Black Phone 2 review

黑色电话2

Black Phone 2 – A Reflection on Terror and Tenacity

In “Black Phone 2”, we find ourselves once again delving into the chilling abyss of fear, where the darkness is as palpable as the popcorn butter on your fingers. Four years after escaping the grip of the malevolent “Grabber,” Finney Blake still wrestles with the demons that haunt his past. Meanwhile, his sister, Gwen, is about to tune into a sinister radio frequency—dreams that connect her to a black phone filled with the anguish of boys gone missing. It’s a tale as twisted as a pretzel caught in a game of Twister.

Directed by the ever-impressive Scott Derrickson, known for his knack for threading terror with emotional depth, “Black Phone 2” cements itself in the lineage of horror like a brick in a wall of creepiness. The film’s backdrop is imbued with a level of nostalgia that mirrors 80s horror classics while tackling contemporary themes of sibling bonds and trauma. In its essence, it feels like the love child of “The Goonies” and a particularly sleepless night after watching “The Shining.”

Plot-wise, we see Gwen living in a haze of foreboding dreams as she uncovers the fate of boys who vanished in the dark corners of the summer camp—classic horror material served with a side of childhood innocence. Derrickson adeptly dials up the tension, leaving viewers gripping their seats as tightly as they’d grasp a life raft on the Titanic.

The camera work is akin to a caress from a palm reader—intimate yet unsettling. The dim lighting serves as a monetized version of the “don’t go in there” trope. Each frame is a puzzle, piecing together the individual fears into a grand tapestry of dread. The editing is crisp, with a rhythm that moves as fluidly as a dance between light and shadow, keeping us engaged while our popcorn becomes cold.

As for performances, Mason Thames (Finney) gives a nuanced portrayal of a boy grappling with his trauma, while Madeleine McGraw (Gwen) showcases a fiery spirit that is both raw and relatable. Their sibling dynamic adds a layer of emotional depth often obscured by the fog of horror.

Thematically, the film navigates the dark waters of resilience in the face of terror. “I have to protect you, even if it kills me,” Gwen intones—a line as heavy as a bag of bricks hurled at a window. It encapsulates the movie’s core—safeguarding loved ones amidst chaos. Symbolically, the black phone acts as a metaphor for unspoken trauma and the silent cries for help that echo through the void.

In comparison to films like “It Follows” and “The Babadook,” “Black Phone 2” introduces innovative storytelling woven with a personal touch. While it may not completely escape the traps of horror clichés, it refreshingly juxtaposes terror with heartfelt sibling bonds. My professional rating stands at 7.089 out of 10. If you’re in the mood for a horror flick that’s equal parts spine-tingling and heart-wrenching, grab your black phone—just watch out for the “Grabber.”

黑色电话2 – 恐惧与坚韧的反思

在《黑色电话2》中,我们再次深入那令人毛骨悚然的恐惧深渊,黑暗的存在感就像你手指上的爆米花黄油一样鲜明。芬尼·布莱克在逃脱了“掳童怪”的控制后,依然在与困扰他的恶魔搏斗。而与此同时,他的妹妹格温即将调到一个邪恶的无线电频率——一个梦境将她与充满痛苦的失踪男孩的黑色电话连接在一起。这就像一个被捏成麻花的椒盐卷饼,在进行一场扭曲的游戏。

由一向出色的斯科特·德里克森执导,他擅长将恐怖与情感深度交织在一起,确立了《黑色电话2》在恐怖片血统中的地位,宛如一块砖头镶嵌在诡异之墙。影片的背景充满怀旧感,仿佛是在致敬80年代的恐怖经典,同时探讨兄妹之间的情感纽带和创伤。从本质上讲,这部电影感觉就像《怪诞小镇》和一场在看完《闪灵》后的无眠之夜的爱情结晶。

从剧情上看,我们看到格温生活在对即将发生事件的威胁梦境之中,揭开了一些在夏令营中失踪男孩的命运——典型的恐怖素材,夹杂着童年的纯真。德里克森巧妙地提升了紧张感,让观众如坐针毡,手掌紧握着手中的食物,仿佛在紧紧抓住泰坦尼克号上的救生筏。

摄影技巧就像一位手相师的抚摸——亲密而又不安。低光照明充当了“别去那里”经典情节的拷贝。每一帧都是一块拼图,将个体恐惧拼接成一个伟大的恐惧挂毯。剪辑流畅,节奏如同光影之间的一场舞蹈,让观众全神贯注,而我们的爆米花则渐渐凉了。

至于表演,梅森·西姆斯(芬尼)展现了一个与创伤抗争的男孩的细腻表现,而麦德琳·麦克歌(格温)则展现出一种生气勃勃的精神,既原始又易于共鸣。他们的兄妹关系为影片增添了一层常常在恐怖迷雾中被掩盖的情感深度。

主题方面,影片在恐怖面前描绘了坚韧不拔的黑暗水域。“我必须保护你,即使这会要了我的命,”格温说道——这一台词像一袋沉重的砖头扔到窗户上,涵盖了影片的核心——在混乱中守护所爱之人。象征性的黑色电话则成了无声创伤和从虚空中传来的求助呼声的隐喻。

与《跟随我》和《巴巴妖怪》等影片相较,《黑色电话2》引入了创新的叙事手法,交织着个人情感。尽管未能完全逃脱恐怖片的陈词滥调,但它以一种清新的方式将恐惧与心灵深处的兄妹之情相对比而脱颖而出。我的专业评分为7.089分。如果你渴望一部既令人毛骨悚然又揪心的恐怖片,就赶快拨通你的黑色电话吧——只要小心“掳童怪”。

想了解更多:黑色电话2

TMDB评分7.089