After a quick however well-regarded segue into the Marvel universe with Doctor Strange, director Scott Derrickson returns to his horror-drama roots with The Black Cellphone, a strong, spooky interval chiller. Like his breakthrough image, The Exorcism of Emily Rose, it combines typical horror themes – on this case a masked baby assassin (totally and terrifyingly inhabited by Ethan Hawke) and a supernatural aspect – with a rewarding depth of dramatic element. The backdrop, blue-collar Denver within the late Seventies, is evoked by way of a nicotine and spilled Coors palette and the type of parenting that’s arms off other than the occasional beatings.
Finney (Mason Thames) and his sister Gwen (Madeleine McGraw) dwell in worry of two issues: the Grabber, the mysterious man behind a string of kid abductions, and their very own father, who whips them when any trace of their mom’s psychic potential manifests in them. It’s this potential, nonetheless, that may simply save Finney when he’s snatched. A disconnected telephone within the basement jail hyperlinks him with earlier victims, every with a vital trace on methods to escape.