The Black Phone: A Stephen King-Style Horror with a Powerful Social Message
The Black Phone is a gripping horror film that fans of early Stephen King will appreciate. Its social commentary adds depth, making the story more engaging and thought-provoking.
Prepare to decide which is worse—a father struggling with alcoholism or a terrifying kidnapper.
Recently, the online premiere of The Black Phone took place. With the tagline "Never talk to strangers," the film has grossed over $130 million worldwide, illustrating why it's best to avoid men driving black vans.
The story unfolds in a small American town plagued by a child abductor. Thirteen-year-old Finn, who lives with his alcoholic father and psychic sister, becomes the latest victim. A masked man kidnaps him and locks him in a basement. Cut off from the outside world, Finn receives help from the previous victims—ghostly children who call him on a mysterious black phone. Their clues become his only hope for escape.
Directed by Scott Derrickson (known for Doctor Strange, Sinister, and The Exorcism of Emily Rose), and starring Ethan Hawke (Training Day, Sinister, The Purge), the film is based on a short story by Joe Hill, Stephen King's son. This connection explains why The Black Phone echoes the classic works of King.
How Stephen King's Legacy Shapes the Film
The Black Phone serves as a guide through the themes of early Stephen King. The elements typical of King's writing influence the atmosphere more than the plot itself.
Small-Town America
Stephen King recognized early in his career that quiet rural settings are perfect backdrops for horror. Thus, Maine became the epicenter of terror in his stories. In The Black Phone, the suburban area near Denver takes on this role.
The film expertly immerses viewers in the provincial atmosphere from the very first moments. Everything feels warm and familiar, evoking nostalgia. The idyllic small-town life is portrayed through baseball games and school conversations.
The Banality of Evil

However, evil does not appear suddenly—it quietly exists alongside the characters in this friendly small town.
Residents know each other well; personal tragedies become shared grief. Yet, despite mutual understanding, protection from evil remains elusive as everyone tends to prioritize themselves. This dynamic drives much of the film's narrative.
Lost Children
The Black Phone tells a chilling story through the eyes of a child victim. Children confronting evil is a classic Stephen King motif, especially in his early works such as It, Carrie, and Children of the Corn.
From a child's perspective, horror feels more absolute and all-encompassing.
Why the Horror Isn't Truly Frightening
The tranquil small-town setting lulls the audience, which is effective for horror. However, The Black Phone chooses not to rely solely on scares.
A Predictable Plot
The story follows a straightforward trajectory that's easy to anticipate. The script places key plot devices prominently, with cinematography highlighting them further. Viewers have little room for surprise—every plot twist can be guessed early on.
Within 30 minutes, one can accurately forecast the entire storyline.
Due to its predictability, the audience feels safe, resulting in a horror experience that lacks bite.
Adults Acting Like Children
Although the story is told through a child's eyes, the child characters behave oddly mature, making it difficult for viewers to connect emotionally.
Unlike shows like Stranger Things, which portray genuine children—innocent and unaware but believing in the supernatural—The Black Phone fails to create an authentic school-age world. While the characters have traits like a love for horror movies and an interest in space, these are superficial without deeper development.
An Uninspiring Villain

The filmmakers gave Ethan Hawke a simple mask that he wears throughout the film. This hides the actor's performance and reduces the character to a cardboard cutout.
The villain has nothing beyond the mask.
Finn is not the abductor's first victim, yet the script doesn't explore the kidnapper's motives or what he does with his captives. Previous crimes only serve to show his ruthlessness.
Still, the lack of explanation leaves room for interpretation.
Social Issues Explored in The Black Phone
The film's limited action is compensated by its thematic depth. The Black Phone can be viewed as a social drama about child abuse from multiple perspectives.
Adults as Threats to Children
Whether falling into the hands of a kidnapper or being left alone with an alcoholic father ready to punish for the slightest mischief, both scenarios pose dangers for Finn.
The missing boy's safety depends on escaping both his abductor and his father.
The sadistic father and the kidnapper share similarities, emphasized visually. Both often fall asleep in living room chairs, appear unkempt and selfish, and alternate between cruelty and false care when interacting with children.
The difference lies in that one legally sets boundaries for children, while the other does not—even though both impose harmful restrictions.
The kidnapper lacks a name, backstory, or face, making him a symbolic representation of domestic violence. An adult man abuses his power and strength without regard for the child's wellbeing.
Relying Only on Oneself and Peers

In a world where adults are dangerous, children must learn to fight evil themselves. Help can only come from peers. Bullying can be stopped by a strong classmate or sibling—not teachers or parents. When battling the kidnapper, the children's assistance—even from the deceased—proves invaluable. Police may search tirelessly, but without the child's help, their efforts are futile.
Who Should Watch The Black Phone
The film is a must-watch for fans of early Stephen King. While recent adaptations have focused on his later works, The Black Phone harks back to the era of Pet Sematary and Carrie. Its social critique adds layers, enriching the narrative.
However, true horror enthusiasts and fans of complex plots might find it dull. The Black Phone does not toy with the audience but instead invites a contemplative exploration of the roots of evil.
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