Month: October 2025
Black Phone 2
Apparently, according to “science” Scott Derrickson has two films (SINISTER & THE EXORCISM OF EMILY ROSE) lounging out in the top ten list of the scariest films ever made. I’m not sure if THE BLACK PHONE 2 will ever join them but it definitely belongs on a list of great sequels to movies that didn’t need one. It takes a certain amount of bravery to shuffle the cards in a follow up movie due to the likelihood of failure ( see SINISTER 2, BRAHMS: THE BOY 2 & M3GHAN 2) but when it works the results can be glorious (see THE ORPHAN : FIRST KILL , 28 YEARS LATER & of course my boo HALLOWEEN III: SEASON OF THE WITCH). I may be extra partial to films that take place in the early eighties (sorta swooned at an early image of the NIGHT FLIGHT logo blazing on a big box TV) and I may be chronically susceptible to snowbound horror (witnessing this film’s solid high five to CURTAINS (’83) is a high point) and I may have an issue with experiencing euphoric dopamine blasts when beautiful music and haunting imagery are combined ( I got the goosebumps when this film played PINK FLOYD’S “The Wall” during a driving through a blizzard scene) so essentially this flick pushed all the right buttons for me. Sorry, but it’s legit gorgeous to my eyes, much of it (the otherworldly dream sequences ) is filmed on smudgy, scratchy, damaged and grainy 8mm film and the visual texture is such a delicious blast of complex flavor in this time of sharp, cringy high definition ugliness.
Elfish (I'm respectfully talkin' LORD OF THE RINGS, not Keebler) Mason Thames is back as Finn, the troubled survivor of the the first film and he’s instantly likable for therapeutically beating the hell out of a would-be bully. He’s joined by his sister Gwen (scene stealer Madeleine McGraw) who swiftly squashes her sidekick status to become a true force of nature. Cleverly, Miguel Mora who portrayed the deceased Robin in the first film throws some glasses on and transforms into his surviving brother who catches feelings for Gwen. The three embark on a journey to a mostly abandoned campground snuggled in a mountain surrounded, CGI-enhanced Colorado countryside during a ferocious snowstorm (!, this my jam) to unravel a very surreal, NIGHTMARE ON ELM STREET (!, also my jam) quandary involving the perplexing impossible return of the smiley-masked child snatcher known as “The Grabber” (portrayed expertly by Maya Hawke’s poppa). Spooky ghost kids abound, threatening static infested phone calls are made and invisible forces yeet our stalwart heroes at nearly every turn.
These days many a horror film contends with the aftermath of trauma but rarely do they provide solutions or dare to confront the anger and rage that survivors deals with. BLACK PHONE 2 with much thanks to the non phoned-in performances of it’s two leads, addresses these issues in truly cathartic ways. It does sorta lean to a troubling “magic Jesus” area at times but it balances that out with a hateful sanctimonious lady getting read for filth so I’ll let it slide. Like almost all of Derrikson’s films there’s a implausibility issue but it happens so late in the game here that it doesn’t make a dent. The atmosphere is awesome, the lead characters are severely root-worthy, the supporting characters (nice to see THE NUN’s Demian Bicher, IT’s James Ransom, RAVENOUS’ Jeremy Davis and up and comer Arianna Rivas) hold their own, and there’s an overall pleasing balance of old school scares, earned humor and heartfelt resolution ( Gwen receives a phone call from the other side that should leave anyone with a heartbeat verklempt). Did I mention that the snowbound cabins depicted have heaters that glow a beautiful neon red? It’s stunning. BLACK PHONE 2 is a dreamy stone cold keeper in my (phone) book, a creative victory for sequels everywhere and a handsome, semi-artsy nostalgic time capsule of a much missed era. I’m not sure if it’s superior to its predecessor, but it surely can boast having way more re-play mojo. Also, may I just say as a society we lost a lot when we lost landlines and phone booths? I really miss them. I hate my smart phone and it clearly hates me.
Good Boy (2025) :: By Mickster
A special note to animal lovers: take tissues because if you are like me, you are going to need them. I made the mistake of not bringing tissues, and my poor t-shirt and jeans paid the price for that rookie mistake.
This movie is difficult to talk about without spoiling it, so I will be as careful as possible. Indy is the faithful and loving dog to Todd (Shane Jensen-voice), his human. Indy would do anything to protect Todd from whatever forces threatening him. Indy is the main character, and the audience sees things from his perspective. The dialogue is kept to a minimum in Good Boy because our protagonist is a dog. The dialogue the audience does receive is to the side; many conversations are on the phone between Todd and his sister, Vera (Arielle Friedman-voice). The movie begins with a sweet montage of Indy as a pup, and Indy’s blooming relationship with Todd. Early on, Todd decides to take Indy to his deceased grandpa’s home out in the middle of nowhere, where it seems to be perpetually raining. Indy, even before they get to the house, notices a dark, shadowy figure outside the car; this is when Todd is opening the gate to the property. This is just the beginning of Indy’s experiences with strange shadows, noises, and unease. As the audience is experiencing everything through Indy’s eyes, the logic in what he sees comes from his canine instincts. At times, Indy’s perspective seems like “dream logic,” where things don’t quite make sense. The only other characters in the movie are Todd’s grandpa (genre favorite-Larry Fessenden-seen on VHS tapes), Grandpa’s faithful dog, Bandit (also seen on VHS), and a neighbor (Stuart Rudin) who lives relatively nearby (the neighbor provides some exposition about his grandpa and the surrounding area). Indy senses Todd is in some kind of danger, and he doesn’t know how to help him. At the same time, Todd’s personality changes; he becomes harsh towards Indy, which Indy doesn’t understand. No matter what happens, be it scary apparition or an unusually aggressive Todd, Indy stops at nothing to try to help Todd.
Indy is indeed a good boy who deserves all the praise he is getting for his extraordinary performance. The writer/director, Ben Leonberg, also deserves quite a bit of praise for painstakingly working on this unusual film for three years. The experimental nature of the film reminded me of Skinamarink (2022) in that it was shot from the perspective of the dog, whereas Skinamarink was shot from the perspective of small children. However, Good Boy differs by recognizing that the film shouldn’t “overstay” its welcome. The 73-minute runtime makes way more sense than Skinamarink’s hour and forty minutes.
I give Good Boy two paws up!
Alternatives to The Strangers: Chapter 2
I try to see every horror movie that is theatrically released in my hood but I’m afraid I’m going to have to skip THE STRANGERS: CHAPTER 2. I had planned to keep an open mind but how can I ignore the writing on the wall? I really didn’t like the previous effort and word on the street is that this stab is even worse than the first! I just can’t do it. Maybe I’ll watch it at home eventually but it doesn’t seem worthy of a $3 subway trip or the general discomfort of going outdoors. So here is a list of a few similarly themed horror movies I’d prefer to watch instead…
Let’s start with the worship worthy wonder that is THE STRANGERS: PREY AT NIGHT (2018). How do you make a sequel even more ferociously unforgettable than its predecessor? The formula is simple, add neon lights and eighties music! It’s not rocket science! Spooky as hell and way more re-watchable than the first, this fun and feral sequel can stand strongly on its own. This baby provides a perfect template springboard for what could have been a solid trilogy. Tragically, the perfect baton pass set-up was ignored in favor of backtracking dilution.
2014’s THE TOWN THAT DREADED SUNDOWN is a meta-happy relaunch done right (full review HERE). The atmosphere is impeccable, it enhances rather than repeats the OG’s mythology and it even features horror legend Veronica Cartwright!
If it’s anonymous lunatics you’re looking for, you can’t beat the horrific stylings of 2001’s JOYRIDE and its intimidating antagonist “Rusty Nail”. I’ll even vouch for its two hyper violent, highly entertaining WRONG TURN-esque straight to video sequels JOYRIDE 2: DEAD AHEAD and JOYRIDE 3.
Not sure why few ever speaks of IF I DIE BEFORE I WAKE from 1998 because to me, it’s the scariest home invasion flick I can think of. Muse Watson of I KNOW WHAT YOU DID LAST SUMMER fame loses the Gordon’s fisherman look and is all the scarier for it in this traumatizing nightmare scenario flick.
If its creepy masks you’re looking for, can I interest you in OUT OF THE DARK (’88)’s Bobo the clown? I realize killer clowns are a dime a dozen these days but this particular lunatic is preoccupied with terrorizing phone sex workers who work for Karen Black! Perfect late night cable eighties sleaze that can even boast featuring the last role of everybody’s favorite harbinger of good taste, Divine!
I’ve gleaned from the trailer that the new STRANGERS will at least partially take place in a hospital, a place where many other horror movie aftermath sequels occur. Consider the legendary warning against tampered treats and bad wigs known as HALLOWEEN II ('81) or Rob Zombie’s misunderstood deep dive into PTSD of the same name! May I also suggest the creepy Canadian stalk-athon VISITING HOURS (’82) and my personal favorite, the chilly & thrill-y Norwegian horror continuation COLD PREY II (2008) which is nearly every bit as good as its dynamic parent film.
If it’s resourceful gals stalked in a limited setting you’re in the mood for there’s always the campus Christmas calamity KRISTY (2009), the holiday parking lot suspenser P2 (2007), the Halloween (’78) precursor FRIGHT (’71) featuring a young Susan George (full review HERE) and the made for TV pulse pounder THE VICTIM starring Elizabeth Montgomery. Director Mike Flanagan delivers HUSH (2016), a slightly aggravating but always nail-biting modernized ode to the classic WAIT UNTIL DARK (’67).
Finally, I would be remiss to not throw some respect toward THE STRANGERS: CHAPTER 2 director Renny Harlan. Although he helms the ill conceived assumed fiasco, I can’t begrudge the guy a paycheck and I have to admit he has delivered worthwhile entertainment in the past. He’s given us fine action flicks with DIE HARD 2 (’90) and CLIFFHANGER (’93) , a respectable ELM STREET sequel with PART 4: THE DREAM MASTER (’88), an awesome shark flick in DEEP BLUE SEA (’99), the snowy found footage jaunt DEVIL’S PASS (2013) and perhaps his greatest achievement, the excellent LONG KISS GOODNIGHT (’96) ! He’s dipped in the hack pool a few times (see pot boiler yawn machine EXORCIST: THE BEGINNING (2004) ) but hey, every creative person knows that not every endeavor taken is going to work out exactly as planned. So, no hard feelings sir and if it helps, I think legendary box-office bomb CUTTHROAT ISLAND (’95) is actually sorely underrated.
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