The Black Phone Is Among the Best Movies of the Year

The Black Phone Is Among the Best Movies of the Year

At least 33 teenagers and young men were raped and murdered by John Wayne Gacy in the early 1970s; 26 of them were discovered buried under his home. Having performed community service as a clown after being released from prison for the sodomy of a 15-year-old boy, he was known as the "Killer Clown." Gacy's tale shook the world and became part of the culture, perhaps influencing Stephen King's It. King has stated that Pennywise was truly inspired by Ronald McDonald (there was always something creepy about that clown), but we all know this to be untrue.

In any case, Gacy undoubtedly served as inspiration for King's son Joe Hill, who wrote the compelling short story The Black Phone about a clown-costumed kidnapper who preyed on young boys in the 1970s. Hill and filmmaker Scott Derrickson (Doctor Strange, the Exorcism of Emily Rose) changed the character of The Grabber from a clown to a magician who wears a spooky mask in response to the recent remake of his father's book. Ethan Hawke was cast in the part.

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Hawke, who may still be best known for portraying the hero in Reality Bites or Training Day, is playing a child killer for the first time, but he perfectly excels as The Grabber. The acting of Hawke and the young talents Mason Thames and Madeleine McGraw, who play the siblings Finney and Gwen, elevates the movie above the level of a typical thriller. The Black Phone is an absolute cinematic joy, thanks to Derrickson's somber colors and textures and his superb manipulation of the screen's space.

With a far lower death toll and no rape, the movie is much less horrifying than the fact it was based on. But by concentrating on the violence that kids experience at home and at school, it addresses a very significant topic and holds up an unflattering mirror to a culture that normalizes physical punishment and tolerates bullying. The Black Phone stands out from most horror movies more for its awareness of cyclical violence than for its jump scares, which are relatively scarce in number.

It examines how people and the system have failed its children rather than being a fear tactic. When Gwen receives physical punishment by Finney and Gwen's alcoholic father Terrence (Jeremy Davies) for her paranormal visions, the acting is so heartbreakingly strong that it breaks your heart. However, violence and trauma are cyclical, so as the story progresses and Terrence's inner demons are exposed, we are forced to consider our own reactions and how we perceive domestic abuse.

It examines how people and the system have failed its children rather than being a fear tactic. When Gwen receives physical punishment by Finney and Gwen's alcoholic father Terrence (Jeremy Davies) for her paranormal visions, the acting is so heartbreakingly strong that it breaks your heart. However, violence and trauma are cyclical, so as the story progresses and Terrence's inner demons are exposed, we are forced to consider our own reactions and how we perceive domestic abuse.

In the end, The Black Phone isn't about showing the most terrifying scenes or bloodiest murders. Derrickson spreads out critical sequences throughout the movie to convey a more significant story while still delivering each jump fright and heart-stopping moment with the skill and precision of a surgeon. In actuality, a boy who defeats a recognized bully but overcompensates instead is the one who engages in the bloodiest, most violent encounter. Derrickson and writing partner C. Robert Cargill uses this sequence, which occurs early in the movie, to force viewers to quickly consider violence as a reaction to any stimuli.

It is a stroke of genius that Derrickson purposefully downplays The Grabber's violence and retains it largely as a menace justified only by the presence of his ethereal victims. The parallels between Terrence and The Grabber are one of the important aspects in Hill's multi-layered novel that only make sense towards the conclusion when Terrence comes to an understanding that The Grabber never does.

Derrickson tells a beautiful story, and when he places the action in the 1970s, it's not just for nostalgic purposes; it also serves to emphasize concepts like the persistence of intergenerational trauma and the familiarity of familial violence among audiences today. Another overarching theme in The Black Phone is bullying, and Derrickson makes it a point to insert punches or belt whips into the narrative to emphasize this point.

One of the best movies of the year, The Black Phone features stunning visuals and standout performances from the whole cast. It provides exactly the right amount of scares, but more significantly, it gives moviegoers the catharsis they didn't know they needed. Few horror movies have such a fulfilling storyline, and for those looking for a break from some of life's true tragedies, The Black Phone offers just a glimmer of hope.

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