BLACK PHONE 2

While 'The Black Phone' was heavy on horror and light on the supernatural elements, the sequel goes harder on its supernatural and mystery facets - which means the horror doesn't get as much of a look-in. It was that anticipation of what would happen, particularly in the controlled environment of the Grabber's basement as the dead boys direct Finney to assist his longevity. Now, we have the wide expanse of the Colorado wilderness to work with, removing so much of that tension due to the expanse.

The decision to refocus this film on Gwen was a wise one, allowing us a fresh perspective and a vessel through which the story can expand. Without giving away any spoilers, the way in which the Grabber returns in this film is one that sets it apart from the vast slew of horror sequels, but it does mean it owes its dues to the 'Nightmare on Elm Street' franchise. However, the rules of this conceit are dubious and become increasingly fractured as the film progresses, simply for the convenience of the narrative.

While this film is something of an origin story for the Grabber, it's a real missed opportunity to take advantage of that concept. The plot here is very thin, and could have benefited with us learning more about what makes our villain tick. Why the mask? Why this modus operandi? Why a magician? Why does he only kill young boys? What - or who - is behind the black phones? Add to that the fact there aren't any real-time deaths in this film, and you start to see why the story is lacking.

It's nice to have the expanded cast at the camp, particularly the presence of Bichir, whose gravitas comes from experience in the horror genre. Even he suffers when dealing with clunky dialogue as the group discusses the Grabber's past. He's best when given something tangible to do, whether that be cautioning the criminal while the lights go out, or counselling Finn while he's struggling with letting go of his anger. The younger members of the cast fare less well; while on the whole, Mason Thames and Madeleine McGraw again play convincing siblings and manage to hold up against some of the more outrageous moments they experience, they're often left to face emotions of any ilk by getting louder. Miguel Mora is a surprise and a nice point of focus, allowing lighter moments among the gloom.

It's also challenging to dissect Ethan Hawke's ('Boyhood', 'Before' Trilogy performance as the Grabber this time around. While so much of what made 'The Black Phone' as successful as it was came from Hawke's characterisation of the killer, this time around, he's visibly missing from the film for large chunks of it. When he is present, we don't get that creepy, calm composure that brought dread from the original, but again more shouting. It just adds to the overall tonal disbalance of this production.

There are some nice touches. With the main timeline set in 1982, Scott Derrickson chooses to revisit the "creepy" visual aesthetic from 'Sinister' by utilising Super 8mm film to signify Gwen's dream sequences. Also used in 'The Black Phone', this choice becomes key in the sequel as her nocturnal activities become a prominent part of the plot, meaning much of the film is shot on this format. The time period on the whole is well-embraced, from the production design to the synth-laden score.

'Black Phone 2' feels like a missed opportunity to embellish a world doused in dread. Instead, its story adds little to the original film, while providing the cast no platform to cultivate any real creative depth within their characters. The terror you felt in the pit of that basement is gone, replaced by an occasional jump scare - if you're lucky. Be prepared to leave the cinema feeling as bleak and cold as the Colorado wilderness.