Here’s a bold statement: Black Phone 2 defies everything you thought you knew about slasher horror films. But here’s where it gets controversial—while most slasher sequels amp up the gore and body count, this one does the exact opposite. Yes, you read that right. In a genre where “bigger is better” is practically the golden rule, Black Phone 2 delivers a shockingly low kill count—zero in the present timeline. And this is the part most people miss: it’s not just a creative choice; it’s a game-changer for the genre.
Directed by Scott Derrickson and written by C. Robert Cargill, the sequel reunites us with The Grabber, a villain who, despite meeting his end in the first film, returns to terrorize Finn (Mason Thames) and his younger sister, Gwen (Madeleine McGraw). Here’s the twist: The Grabber’s reign of terror unfolds primarily in flashbacks and dreamscapes, leaving the present-day characters—including Finn, Gwen, and a handful of new faces—miraculously alive. This is almost unheard of in slasher films, where the body count is often the main attraction. Think about it: Halloween Kills had Michael Myers racking up 30 kills, and Jason Voorhees has claimed over 180 lives across the Friday the 13th franchise. So, why does Black Phone 2 break the mold?
The answer lies in its focus on psychological horror and character-driven tension. Gwen, now 15, begins receiving eerie calls from the titular black phone in her dreams, leading her to visions of three boys who went missing at Alpine Lake, a winter camp with a dark history. Convincing Finn to join her, they embark on a chilling journey to uncover the truth—only to find The Grabber waiting for them in Gwen’s nightmares. What follows is a masterful blend of dreamlike terror and real-world suspense, as the siblings race to solve the cold cases and put an end to The Grabber’s legacy.
Here’s where it gets even more intriguing: The Grabber’s past is revealed through flashbacks, showing he was once an employee at Alpine Lake, where he murdered the boys Gwen sees in her visions. In a surprising retcon, we also learn that Finn and Gwen’s mother was one of his victims, her death staged as a suicide. So, while the body count exists, it’s entirely historical—a bold narrative choice that challenges the slasher formula.
This isn’t the first time Derrickson has played with this idea. In Sinister, one of the most terrifying films ever made, the majority of the kills are shown through found footage, with the present-day horror saved for the climax. With Black Phone 2, Derrickson and Cargill double down on this approach, proving that horror doesn’t need a high body count to be effective. In an era where franchises often rely on repetitive tropes, this sequel takes a daring leap forward.
But here’s the question: Does this approach work for everyone? Some fans might miss the visceral thrill of a high kill count, while others will applaud the film’s focus on atmosphere and character development. And what about the future? If Black Phone 3 happens, will The Grabber return to his murderous ways, or will the franchise continue to reinvent the slasher genre?
One thing’s for sure: Black Phone 2 is a refreshing departure from the norm, proving that horror can thrive without relying on bloodshed. It’s in theaters now, and whether you love it or hate it, one thing’s certain—it’s a conversation starter. So, what do you think? Is this the future of slasher films, or a one-time experiment? Let’s debate in the comments!
