Tag: ethan hawke

BLUE MOON (2025) – Review

Can there really be two music biopics opening this weekend? Yes, though they share little in common other than popular songs. The “Boss” flick is set in the early 1980s and zeroes in on a couple of years of his career. This film is set nearly forty years before, and it mainly (other than a brief prologue) happens during one fateful night. And it’s pretty much set in one place. Oh, and rather than the world of rock and roll, this comedy/drama is in the world of musical theater on Broadway (technically musical comedy, I suppose). You may not know the name of this film’s main focus, but after eighty years, much of the world is still singing his lyrics, especially the often-recorded and revived BLUE MOON.

Yes, you read that correctly. This film isn’t about a tunesmith, but rather a writer of lyrics. In that aforementioned prologue, we see a diminutive man shuffling and stumbling through a rain-drenched alley. That man is Lorenz Hart (Ethan Hawke). The story then shifts to a few months in the past, the evening of March 31, 1943, the opening of the classic Broadway musical, “Oklahoma”. Lorenz, along with his mother, watches from an exclusive “box seat” until he can stand no more of the “corn pone”. Telling his mom that he needs a drink, Hart sprints away to Sardi’s restaurant, where the show’s after-party will be held. In the first floor bar area, he begins to kibitz with his old bartender pal Eddie (Bobby Cannavale). He’ll only serve Lorenz club soda, as he has a big booze problem, though a bottle is keep near “for appearances”. Hart is both looking forward to and dreading a reunion with his old writing partner Richard Rodgers (Andrew Scott), now teamed with Oscar Hammerstein II (Simon Delaney). But Hart is ecstatic about a tryst with young Yale art student Elizabeth Weiland (Margaret Qualley). Eddie’s a bit confused, since he though Lorenz leaned toward another gender. Hart insists that he’s fluid and, despite their 27-year age difference, believes that tonight’s the big night for them. As he bemoans the impending demise of wit on the “Great White Way”, Hart notices a man writing at a table. It’s one of his favorite authors, E.B. White (Patrick Kennedy). The two bound over their love of language until Elizabeth arrives. As she regales Hart with stories of college “hook-ups”, the “Oklahoma” entourage dashes in for cocktails and to read the early rave reviews. Hart corners Rodgers to pitch a new pairing while discussing a revival of an older work. As the new Broadway “darlings” begin to depart, Hart ponders whether he’ll ever be back on “top”, in his profession and in his personal life.

This film is truly a tour de force showcase for the acting artistry of Hawke as he tackles a truly complex artist. His work goes beyond the “gimmick” of appearing to be a spin on Jose Ferrer as Toulouse Lautrec in MOULIN ROUGE and his severe “comb-over” to give life to a man riddled with insecurity, struggling to retain his dignity, all the while obsessively trying to regain the “brass ring”, be it Broadway success or the elusive young protégé. In Hart’s meeting with Rodgers, Hawke conveys that pleading sweaty desperation while acting as if nothing as really changed between. This might be the defining performance of Hawke’s impressive career. Luckily, the engaging Cannavale proves to be a superb scene partner as Eddie, who is alternately amused and disgusted by Hart’s antics (his “BS detector” is working overtime) while making sure he steers clear of the booze that will destroy him. Qualley is a wide-eyed, bouncy blonde dream girl as the effusive, but unknowingly encouraging Elizabeth.. She thinks of Hart as a mentor, while dismissing his often clumsy advances. Then there’s Hart’s other object of desire, a re-teaming with the “man that got away”, Rodgers, given a distracted air by the compelling Scott. Yes, he’s happy to be showered with praise, but he’s not entirely indifferent to his former partner. Scott shows us that as he tries to toss Hart a life preserver (a revival of their old show) while defending pointed barbs at his latest work (there’s a place for sentiment in the war-torn world) and trying to make it clear that he’s part of a different duo. Their interplay is both amusing and sad, much like the ending of a theatrical marriage.


Longtime Hawke collaborator Richard Linklater directs from a very literate script from Robert Kaplow that deftly balances comedy and tragedy in the tale of longing and regret. Hart had once had everything until he squandered it all due to his addictions and an ego bigger than his slight frame. Yes, it does often resemble a stage play after the brief alley prologue and the scene that follows during the finale of “Oklahoma”, but the character dynamics and bouncy retorts expand the confines of the bar (though we do explore the “water closet” briefly). The period costumes are quite stunning, especially Qualley’s gown, and the soundtrack filled with period tunes (from Hart and others) is very effective. Plus, this story is pure “catnip” for musical comedy buffs , especially when we get a brief moment with Oscar’s precocious young guest (stage fans will get it). It’s not a sprawling epic, but fans of the era, and the excellent cast, will be enchanted. Why, they might just be over the BLUE MOON about it.

3 Out of 4

BLUE MOON is now playing in select theatres

BLACK PHONE 2 – Review

Hey, Halloween’s just a couple of weeks away, Hollywood studios! So where’s the new spooky, scary flicks? Well, we’ll have to wait another week or so for the new version of Mary Shelley’s classic, so how about a sequel to one of the surprise horror hits from four years ago? And it’s from the classic “monster-maker”, Universal by way of the “ghouls” that dwell in the Blumhouse. Concerned about the number in its title? Perhaps knowing that they got “the band back together”, namely the cast along with the directors and co-writer, should erase your worries. What’s that ringing noise? Do you dare to pick up the receiver and answer the call of BLACK PHONE 2?


It all actually starts with a flashback set in the late 1950s. A teenager trudges through the snow to a desolate telephone booth, somewhere in a frigid forest clearing. After a very odd, even cryptic conversation, the story springs forward to 1982 Colorado. Just outside the high school, a young man is viciously pummeled by Finn Blake (Mason Thames). Luckily, his sister Gwen (Madeleine McGraw) pulls him off the lad. Despite being the young hero who ended the murderous reign of “the Grabber”, Finn is still challenged by bullies. But that’s not their only problem. Though papa Terence (Jeremy Davies) is finally sober, Finn is now the substance abuser, numbing his damaged psyche with bags of weed. Yet somehow he’s alert enough to stop Gwen from her dangerous sleepwalking excursions. Yes, she’s having visions again, this time of three boys murdered in the cold white woods. Could this be the spirit of their nemesis? Gwen’s dreams lead the duo to look into getting jobs at the Christian church “winter camp” called Alpine Lake. Luckily Gwen’s “wannabe BF” Ernesto (Miguel Mora) agrees to drive them there during a blizzard. At the camp’s front gate, they’re met by the horse “wrangler” Mustang (Arianna Rivas) and her father, the supervisor Armando (Demian Bichir). He tells them that other new workers called ahead and cancelled due to the fierce storm. But the trio can stay in the cabins until the roads are cleared. Gwen’s nightmares start up as things get even more weird for Finn. He answers the “out-of-order” payphone and speaks to the Grabber (Ethan Hawke) before seeing the horned, masked demon himself. Soon, Gwen’s visions give her a portal into the fiend’s deadly origins at the camp. Can the Blakes guide the campers in their mission to stop the Grabber and send him back to Hell?

Though he’s prominently featured in the marketing, the participation of Mr.Hawke raised some questions. Since the Grabber is usually masked up, or seen in various stages of gnarly wounded decay, Hawke is really delivering more of a vocal performance. It doesn’t help that the glimpses of him as the magician/balloon twister at the wheel of that old black van are that of a different actor (but then they’re part of Gwen’s visions). Mind you, Hawke delivers a threatening growl, but I recalled the rumors about the 1940s Mummy movies “starring” Lon Chaney, Jr. As for the other “originals”, the very busy Thames (this is the middle of his three 2025 flicks) makes a steadfast horror “hero” as the young man who is paying the mental “price” for his victory over evil. The memories (and grass) have dulled his eyes, but a return match seems to “jump start” his fighting spirit. That, and in protecting his adored lil’ sis’ played with equal parts sass and snark, with a touch of trembling vulnerability, by McGraw. She somehow can make most of her clunkier put-downs (this from a 15 year-old) work. Davies is also strong as a man struggling to rectify his past behavior and reconnect with the kids that will soon drift away from the nest. Mora also provides a good connection to the first flick, while scoring some chuckles as he pines for Gwen. The most compelling new character may be the grizzled Armando, played with a gravitas and protective charm by the always watchable Bichir ((love when he scolds Finn over his “goodie bag”).

Returning to the director’s chair is Scott Derrickson who co-wrote the new script with C. Robert Cargill, based on Joe Hill’s 2004 short story. I will give them kudos for not returning to that dingy basement (it does make a cameo) for a new rash of abductions and escape attempts. Though the first entries had supernatural elements, this one truly goes “all in” allowing for lots of creative effects, some CGI and many practical make-ups (even a bit of puppetry, I’m guessing). But once the Blakes get to their new setting, the story becomes fairly repetitive as Gwen drifts off to sleep in order to be menaced by the Grabber before Finn arrives just in time. And many set pieces are also derivative, as though we’re watching a late 80s Freddy Krueger knock-off set near the Overlook from THE SHINING (the red-coiled space heaters do give the cabin interiors a Hellish glow). The need for new scares and gross-out clutter up the big finale showdown as the “camper’s quest’ finally limps to a frozen finish. The fans have the original will probably enjoy seeing the “OG” cast, but for few new fans will want to jump in that icy glass booth for BLACK PHONE 2.

1.5 Out of 4

BLACK PHONE 2 is now playing in theaters everywhere

Win Passes To The St. Louis Advance Screening Of BLACK PHONE 2

THIS FALL, DISCOVER THE SECRET BEHIND THE MASK.  UNIVERSAL PICTURES AND BLUMHOUSE PRESENT… ETHAN HAWKE IN BLACK PHONE 2. 

ONLY IN THEATERS OCTOBER 17TH.

https://www.blackphonemovie.com/home

The St. Louis screening is 7pm on Tuesday, October 14th at Galleria 6 Cinema. 6pm Suggested Arrival.

Passes are available while supplies last.

ENTER HERE FOR PASSES: http://gofobo.com/FfShc11471

Rated R.

Black Phone 2

Four years ago, 13-year-old Finn killed his abductor and escaped, becoming the sole survivor of The Grabber. But true evil transcends death … and the phone is ringing again.

Four-time Academy Award® nominee Ethan Hawke returns to the most sinister role of his career as The Grabber seeks vengeance on Finn (Mason Thames) from beyond the grave by menacing Finn’s younger sister, Gwen (Madeleine McGraw).

As Finn, now 17, struggles with life after his captivity, the headstrong 15-year-old Gwen begins receiving calls in her dreams from the black phone and seeing disturbing visions of three boys being stalked at a winter camp known as Alpine Lake.

Determined to solve the mystery and end the torment for both her and her brother, Gwen persuades Finn to visit the camp during a winter storm. There, she uncovers a shattering intersection between The Grabber and her own family’s history. Together, she and Finn must confront a killer who has grown more powerful in death and more significant to them than either could imagine.

From returning visionary writer-director Scott Derrickson, Black Phone 2 is written again by Derrickson & C. Robert Cargill, based on characters created by Joe Hill. The film is produced by Jason Blum, Derrickson and Cargill. The executive producers are Adam Hendricks and Ryan Turek.

The cast includes Oscar® nominee Demián Bichir (The Nun, A Better Life) as the supervisor of the camp, Arianna Rivas (A Working Man) as his niece, Miguel Mora (The Black Phone) as the brother of one of The Grabber’s victims, and Jeremy Davies, returning as Finn and Gwen’s father, Terrence. Other new cast members include Maev Beaty (Beau is Afraid) and Graham Abbey (Under the Banner of Heaven).

Universal Pictures and Blumhouse’s horror phenomenon The Black Phone, released in 2022, received widespread critical acclaim and earned more than $160 million.

(from left) Mustang (Arianna Rivas), Gwen (Madeleine McGraw) and Finn (Mason Thames) in Black Phone 2, directed by Scott Derrickson.

The Grabber In 3D Towers Over Sunset And La Cienga For BLACK PHONE 2

Opening in theaters on October 17 is the highly anticpated BLACK PHONE 2.

When THE BLACK PHONE arrived in 2022, it struck like lightning: a horror film both intimate and terrifying, rooted in the raw vulnerability of childhood. Adapted from Joe Hill’s short story, the film drew on writer-producer-director Scott Derrickson’s memories of growing up in Colorado, grounding its supernatural terror in unsettling realism. Audiences embraced it not only for its scares but for its honesty. The film earned more than $160 million worldwide, introduced the Grabber (Ethan Hawke) as a chilling new figure in the genre’s canon and established The Black Phone as one of the decade’s most distinctive original horror films.

The influences are rooted in Derrickson’s own history yet also nod to the genre’s lineage. “I am less interested in drawing from other people’s work than in expanding on what elements from my own work seem unique to me,” Derrickson says. “In this case, it was the use of Super 8 footage in very specific ways, drawing on my own memories at Colorado high school winter camps in the early ‘80s and channeling some of the bigger feelings I had when I was a teenager at that time. But I do think all the horror films I saw in the ‘80s still had a kind of invasive, inevitable influence. All the horror camp films – Friday the 13th and A Nightmare on Elm Street being the biggest most obvious ones – and of course, some key imagery from the much more obscure 1983 film Curtains. If you know that film, the homage is clear and unabashed.”

WAMG caught a glimpse of the menacing Grabber in Hollywood this week, plus check out the new featurette ‘Mason Thames on Black Phone 2’.

Four years ago, 13-year-old Finn killed his abductor and escaped, becoming the sole survivor of The Grabber. But true evil transcends death … and the phone is ringing again.

Four-time Academy Award® nominee Ethan Hawke returns to the most sinister role of his career as The Grabber seeks vengeance on Finn (Mason Thames) from beyond the grave by menacing Finn’s younger sister, Gwen (Madeleine McGraw).

As Finn, now 17, struggles with life after his captivity, the headstrong 15-year-old Gwen begins receiving calls in her dreams from the black phone and seeing disturbing visions of three boys being stalked at a winter camp known as Alpine Lake.

Determined to solve the mystery and end the torment for both her and her brother, Gwen persuades Finn to visit the camp during a winter storm. There, she uncovers a shattering intersection between The Grabber and her own family’s history. Together, she and Finn must confront a killer who has grown more powerful in death and more significant to them than either could imagine.

Get tickets now.

From returning visionary writer-director Scott Derrickson, Black Phone 2 is written again by Derrickson & C. Robert Cargill, based on characters created by Joe Hill. The film is produced by Jason Blum, Derrickson and Cargill. The executive producers are Ryan Turek, Adam Hendricks, Daniel Bekerman and Jason Blumenfeld.

The cast includes Oscar® nominee Demián Bichir (The Nun, A Better Life) as the supervisor of the camp, Arianna Rivas (A Working Man) as his niece, Miguel Mora (The Black Phone) as the brother of one of The Grabber’s victims, and Jeremy Davies, returning as Finn and Gwen’s father, Terrence. Other new cast members include Maev Beaty (Beau is Afraid) and Graham Abbey (Under the Banner of Heaven).

The film’s director of photography is PÄR M. EKBERG FSF (Slingshot, Lords of Chaos). The production designer is Emmy Award nominee PATTI PODESTA (The Black Phone, Memento) and the editor is LOUISE FORD ACE (Nosferatu, The Northman). The film’s costume designer is Emmy Award winner AMY ANDREWS HARRELL (The Black Phone, The Good Lord Bird), the hair department head is NATHAN RIVAL (Trap, Ready or Not) and the makeup department head is Emmy Award winner COLIN PENMAN (The Apprentice, Star Trek: Discovery). The music is by ATTICUS DERRICKSON (V/H/S/85, Shadowprowler). The casting is by TERRI TAYLOR CSA (Five Nights at Freddy’s, Drop), SARAH DOMEIER LINDO CSA (Five Nights at Freddy’s, Drop) and ALLY CONOVER CSA (Drop, Speak No Evil).

Black Phone 2

Scott Derrickson’s BLACK PHONE 2 First Trailer Revealed At CCXP Mexico

Blumhouse is throwing a horror quinceanera for the ages today at CCXP Mexico, one of the world’s largest pop culture festivals celebrating movies, TV series, games, comics and more. Founder and CEO Jason Blum takes the stage in Mexico City to mark the company’s 15th anniversary and unveil a slate of updates, exclusive footage and surprise reveals.

First in their reveals is the trailer for BLACK PHONE 2.

Four years ago, 13-year-old Finn killed his abductor and escaped, becoming the sole survivor of The Grabber. But true evil transcends death … and the phone is ringing again.

Four-time Academy Award® nominee Ethan Hawke returns to the most sinister role of his career as The Grabber seeks vengeance on Finn (Mason Thames) from beyond the grave by menacing Finn’s younger sister, Gwen (Madeleine McGraw).

As Finn, now 17, struggles with life after his captivity, the headstrong 15-year-old Gwen begins receiving calls in her dreams from the black phone and seeing disturbing visions of three boys being stalked at a winter camp known as Alpine Lake.

Determined to solve the mystery and end the torment for both her and her brother, Gwen persuades Finn to visit the camp during a winter storm. There, she uncovers a shattering intersection between The Grabber and her own family’s history. Together, she and Finn must confront a killer who has grown more powerful in death and more significant to them than either could imagine.

From returning visionary writer-director Scott Derrickson, Black Phone 2 is written again by Derrickson & C. Robert Cargill, based on characters created by Joe Hill. The film is produced by Jason Blum, Derrickson and Cargill. The executive producers are Joe Hill, Adam Hendricks and Ryan Turek.

The cast includes Oscar® nominee Demián Bichir (The Nun, A Better Life) as the supervisor of the camp, Arianna Rivas (A Working Man) as his niece, Miguel Mora (The Black Phone) as the brother of one of The Grabber’s victims, and Jeremy Davies, returning as Finn and Gwen’s father, Terrence. Other new cast members include Maev Beaty (Beau is Afraid) and Graham Abbey (Under the Banner of Heaven). 

Universal Pictures and Blumhouse’s horror phenomenon The Black Phone, released in 2022, received widespread critical acclaim and earned more than $160 million worldwide.

Universal Pictures and Blumhouse will present the Crooked Highway Production, which is set to open in theaters October 17, 2025.

(from left) Finn (Mason Thames) and The Grabber (Ethan Hawke) in Black Phone 2, written and directed by Scott Derrickson.

RAYMOND & RAY – Review

So now that October’s past the midway point many of us are getting that end-of-the-year “sense of dread” as the two major holidays loom with the pressure of reuniting with the family. Oh, I know that there are those on the “other side of the coin” who truly relish the big annual “sitdowns” (and consider yourself fortunate indeed). This film is assuredly in the former category. Oh, and it’s not set during a holiday. Rather it’s more of a family “unraveling” as the setting is the funeral of a parent. Which in turn brings together, after a long “hiatus”, two brothers from “different mothers”. And though they share a papa, they’ve got little in common despite the shared “moniker”. But to make things easier, their patriarch referred to the guys as RAYMOND & RAY.

The first one we meet is the “straight-laced” timid and a tad “up-tight” Raymond (Ewan McGregor) as he drives through a dark, dense wooded area. He finally finds his destination, a cabin off the main road. Raymond nervously knocks on the door and is greeted by his pistol-toting stepbrother Ray (Ethan Hawke). Since he’s got no phone, Raymond has surprised him just as one of his ladies has left (hence the “piece”). Raymond explains that their father Harris’ funeral is tomorrow about two hours away. Ray scoffs and has no interest in attending, but Raymond insists since he needs Ray to drive. Seems he lost his license due to a DUI but took a chance on the back roads at night to pick up Ray. Eventually, they agree to leave at dawn. On the road, the two share horror stories about their awful abusive pop. At the funeral parlor, the brothers are stunned by the “pre-arrangements” and are told by a lawyer to go to dad’s final home for items left for them. At the house, they’re greeted by Lucia (Maribel Verdu), a former lover of Harris who tended to him in his final years, which intrigues Raymond. Later at the funeral home, Ray strikes up a dialogue with his papa’s hospital nurse Kiera (Sophis Okonedo), who is resistant to his charms. Eventually, they all gather at the cemetery for a memorial service that turns into a multi-hour ordeal because of the unusual (to say the least) requests in Harris’ will, Under that setting sun many surprises come to light and family scandals and secrets are revisited.

The film’s an engaging showcase for the two lead actors and their very distinct performing styles. Slightly tweaking his American accent for a Southeastern twang, MacGregor Imbues the almost always mellow Raymond with a bit of suppressed rage. With each new family anecdote his “fuse” inches toward the long-dormant but still potent “payload. This guy’s sitting on so much that it’s not a question of whether he’ll explode, but when. And McGregor shows us Raymond’s frustration with his sibling and how it’s finely tempered by his growing lust for Lucia. Hawke infuses a “too cool for school” vibe for Ray (though his academic years are long behind him), though his “half-mast” eyes are hiding a deep loss-fueled pain. He’s had his fill of people even though he can’t resist sending off a magnetic vibe to nearly all the ladies. But that “mojo’ is deflected by Verdu who projects her own charisma as the sexy, nurturing exotic goddess (much as in her breakthrough role over 20 years ago in Y TU MAMA TAMBIEN) Lucia who exalts in her passions, offers an escape hatch to Raymond’s crushing disappointments. Also blocking Ray’s charms is Okoneido’s Kierra who recognizes Ray as a damaged soul wrapped in his aloof dude disguise. She heeds her calling to try to ease his pin, but is determined not to be one of his many casual “flings”. Also of note is Vondie Curtis-Hall as the flamboyant exuberant Reverend West who befriended the late papa in his last months.

Writer/director Rodrigo Garcia has created an engrossing look at two middle-aged men grappling with the past and each other while trying to deny the desire for the brotherhood that they each share. Although it begins with mismatched, bickering travelers trapped on a “road trip” first act, once they reach the destination the family drama opens up to take in the quirky characters that Dad had gathered during his last journey. It does seem to meander during the long final act at the gravesite, often feeling like a stage play with each mourner getting some script “business”, which leads to a hopeful conclusion with the promise of a better future and a smattering of redemption. Sure, it remains a family relationship drama, though it’s also an interesting character study worth taking in for the cast, especially the two terrific actors as RAYMOND & RAY.

3 Out of 4

RAYMOND & RAY is now playing in select theatres and streams exclusively on AppleTV+ beginning on October 21, 2022

THE BLACK PHONE – Review

The Black Phone

Ah, the sweet nostalgic dreams of long-gone childhood. Carefree days, full of budding romance, bonds of friendship, and exploring adventures are lovingly recalled. Now, in horror flicks, well…it’s not that endearing. As a matter of fact, so many kids are menaced in terror tales, that it’s almost a “sub-genre”. The wee-ones have been menaced in everything from the classic THE CURSE OF THE CAT PEOPLE to (what they say is) the final season of the streaming sensation “Stranger Things”. Now, one of the “young Turks” of the movie “nail-biters” is ready to put those “brats” through the “ringer”. And his story source comes from an author with a familiar “fear history”. Somehow the biggest creeps come out of the earpiece of a common household device. Do you dare take a call from (creepy announcer voice followed by maniacal laughter) THE BLACK PHONE?

It’s the suburbs of Denver back in 1978, and despite the schoolyard talk of Fonzie and Ritchie, the days are far from happy. Well, the first day we see starts out well enough as fifteen-year-old Finney (Mason Thomas) almost strikes out a batter in the last moments of the big schoolyard game. Almost. But triumph turns to tragedy as a mysterious child abductor called by kids (in hushed tones or he’ll hear) “the Grabber” claims another victim. It’s all the talk between Finny and his devoted kid sister Gwen (Madeleine McGraw). That devotion comes from the “united front” they form trying to deal with their boozy, abusive, surly single father Terrence (Jeremy Davies). Things hit even closer to home when Finney’s protector from a trio of bullies, Robin (Miguel Cazarez Mora) vanishes. And things get more complicated when the police hear of Gwen’s “crime dreams”, complete with details unknown to the public. She’ll make use of her “second sight” when Finney stops to help a bumbling magician (Ethan Hawke) and is knocked out, tossed in a van, and locked in a dingy basement. Nearby the beaten-up floor mattress is a kitchen-style black rotary phone. Of course, it’s unconnected (says the Grabber), but it will ring due to static electricity. But when his captor leaves, Finney is awakened by the repetitive ringing. Out of annoyance, he picks it up…and someone answers. Could the weird voices on the other end be Finney’s ticket to survival and freedom?

Though the twisted images of the Grabber are being used as the film’s big selling point, the power of the production really rests on the young shoulders of Mr. Thomas. Sure, most of it comes from the fact that he’s in nearly every scene, but it all collapses if he doesn’t inspire us to be invested in his struggles, to “root” for him. And we do, from the moment his “big game” takes a lousy detour to his effort to escape his dire straights. In the opening act Thomas shows us that Finney has no sanctuary at home or at school, but he keeps pushing himself forward…leading to his eventual “test’. He’s ably complemented by McGraw, a gifted actress able to shift between comedy (her “prayers’ and police interview) and tragedy as she tries to accept her “dream talent’ even as her papa cruelly tries to drive it from her. Aside from her “visions’, any big brother would be lucky to know she’s “got his back”. Both siblings are bursting with the joy of youth, which makes for a stark contrast to their sullen, inebriated “old man” played with a melancholy rage by Davies. He just wants to quietly crawl into a bottle and drown, but that parental instinct can’t be held down, though his “methods” are often repugnant. Oh, and then there’s the “big bad” himself with Hawke a most unpredictable nightmare-inducer even through the marvelous masks created by makeup master Tom Savini and “legacy artist” Jason (son of Rick) Baker. At times Hawke projects an amiable nature (his goofy charm is part of the “lure”), but the beast explodes when things don’t fall into place as planned. Helping to ease some of the agonizing tension is the comic work of James Ransone as the hyper Max who thinks he can be a great asset to the frustrated cops (“so, we’re working together?”).

Oh, the “young Turk” I alluded to earlier, why that’s Scott Derrickson, who has made a name for himself by helming everything from a HELLRAISER sequel to a Marvel superhero, DOCTOR STRANGE (the first in the franchise). Almost from the start, he’s “toying’ with us, shifting from the “American pastime” right into every family’s worst fear. And then he’ll draw us back in with a wistful recreation of “simpler times” before the “interweb’ and media-savvy kids, but then shock us with a scene of “then accepted’ near-demonic parental abuse. That’s all neatly tied together by the screenplay he co-adapted with C. Robert Cargill based on the short story by Joe Hill. Oh, I also mentioned a “fear history”. That’s because Joe’s the son of Stephen King which may account for the inspirations from IT, STAND BY ME, and even MISERY. But it’s not a series of “touchstones” strung together. Derrickson is a skilled “spookster”, relying on quick cuts and inspired bits of subtle lighting and atmosphere, rather than cheap “jamp scares’ and a blasting music track thanks to the score by Mark Korven. Those wanting their “fright fix” will be more than sated, while many casual genre fans will be “grabbed” (sorry) by the 1970s vibe (though it often feels a few years earlier than the disco days of 78) and entranced by the polished performances by the young leads. And the youngest moviegoers may be stunned to see that their tiny, super-thin devices all sprung from clunky bulky boxes nailed to the walls just like THE BLACK PHONE.

3 out of 4

THE BLACK PHONE opens in theatres everywhere on Friday, June 24, 2022

Win Passes To The St. Louis Advance Screening Of THE BLACK PHONE

Director Scott Derrickson returns to his terror roots and partners again with the foremost brand in the genre, Blumhouse, with a new horror thriller THE BLACK PHONE. Stars Mason Thames, Madeleine McGraw, Jeremy Davies, James Ransone and Ethan Hawke. In Theaters June 24.

Enter to win passes for you and a guest to attend the Advance Screening.

DATE AND TIME:
June 21, 2022 at 7:00pm at Wehrenberg Ronnies 20 Cine

The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated R.

Enter here: http://gofobo.com/hmHLV78461

https://www.theblackphonemovie.com/

Finney Shaw, a shy but clever 13-year-old boy, is abducted by a sadistic killer and trapped in a soundproof basement where screaming is of little use. When a disconnected phone on the wall begins to ring, Finney discovers that he can hear the voices of the killer’s previous victims. And they are dead set on making sure that what happened to them doesn’t happen to Finney.

Starring four-time Oscar® nominee Ethan Hawke in the most terrifying role of his career and introducing Mason Thames in his first ever film role, The Black Phone is produced,

directed, and co-written by Scott Derrickson, the writer-director of Sinister, The Exorcism of Emily Rose and Marvel’s Doctor Strange. 

The film’s screenplay is by Derrickson & C. Robert Cargill (Doctor Strange, Sinister franchise), based on the award-winning short story by Joe Hill from his New York Times bestseller 20th Century Ghosts. The film is produced by Derrickson & Cargill’s Crooked Highway and presented by Universal and Blumhouse. Jason Blum, Scott Derrickson and C. Robert Cargill are producers on the film, which is executive produced by Ryan Turek and Christopher H. Warner.

(from left) The Grabber (Ethan Hawke) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson. Photo Credit: Fred Norris/Universal Pictures copyright: © 2022 UNIVERSAL STUDIOS. All Rights Reserved.

THE NORTHMAN – Review

Alexander Skarsgård stars as Amleth in director Robert Eggers’ Viking epic THE NORTHMAN, a Focus Features release. Credit: Aidan Monaghan / © 2022 Focus Features, LLC. Courtesy of Focus Features

For fans of both director Robert Eggers’ previous film, the historically-based thriller THE WITCH and the History channel’s TV series VIKINGS, Eggers has the perfect film. THE NORTHMAN is a Viking legend of revenge, a thriller packed with Eggers’ signature period-accurate details. While THE WITCH drew on tales of 17th century witch-hunt hysteria in New England, for thriller drama steeped in historically-accurate details, right down to the accents, THE NORTHMAN is a tale immersed the culture of 10th century Vikings, which also gets Eggers’ research-based treatment. THE NORTHMAN is based on the same Norse tale that Shakespeare used for Hamlet, but it departs significantly from the original legend of revenge, to blend in other Norse legends and aspects of Norse culture for another immersive thriller from Eggers.

THE NORTHMAN is about Vikings, so it is no surprise there will be blood, but there is much more in this tale of unrelenting vengeance. In the 10th century, Amleth (Alexander Skarsgard) is a Viking warrior who as the young prince of an island kingdom witnessed the murder of his father, King Aurvandil War-Raven (Ethan Hawke), by his father’s jealous brother Fjolnir (Claes Bang), then followed by the abduction of Amleth’s mother, Queen Gudrun (Nicole Kidman) by his uncle. A boy on the cusp of manhood, the frightened young Amleth (Oscar Novak) fled his homeland, lest he meet his father’s fate, while his uncle made himself king. Now grown, Amleth is part of a group of Vikings preying on Slavic peoples in the east, when he encounters a seeress (Bjork), who reminds the warrior about his boyhood oath: to avenge his father, rescue his mother, and kill his uncle. His homeland since has been were conquered by another Viking king and the uncle lives in exile in Iceland, with Amleth’s mother. Accompanied by a cunning Slavic woman named Olga (Anya Taylor-Joy), Amleth sets off to exact his long-delayed vengeance

The name Amleth easily changes to Hamlet by moving the letter at the end to the front. In fact, Hamlet follows the legend more closely than this tale, although both diverge from it, but writer/director Robert Eggers has more than the retelling of this one tale in mind.

This is Eggers’ third feature film, his follow up to THE LIGHTHOUSE, and this one reunited the director with both one of his stars from that film, Willem Dafoe (who here plays a wise fool/jester, who aids Amleth) and his star from THE WITCH, Anya Taylor-Joy. THE NORTHMAN shares Eggers’ devotion to well-researched historical realism with his other two films but is a bigger, wilder sort of tale. There is much more here about Viking culture, religion and family life, but vengeance and violence are aspects of Viking life and legends too. If you saw the “Vikings” series, some of this will be familiar but things are wilder in this film. THE NORTHMAN gives us a deadly soccer-like (or is it rugby?) game, Beserkers, and a final battle with naked warriors on a volcano.

But Eggers’ bigger goal with THE NORTHMAN is an adventure tale steeped in a more historically-accurate, immersive portrait of Viking culture than usual. was more interested in offering more than that tale. Eggers was after a more historically-accurate view of real Viking culture, beliefs and history, so his blended other legends and details into this script, which he co-wrote with Icelandic historian Sjon. Fans of the History channel series “Vikings” will recognize some elements of the story, but there is much more here, both in the history and the twisty story.

Since this film is inspired by an old Viking legend, THE NORTHMAN also fits in with a recent trend of re-telling old myths, along with the recent GREEN KNIGHT. Whether the people in Amleth’s story were real or not is lost to history, but it’s tale of revenge is a common theme in Viking tales.

The action and storytelling are highlighted with dramatic cinematography by Jarin Blaschke. Much of the story takes place in Iceland, and one could hardly ask for a more dramatic, breathtaking landscape. Eggers’ fills each scene with realistic details, meaning things are not prettied up, but his devotion to historical accuracy deepens scenes as well as adding the unexpected and fascinating. The tale is full of emotion and drama, and also unexpected curves, as Amleth’s path runs anything but straight. Elements of fantasy and Viking beliefs are blended in, including Valkyries and Valhalla, legendary swords and sorcery.

THE NORTHMAN is a wild, crazy, entertaining Viking legend-steeped hero’s tale, filled with violent fights and shocking plot twists, and featuring a sterling cast. If you love myths and history, and don’t object to tales of vengeance and bloody battles, Robert Eggers’ immersive Viking tale with an anthropology bent delivers the goods.

THE NORTHMAN opens in theaters on Friday, Apr. 22.

RATING: 3.5 out of 4 stars

ICYMI: Here’s a Look At Scott Derrickson’s THE BLACK PHONE

The director of DOCTOR STRANGE and the creepy SINISTER movies is back with more nightmares in THE BLACK PHONE. The film opens in theaters February 4.

Every voice is a victim. Every connection is a clue. Every call is a lifeline. Watch the trailer now.

The phone is dead. And it’s ringing.

Director Scott Derrickson returns to his terror roots and partners again with the foremost brand in the genre, Blumhouse, with a new horror thriller.

Finney Shaw, a shy but clever 13-year-old boy, is abducted by a sadistic killer and trapped in a soundproof basement where screaming is of little use. When a disconnected phone on the wall begins to ring, Finney discovers that he can hear the voices of the killer’s previous victims. And they are dead set on making sure that what happened to them doesn’t happen to Finney.

(from left) Finney Shaw (Mason Thames) and Gwen Shaw (Madeleine McGraw) in The Black Phone, directed by Scott Derrickson.

Starring four-time Oscar® nominee Ethan Hawke in the most terrifying role of his career and introducing Mason Thames in his first ever film role, The Black Phone is produced, directed, and co-written by Scott Derrickson, the writer-director of Sinister, The Exorcism of Emily Rose and Marvel’s Doctor Strange.

The film’s screenplay is by Derrickson & C. Robert Cargill (Doctor Strange, Sinister franchise), based on the award-winning short story by Joe Hill from his New York Times bestseller 20th Century Ghosts. The film is produced by Derrickson & Cargill’s Crooked Highway and presented by Universal and Blumhouse. Jason Blum, Scott Derrickson and C. Robert Cargill are producers on the film, which is executive produced by Ryan Turek and Christopher H. Warner.