give you Their reasoning.
The characters are developed so well you will find yourself arguing at them while reading.
The narrative here you think about the power of your words.
To sum up the description of the plot; this novel brings separate strands of a story about four friends and their individual reasons for doing something and then shows the full twisted picture.
HIGHLY RECOMMEND READING!
Many thanks to NetGalley, and Me McGrath for my ARC in return for an unbiased review.
Later, a body washes up on the banks of the Thames – and the group realizes that ignoring the woman has left blood on their hands.
But why did each of them refuse to step in? Why did none of them want to be noticed that night? Who is really responsible?
And is it possible that the victim was not really a stranger at all?
You did nothing. That doesn’t mean you’re innocent.
The Guilty Party is a twisted psychological thriller that keeps coming back to the question "WHAT WOULD YOU DO?"
A very morally complex very well written novel.
The plot is very layered and delves into Toxic Friendships and makes you look into yourself and others more deeply.
Was gripped from the beginning as the tension just keeps building.
You will read through different PO-V's to give you Their reasoning.
The characters are developed so well you will find yourself arguing at them while reading.
The narrative here you think about the power of your words.
To sum up the description of the plot; this novel brings separate strands of a story about four friends and their individual reasons for doing something and then shows the full twisted picture.
HIGHLY RECOMMEND READING!
Many thanks to NetGalley, and Me McGrath for my ARC in return for an unbiased review.
LeftSideCut (3776 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.
Hazel (2934 KP) rated The Cutting Place (Maeve Kerrigan #9) in Books
Apr 12, 2020
I absolutely devoured this book and, once again, I find myself sounding like a broken record in that I haven't got enough different words to describe how much I enjoyed it and despite it being the ninth in the series, it continues to feel fresh with the partnership of DS Maeve Kerrigan and DI Josh Derwent being a particular highlight of mine and one which I absolutely adore.
Here we find the team investigating a particularly brutal murder when a body part is found by a mudlarker on the banks of the Thames; the ensuing investigation leads to a missing journalist and an exclusive gentleman's club ... are they related? Amongst all this is a look into the private life of Maeve and the importance of strong friendships and trust.
This is a compelling and engaging story line and not just a police-procedural; it delves into the murky world of "gentleman's" clubs, domestic violence, blackmail, privilege and power. I'm not going to lie, it's a dark story full of tension that is all too plausible but there are lighter moments that provide some occasional relief.
Highly, highly recommended and you don't have to have read previous books in the series to appreciate just how good this is but you will certainly want to after reading this.
My thanks and appreciation go to HarperCollins UK, HarperFiction and NetGalley for my copy in return for an honest review.
Here we find the team investigating a particularly brutal murder when a body part is found by a mudlarker on the banks of the Thames; the ensuing investigation leads to a missing journalist and an exclusive gentleman's club ... are they related? Amongst all this is a look into the private life of Maeve and the importance of strong friendships and trust.
This is a compelling and engaging story line and not just a police-procedural; it delves into the murky world of "gentleman's" clubs, domestic violence, blackmail, privilege and power. I'm not going to lie, it's a dark story full of tension that is all too plausible but there are lighter moments that provide some occasional relief.
Highly, highly recommended and you don't have to have read previous books in the series to appreciate just how good this is but you will certainly want to after reading this.
My thanks and appreciation go to HarperCollins UK, HarperFiction and NetGalley for my copy in return for an honest review.
Although mudlarks were also found in London, diving for pennies in the Thames mudbanks, this book is set in Portsmouth, so I was really enthusiastic to read this, hoping I’d know where the characters were larking about. Going to stay with my grandparents every half term means I know the area fairly well. Sure enough, most of the time I knew where the characters were, which added to my enjoyment of the book. In general, though, Sedden describes the scenes well enough that anyone could pick the book up and become immersed in its landscape.
Jimmy and Reg, the first-person protagonist and his best friend, were really realistic too – there were things like Reg having a stutter, the number of dead-arms the boys give each other (!) and the sense of guilt Jimmy feels when he realises he’s in the wrong, which made the boys really 3D, relatable characters.
I loved that the book brought to life a picture of not only mudlarking, but the start of the First World War and everyday people’s reactions to it. The twists that take place in the book can’t be guessed from the blurb, and I found myself surprised a lot of the time. The solution to the mystery had to be explained to me just as much as it did to Jimmy and Reg, which is rare, as I can usually guess what’s coming from at least a couple of pages before. PLUS, the solution was historically accurate. Double tick!
I reckon this book will appeal to boys (and probably girls too!) around 11-14, especially those with a love of history. Mind you, once I get the book back I’ll be sending it to my grandpa, who I’m sure will love it. It’s his old stomping ground, after all, although he’s never been as nasty as the policemen in the book!
If you liked this review, I also went into some of the history of mudlarking in Portsmouth on my <a href="http://www.a-worldofwords.com/2013/05/mudlark-by-john-sedden.html">blog</a>;; please feel free to check it out!
Jimmy and Reg, the first-person protagonist and his best friend, were really realistic too – there were things like Reg having a stutter, the number of dead-arms the boys give each other (!) and the sense of guilt Jimmy feels when he realises he’s in the wrong, which made the boys really 3D, relatable characters.
I loved that the book brought to life a picture of not only mudlarking, but the start of the First World War and everyday people’s reactions to it. The twists that take place in the book can’t be guessed from the blurb, and I found myself surprised a lot of the time. The solution to the mystery had to be explained to me just as much as it did to Jimmy and Reg, which is rare, as I can usually guess what’s coming from at least a couple of pages before. PLUS, the solution was historically accurate. Double tick!
I reckon this book will appeal to boys (and probably girls too!) around 11-14, especially those with a love of history. Mind you, once I get the book back I’ll be sending it to my grandpa, who I’m sure will love it. It’s his old stomping ground, after all, although he’s never been as nasty as the policemen in the book!
If you liked this review, I also went into some of the history of mudlarking in Portsmouth on my <a href="http://www.a-worldofwords.com/2013/05/mudlark-by-john-sedden.html">blog</a>;; please feel free to check it out!
Phil Leader (619 KP) rated Heart of Darkness in Books
Nov 14, 2019
This book is undoubtedly most famous today for being the story behind the film Apocalypse Now and really comparisons between the two are inevitable.
The story itself is a story within a story, being related by a sailor on a ship while it is waiting at anchor in the Thames estuary. To pass the time he tells his crewmates of the time he spent several years previously working for a trading consortium in Africa, piloting a boat to the trading station up river to pick up ivory.
His manager is wary of the man who runs the trading station - Mr Kurtz. He believes he is ultimately after his job. It is clear that Kurtz is a very talismanic and polarising figure, some hating him and others talking about him as if he is some sort of deity. The narrator cannot wait to meet him but suffers many delays (including having to repair his boat) before he can set off up river. By the time he does the weight of expectation and anticipation has created his own expectations of what he will find. But what will the reality be?
This is s slim volume, and to be honest a slim plot. But the brilliance is in the telling of the story. Conrad carefully evokes the feeling of the oppressive heat and frustration of not being able to head up the river. But once underway the jungle closes in and is claustrophobic and full of mystery and hidden dangers. The attraction is not in the tale itself but in the way it is told.
By the time the trading post is reached the expectations of Kurtz have been raised in the reader as much as in the narrator and events unfold in an unexpected direction.
As with Apocalypse Now the journey up the river is everything and the eventual destination looms until it consumes the characters and dictates their actions.
A word of caution about the language used. The 'N' word is frequently used and sometimes in a derogatory manner so if this offends it is best to avoid.
Overall, a diverting read and a masterclass in using descriptions to set the tone for the reader. But probably not essential.
The story itself is a story within a story, being related by a sailor on a ship while it is waiting at anchor in the Thames estuary. To pass the time he tells his crewmates of the time he spent several years previously working for a trading consortium in Africa, piloting a boat to the trading station up river to pick up ivory.
His manager is wary of the man who runs the trading station - Mr Kurtz. He believes he is ultimately after his job. It is clear that Kurtz is a very talismanic and polarising figure, some hating him and others talking about him as if he is some sort of deity. The narrator cannot wait to meet him but suffers many delays (including having to repair his boat) before he can set off up river. By the time he does the weight of expectation and anticipation has created his own expectations of what he will find. But what will the reality be?
This is s slim volume, and to be honest a slim plot. But the brilliance is in the telling of the story. Conrad carefully evokes the feeling of the oppressive heat and frustration of not being able to head up the river. But once underway the jungle closes in and is claustrophobic and full of mystery and hidden dangers. The attraction is not in the tale itself but in the way it is told.
By the time the trading post is reached the expectations of Kurtz have been raised in the reader as much as in the narrator and events unfold in an unexpected direction.
As with Apocalypse Now the journey up the river is everything and the eventual destination looms until it consumes the characters and dictates their actions.
A word of caution about the language used. The 'N' word is frequently used and sometimes in a derogatory manner so if this offends it is best to avoid.
Overall, a diverting read and a masterclass in using descriptions to set the tone for the reader. But probably not essential.
ClareR (5779 KP) rated Darling Blue in Books
Jul 30, 2018
A little light reading.
Set in the 1920's, the Darling Blue of the title is the main character in this book and follows the lives of not just Blue, but that of her family and friends. Blue's father, on the eve of her 21st birthday party, makes an announcement that Blue will marry the man who sends her a letter that she can fall in love with. She goes on to receive three letters, and some of the novel is about this search for a husband.
Blue also helps to save a woman, Delphine, from drowning in the Thames. She learns that she is in fact escaping an abusive husband. Blue's family take her in and help her. Everything seems perfect until, of course, it isn't.
It's a very bright and breezy book, filled with the hope that everyone must have felt after World War 1, but it all seemed contrived to me. Even the unpleasant 'stuff' seemed glossed over and hurried, and it didn't seem to be taken very seriously. The characters, particularly Blue's father, seemed to have very progressive opinions on certain things. Very modern, late 20th century opinions, in fact. I wonder if a character such as his would really have existed? He seemed to be very understanding of one particular plot twist which involved him and his wife, which I feel that even a man (or anyone else for that matter) today would have really struggled with. And the ending was just far too rushed and 'happily ever after'. It's a shame, because I really enjoyed the only other Tracy Rees book I've read (Amy Snow). I'll probably have to have a look at the other two books she has written between Amy Snow and this one, and see whether this is a blip. I hope so, because Amy Snow really did show promise.
Thanks to The Pigeonhole and to the author for a chance to read along with her.
Blue also helps to save a woman, Delphine, from drowning in the Thames. She learns that she is in fact escaping an abusive husband. Blue's family take her in and help her. Everything seems perfect until, of course, it isn't.
It's a very bright and breezy book, filled with the hope that everyone must have felt after World War 1, but it all seemed contrived to me. Even the unpleasant 'stuff' seemed glossed over and hurried, and it didn't seem to be taken very seriously. The characters, particularly Blue's father, seemed to have very progressive opinions on certain things. Very modern, late 20th century opinions, in fact. I wonder if a character such as his would really have existed? He seemed to be very understanding of one particular plot twist which involved him and his wife, which I feel that even a man (or anyone else for that matter) today would have really struggled with. And the ending was just far too rushed and 'happily ever after'. It's a shame, because I really enjoyed the only other Tracy Rees book I've read (Amy Snow). I'll probably have to have a look at the other two books she has written between Amy Snow and this one, and see whether this is a blip. I hope so, because Amy Snow really did show promise.
Thanks to The Pigeonhole and to the author for a chance to read along with her.
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)
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.