- 2 months ago
In Black Phone 2, death is less a finish line and more of a pit stop. Scott Derrickson returns to the world he conjured in The Black Phone, dragging us back into a twisted tale of unfinished business, spectral suffering, and the stubborn persistence of evil.
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00:30بالمعراه من رسالة
00:39ان بلاك فون 2
00:40للتعاني وجه له من مالك فتصلا
00:43سكت درicksان سيحدث
00:44إلى الوقت العوانية
00:46بالمعنى مجلس الكني
00:46في الكتباة
00:47العزاء التعاني بجولد
00:49بها نحن مجلس
00:50شبكرا небольшام
00:51و البسحرية
00:51الشياطة عن عبر
00:53جهيل الخارج
00:55انتبقى
00:57اطراضي عدد بيشترا
00:58حلو أحياناً بشكل تقريباً
01:00ست في لتتنبع الأقوى الـ دنبر
01:03تقريباً تشتغل 13-وحيداً لفني بلعك
01:05أنا محددين بجانبين بلعبارة
01:07ومصنع بلعبارة مع الناس من أشوف الناس
01:08ومصنع بإطراضة بإطراضة
01:11فهن أحياناً لفني بإطراضة
01:12أجل بإطراضة قدرى
01:14أهواء كثيراً بإطراضة
01:16للمسيقين الى خلالة تقريباً
01:18ومصنع خلال الناس
01:19من جلس الجسم الأصولى السارة المترجم من السبب
01:23أخرج ستحصح من خلاله من المجلس
01:28ستناولة
01:31شوامل مجرور كسرات عملية
01:33أسراء هناك إبطت في تخلال
01:34إليهاة سبيل
01:35والتحليم
01:35كسرات
01:36إلماني سيارة ميزي الى سيادة
01:38تكيلة
01:39السيدة
01:40اسي سيديد
01:40رمه أنفت بحيث
01:41خلال بسيكس
01:42إمهارة من الوطنية
01:43تقلل
01:44سمعه
01:45هذه أحيانة
01:46كفقه
01:47إليها
01:48انه لانقه يساوه من استفقانة
01:50وهي كنت عن حقداً لا دائماً
01:58إثن الهول مقرده
01:59تología لا توقيت بسببه
02:02من احداً بسببه
02:03فهوه الضوار والمسلائي
02:06وغير محروفه
02:08اعباله
02:09إنه وغيره
02:11فهوه ينسى عقده
02:12لنه يفتح بشكل صريح
02:14ولجبه
02:14طبيعه
02:15ولجبه
02:16ولجبه
02:16وكتره
02:18يجب أن يجب أن تجنب قد تجنب، جميعا للهنسل على الهنسل، لكن لم يكن في النهائي.
02:22إذا فرصت أن تريد فنسل نفذ من المساعدة، وقلق في فنسل وهم، وفنن يجب أن يجب أن يكون هناك.
02:28لقد أصدقت مجدد، تجنب مجدد، تجنب مجدد، لقد أخذت مجدد.
02:33واقعاً في العامة بعد كلاهن على فنسلسل، فنسلسل، ستجنب،
02:37القصة بتابعة حقيقة الأشياء والعبارات بصورة الجدد
02:41وبينها حيث أن محاولا يتخذ الليناس لا يشعر بيشة المشكلة
02:44فن أهل فن أهل سيارة من المشكلة في المحدود
02:47فن أهل مما قبل الفن أهل فن أرباحاً
02:51أحيث مناولانا مما آخر
02:53فن أهل فن أهل فن أهل فن أهل
02:56تهل في الغداء من حيات سمع قامت لن أقوى
03:00فن أقوم بإسيارة طالما تتعالي للحق
03:02ستاعدون منهم وقت يتحقق بالحق
03:06That line is the titular Black Phone, a disconnected relic that still carries the echoes of the dead.
03:12In the first film it served as a lifeline between Finney and the victims of the Grabber,
03:16but in Black Phone 2 the rules of engagement shift.
03:19The Grabber may be dead, but he's not gone,
03:22and unlike his victims who were tethered to the phone's powers of communication,
03:26he returns to something far more dangerous,
03:29a vengeful spirit with abilities that bleed into the real world.
03:32العادتي من سويا بعد مراته الأبعجي σيبليين لهجي بفيض بإنه جريباً للغاستخرة
03:38ليست للتعبط عن المقال دائماً سوياً للجينة
03:42apons سوياً ... فريقه، عينه
03:44فريقه معيه عن مجانب أن يفعله في السنة فره برهنه
03:48و سيعرفته بها لجبه اخلك في انطلقه
03:51هذا سويا ميزم برو pracy
03:54أصبحت ارتفعه بشكل طوام بالمسانب
03:56وتختلفون هم هو محلوناً
03:58The mechanics of ghosts, visions and telepathy are explored,
04:02with the film laying down rules for how these abilities operate,
04:05and in doing so it expands the mythology to varying degrees of success.
04:09If the first film was a claustrophobic tale of escape,
04:12Black Phone 2 is an expansion of the haunted world itself.
04:16The fear isn't confined to a basement anymore,
04:18it's in the past, the family tree, the afterlife,
04:21and most chillingly, it's still on the line.
04:28What do you think happens when you die in a dream?
04:40Hey guys, what's happening?
04:41Niat here with Film Comics Explained and today we're breaking down Black Phone 2.
04:46Don't forget to hit subscribe and the notification icon to stay up to date on all the latest content
04:51and click the like button to help appease the algorithm gods.
04:55Also, if you'd like to make a suggestion on what you want me to cover next,
04:58please don't hesitate to ask in the comments below.
05:01Vengeance is mine.
05:07The film opens in a moment disconnected from the events of the first film,
05:11yet wholly foundational.
05:13It's 1957 at Camp Alpine in the Colorado Rockies.
05:17Hope Adler, a troubled woman, uses a remote payphone to make a call.
05:21Her voice is fragmented with fear, claiming she's found something,
05:25numbers etched into ice.
05:27That's all we get before the call is cut by static and hope hangs up.
05:30Jumping to 1982, it's been four years since Finney defeated the Grabber and became a bit of a local
05:36legend.
05:36No longer the shy, stammering victim, Finney has become a hard-edged teen with a short fuse.
05:41But his tough guy persona is a mask for deep trauma, numbed by weed and buried under layers of armor.
05:48When he beats up a new kid at school, it's clear Finney is still caught in a private war no one else sees.
05:54Gwen watches with concern. She's grown too, not just in years, but in bitterness.
05:59Her gift or curse of second sight continues to torment her, but their home life has changed.
06:05Terence, their once abusive alcoholic father, is now sober and quieter, remorse etched into every
06:10hesitant step. It's a new world, but the old demons are still hiding in the corners, with their
06:15father clearly doing his best not to drink again. The Blakes have also taken in Ernesto into
06:21their orbit, the younger brother of Robin, the boy who mentored and protected Finney in the first film.
06:27Ernie is sweet, earnest and clearly smitten with Gwen, who seems to feel the same.
06:32In the first film, Gwen's psychic dreams were an eerie side effect, a glimmer of something uncanny that
06:38barely flirted with her conscious control. But in Blackphone 2, her abilities are not only central,
06:44they fall. Gwen doesn't just receive cryptic visions from the void, she's now actively communing
06:49with the dead. Her dreamscapes become haunted gathering grounds where the spirits of the grabber's
06:54earliest victim seek her out. The past is sticky, and Gwen is the unlucky inheritor of her family's
07:00uncanny connection to it. As the film progresses, Gwen's abilities develop in tandem with the rising
07:06stakes, and she begins to understand the mechanics of her dreamworld. And through these visions,
07:11she forges a link across time and blood, a connection to a long-dead mother.
07:15Gwen's visions are more vivid, more insistent than before,
07:19now full cinematic nightmares with narrative structure and chilling detail.
07:23In one, she sees a boy named Felix, nervous and alone as he arrives at Camp Alpine.
07:28Felix runs from a familiar figure in the dark, the grabber, and is cut down and thrown into a lake,
07:34his final act scratching the letter W into the ice. When Gwen awakes, she's outside,
07:39having sleepwalked in the middle of the night. Finny pulls her back to reality,
07:43but it's a reality that's bending at the seams. Her reputation at school is stained by whispers of
07:49witchcraft and morbid fascination, and her attempts to understand the occult to make sense of her
07:54visions are mocked by her classmates. Ernie's gentle curiosity and compassion, along with her brother's
07:59support, are the only foundations keeping her up. Then comes another dream. This time,
08:05it's a boy named Cal, full of youthful energy and charm, laughing with his campmates.
08:09But like Felix, he meets a brutal fate, hacked apart by the grabber, stuffed into an oven like
08:14a sacrificial offering, and then dumped again in the icy lake. This time, the letter scratched is B.
08:20Feeling the pull of her visions, Gwen sleepwalks to the ruins of the grabber's house,
08:25the basement of Horace where Finny nearly died. There, the black phone still hangs on the wall.
08:30It rings, she answers. On the other end is the voice of Hope Adler,
08:34the woman from the cold open, revealed to be her and Finny's mother.
08:38It wasn't a flashback, it was a temporal echo. Hope was trying to reach Gwen,
08:43but the call is cut short, and things begin to get worse.
08:47Max, the grabber's brother who died in the first film, trying to save Finny,
08:51appears and tells her she shouldn't be here, as it's not safe. The grabber begins walking down the
08:56steps only for Gwen to snap out of the dream and find her brother instead.
09:00She tells him that the voice on the phone was their mother, a woman broken by her own second
09:05sight and supposedly driven mad. The black phone becomes an anchor,
09:10a device in both the literal and narrative sense that connects timelines,
09:14binds souls and carries messages from a liminal space where reality, memory and death converge.
09:21The film hints at something larger, a mythos that spans decades, even generations.
09:26There's an implication that the black phone isn't just haunted by dead children,
09:30but maintained by some force. Gwen's visions and Finny's ghosts form parallel paths,
09:36but both are being pulled toward a final confrontation with the source,
09:40something that may not be human or even corporeal. The messages in the eye suggest a code,
09:45a sequence, and when enough letters are scratched, the truth will be unleashed.
09:50After Gwen's escalating nightmares about Camp Alpine, the siblings make a bold decision.
09:55Gwen discovers a pamphlet for the camp and they craft a plan to work there as counselors in training.
10:01Their father Terence, now sober and striving to make amends,
10:04reluctantly agrees to let them go along with Ernesto.
10:08The drive through the mountains is grim, nature itself seems to be colluding with the supernatural,
10:13and they stumble upon a pretty horrific accident. A snowstorm then barrels in,
10:18cutting visibility to nothing, and Finny sprints ahead to guide the truck.
10:22This is where the trio are greeted by Armando, the camp's manager, and his niece Mustang,
10:27who usher them in and inform them that the camp had been cancelled due to the extreme weather and
10:32that they're the only people that arrived. Gwen is assigned to a separate dormitory from the boys,
10:37leaving her isolated as night falls, a crucial shift because this film makes a meal out of isolation.
10:44Alone, her gift turns to full-blown nightmare. She sees Spike, a member of the camp's music band,
10:50and the vision turns cruel and swift. Spike's head is split cleanly in half and his ghost,
10:55like the others before him, carves a letter H into the eyes. Meanwhile, outside in the frigid
11:00darkness, the payphone that Hope Adler used at the very beginning begins to ring. Finny tries to ignore
11:06it, but it doesn't stop. When he finally answers it, it's the grabber's voice, cold, venomous,
11:12almost calm, whispering, hell isn't flames, it's ice. At the same time, Felix, Cal and Spike manifest
11:20around Gwen. Their silent spectral presence is broken when Cal reaches out and touches her arm,
11:25leaving a burn mark. Too shaken to be alone, Gwen ends up in the boys' dorm, where Ernesto tries
11:31awkwardly but sweetly to comfort her. Their almost kiss is a fleeting spark of teenage innocence
11:37in a story where innocence doesn't seem to last long, but Finny, ever the older brother, cuts them
11:42off. The next morning, Armando gathers him for breakfast. He's wary, especially about Gwen sleeping
11:48in the boys' dorm, but when she mentions Hope, their mother, everything tilts. Hope, he reveals,
11:54once worked here as a counsellor under the camp name Starlight. As the ringing phone interrupts again,
11:59Finny answers, and this time it's Felix's voice on the line. He's stuck, lost in a liminal space,
12:05unable to move on. The dead are calling Finny for help, but their voices are also reminders of
12:11everything he's tried to bury. They turn to Kenneth and Barbara, long-time camp administrators,
12:16to learn more about the camp's past. Barbara's reaction to Gwen isn't helpful. She scolds Gwen for
12:22her unladylike language and for sleeping in the boys' dorm. Gwen pushes back, calling her out for her
12:28sanctimonious attitude. Unfortunately, that night, Gwen sleepwalks and drifts into the kitchen
12:34like a marionette pulled by a string. At the same time, outside, the payphone wails again,
12:39dragging Finny from uneasy sleep. On the other end, the grabber taunts him, claiming he's going to take
12:45away what he loves most. The grabber's ghost then manifests physically, tossing Gwen around the
12:51kitchen in front of everyone. It's a startling escalation of the supernatural rules. The entity is no
12:56longer bound to whispers. It's capable of direct harm. Ernesto and Mustang rush in to drag Gwen away
13:03as the grabber nearly throws her into the oven, an echo of Cal's earlier death. But at the last
13:08moment, he lets her drop and walks away. In the chapel-turned confessional, Gwen explains her
13:13visions, fragmented glimpses of murdered children, letters clawed into frost and the presence of a long-dead
13:19mother Hope, to an increasingly rattled group of survivors. Armando recognizes the dead boys Gwen
13:25describes as children that went missing here. The twist of the blade comes when Finny notices
13:30someone in an old camp photo. A maintenance man named Bill, who used to strut around with a belt
13:36like a Wild West outlaw, was none other than the grabber. His cowboy nickname, Wild Bill Hickok,
13:42suddenly explains the letters WBH that each murdered boy scratched into the ice before death.
13:48The revelation is critical. This camp wasn't just haunted by ghosts of children, it was the
13:53origin point of the grabber's violence. This was his genesis, and the lake frozen over is his
13:59graveyard and sanctuary. By discovering the boys' bodies trapped beneath the ice, Gwen believes they
14:04can finally set their spirits free and sever the grabber's power. But closure is not a clean process,
14:09especially when your villain is a supernatural revenant. Armando, alone in his office and
14:15staring at photos of the boys, is suddenly confronted by this phenomenon. An image of the grabber's mask,
14:20blood and snow smeared on the glass like a Rorschach test. The grabber knows they're onto him,
14:25and the storm outside is no longer just meteorological, it's spiritual. Even Finny finds himself flailing for
14:31meaning. When Armando catches him smoking a joint outside, it's not a throwaway bonding scene,
14:36it's the weary mentor in the survivor discussing pain, memory and responsibility. The grabber may
14:42haunt Gwen, but Finny carries his own cross, the guilt of surviving, and the fear that his presence
14:48invites danger. Black Phone 2 recontextualizes the past, and with it, everything we thought we knew
14:54about Finny and Gwen's family. The sequel retcons one of the lingering questions from the first film,
14:59what happened to their mother? Gwen continues her descent into inherited memory,
15:04and the grabber invites Gwen to see what really happened. Hope, we learn, was no stranger to the
15:09supernatural. She had the same abilities as Gwen. While Gwen inherited the lion's share of this psychic
15:15potential, Finny's ability to communicate with the dead in the first film suddenly makes more sense,
15:20but the truth is even darker than that. Hope's visions led her to the grabber's house, where she
15:26found the abducted paperboy named Billy, the very first victim. But she never got the chance to warn
15:31anyone. The grabber intercepted her, and in one of the film's most harrowing reveals,
15:36we learn that he murdered Hope and staged her death as a suicide, a cruel manipulation designed
15:41to cover his tracks and emotionally devastate her family. This revelation lands like a gut punch.
15:47It reframes everything, especially the events of the first film. The grabber's presence in the
15:52Blake's lives was not random. He'd been in their home, he knew who they were, and his focus on
15:57Finny was calculated. He tells Gwen that death wasn't the escape hatch we might have assumed it
16:02to be. Upon his demise, the grabber descended into hell. He describes it as a place where what's left
16:08of your soul is carved away, leaving behind only sin. No empathy, no rationality, just rage and cruelty.
16:16This forged a new grabber, one with a spectral upgrade and no remnants of humanity. Where the first
16:22film's grabber was unsettling in his unstable humanity, the sequel's iteration is a full-fledged
16:27horror entity, bent solely on metaphysical revenge and spiritually calculated cruelty.
16:33Once limited to the basement, the grabber now has a strange, elastic reach. At Camp Alpine Lake,
16:39the site of his earliest crimes, his power is amplified. The unresolved deaths act as a spiritual
16:45fuel, allowing the grabber's ghost to stalk Gwen's dreams and even physically attack her in the real
16:50world. This enables the grabber to cut her with his axe, with the cup bleeding in real time.
16:55In a desperate effort to save Gwen, the ghost children, Felix, Cal, Spike and Billy intervene,
17:00pulling her back from the brink. What follows is an eerie escalation. Gwen finds herself on the lake,
17:06the icy prison where the boys' bodies lie entombed. Armando is there, chipping away at the ice looking
17:12for the boys, but the grabber reappears, smashing through the ice and dragging Armando into the frozen
17:18depths. Inside the vision, Gwen is trapped in her phone booth, but this time, Gwen fights back.
17:24Channeling her will and the spirits of the boys, she forces an explosion of psychic energy that
17:29destroys the booth and throws the grabber back. Outside the vision, Gwen is saved and the group
17:34drags Armando from the lake, cold and shaken, but alive. As the climax unfolds, the film shifts from
17:40haunted mystery into a full-blown supernatural reckoning, bringing every thread crashing together.
17:46Gwen and Finney are no longer just haunted kids, they're the only ones capable of confronting a
17:50force that has outlived death. Their father Terrence storms into Camp Alpine with a snowplow,
17:56intent on bringing his children home, and the family fractures begin to bind.
18:00Gwen calls out Finney for emotionally barricading himself behind anger and bravado, while Terrence,
18:06upon hearing Gwen describe his private moment of blame and mourning the night he found Hope's body,
18:11realizes she's not delusional, she's connected to something beyond comprehension.
18:16He doesn't just stay, he becomes a believer. And so the trio, joined by Armando, Ernesto,
18:22Mustang, Kenneth and Barbara set about finding the missing boys.
18:26But of course the grabber doesn't go quietly, he seizes the cover of night and unleashes hell once
18:32more. Kenneth is struck with an axe and dragged screaming across the lake where he collides violently
18:37with Barbara, sending her crashing face first into the ice. When the grabber attempts to consolidate
18:42his spectral hold by preventing the victims from being found, Gwen uses her dreamwalking pals to
18:47fight back. In an act of supernatural resistance, she locates the boys' bodies. By recovering their
18:53remains, she frees their souls, and in doing so she robs the grabber of his power, giving the boys the
19:00ability to fight back. It's poetic justice. The children he silenced in life now become the
19:05instruments of his destruction. The grabber, now desperate, reveals his true form beneath the
19:11mask. No longer a spectral trickster, but a rotting monstrosity of evil, stripped of performance and
19:17theatricality. The long-awaited final confrontation between Finney and the grabber erupts as a cathartic,
19:23brutal reckoning. Finney smashes the killer's face against the ice again and again, while Gwen joins in,
19:29chopping at the phantom until he splinters apart like a dying myth. At last the ghost boys descend
19:34upon the grabber and drag him back into the frozen lake to an icy hell of his own making.
19:40In the aftermath, Armando solemnly calls the families of the dead boys to finally give them
19:44closure, ending decades of unanswered grief. Just when things seem quiet, Gwen hears the phone ring
19:50again. On the other end is the voice of Hope, speaking to her from a realm beyond. Hope reassures
19:56Gwen that she's proud of her and Finney, that their suffering had meaning and that everything is
20:01going to be alright. The end moments offer a sense of closure. Gwen, Finney, Ernesto and Terence
20:07drive away from the nightmare. It's sweet, but it's also a little suspect. After all, the Black
20:13Phone universe doesn't treat death as the end. Ghosts don't die, power doesn't just vanish, and if
20:18there are more undiscovered victims, there's every possibility the grabber's icy grip could return.
20:23A pillar of Black Phone 2 is faith, not in the didactic, preachy sense, but in a messy,
20:30lived-in way. Gwen's belief in God is introduced casually. In a quiet moment with Ernesto, she
20:36admits she prays. It's not the centerpiece of her identity, but it is there, quietly guiding her.
20:42There's an undercurrent of divine duality running beneath the surface. The grabber upon death confirms
20:48he was sent to hell. It's not the brimstone pit of Sunday school. It's cold, unrelenting,
20:53and soul scraping. And yet, this isn't a film solely about damnation. In a moment of grace,
20:58Gwen's deceased mother appears in spirit, gently confirming the existence of heaven.
21:03The film never shouts this revelation, it simply demonstrates that if hell is real,
21:08then so is heaven.
21:09What do you think happens when you die? It's time to find out.
21:15Black Phone 2 has a genuinely intriguing springboard, but I think the film keeps stepping on its own
21:20throat. The premise and escalation of supernatural elements are great, but their execution leaves
21:25much to be desired. The writing is the biggest wobble. Dialogue oscillates between on-the-nose
21:31exposition and quippy filler. Flattening moments that need texture or silence, and the delivery
21:36especially from the child actors is very wooden. Gwen, in particular, who is now the lead, is the
21:41weakest of the ensemble. Structure doesn't help. The middle act meanders through clue-gathering and soft
21:48red herrings, only to sprint in the third act with contrivances that feel reversed-engineered
21:53from the ending. Tension plateaus early because the film telegraphs its scares, and despite the
21:58grabber being more powerful than ever, he's not nearly as menacing as he was in the first film.
22:03Production design is strong, but the visual language is generic, with set pieces that aren't scary at all.
22:09The mythology also strains. The rules of the phone and visions expand when convenient, contract when the
22:15plot needs a wall. And the result is less mystique than make it up as we go.
22:20By the time the credits roll, Black Phone 2 hasn't disgraced the original so much as it has reminded
22:25you what the original got right. A simple spine, characters who breathe, and scares that grow from
22:31situation rather than sound cues. Black Phone 2 has an interesting idea, but the execution is shaky.
22:38A lot of people don't know this, but Jason Blum and I started a theater company when we were like
22:4120 years old. I've known this guy forever. And so to watch him create this company and create this
22:47brand that's made so many people happy and they've had a lot of success with Universal, but it's personal to me.
23:11IT'S STOING TEEN No RULE
23:13IT'S STOING TELEче
23:28MILITARY
23:305
23:30tema
23:317
23:323
23:33TERRIFUS
23:34BEN
23:35TERRIFUS
23:36MERRIFUS
23:37MR
23:38spider
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