Movie black phone Scott Derrickson, formally belongs to the horror genre. But this is much more than a horror story. Also, one could say that it is connected with the unknown. But it also overflows its usual codes.

Meanwhile, the film is a story that moves through the darkness of murders, ghosts and an urgent desire for revenge. However, the script by Scott Derrickson, C. Robert Cargill and author Joe Hill has more ambition than to scare or inconvenience. What you really need to do is create a snapshot of the core where darkness and the unknown converge. Also the perception of fear as something more than a reaction.

black phone it is built to tell about the perception of good and evil from the darkness of people. One day, accurately describe the state of the horrifying, halfway between fantasy and the realistic brutality of murder. If there’s anything surprising about the film, it’s the plasticity of moving across rough terrain and finding balance.

This is a story about Grabber, a terrifying serial killer (Ethan Hawke), but also a story about his victims. As if that weren’t enough, the drive for revenge turns the motor feeling into something darker. Derrickson takes Joe Hill’s original story and turns it into total darkness. Also, in questions of uncertainty, absence and loss. But above all violence. Bright, unusual and manifested from different perceptions.

AT black phone, horror is expressed in various layers and degrees of depth. And this is its main strength. From Grabber Hawk with his weird mask, black balloons and sense of menace to the famous black phone. The film jumps back and forth through an intricate plot where nothing is what it seems. It might as well seem like a chilling connection between the supernatural and brutal violence. But the script is smarter and invades new spaces with ease. So, the plot of a serial killer, who will face the unimaginable, surprises with its quality factor. Especially when it expands to include ambition, a conscious look at what modern fear can be.

“Black phone” when fear is part of a great mechanism

Derrickson’s film deviates from the usual clichés about the horror genre as a setting for the unimaginable. And while at one point it pays homage to a long selection of meticulous references to the bloodiest cinematography, it’s more than that. Camera follows Grabber, a killer who kidnaps teenagers and tells his true story about what he does and doesn’t show. This ruthless predator has a method, a signature and keeps the trophies. And there’s also the possibility that Grabber, for all his rabid arrogance, could never have guessed. It is this moment that the director explores and makes the most of the script.

Moreover, Derrickson finds the main thing in this narrative in the plot, which simultaneously controls several narrative threads. It is the understanding of the paranormal and the bloody as a whole, supported by a solid story. In 1978 Denver, horror manifests itself in the form of murders. Wave them, in fact, which the film uses as context. Of course, the dark culture surrounding the violent killings allows the director to create a compelling atmosphere. This is the same country that saw the murder of Ted Bundy, Sam Berkovich and was terrified of the Zodiac. The one who watched with amazement the details of atrocious crimes on television.

One of the many arguments in favor black phone, is to use the atmosphere of fear and collective anguish to create an accurate scenario. The one that the director recreates through long contemplative shots and the never-ending sense that evil is lurking. He also does this by providing Finny (Mason Thames), a scapegoat for a heartless criminal, as a gateway to something more disturbing. The whole structure of the film works on his ability to engage in dialogue with terrifying spaces.. The Grabber method and its domain, consisting of a basement prepared for a crime. And Finny’s fight for survival. For opposing Grabber and allowing him to suffer at his hands. And also from the darkness lurking in the very center of darkness.

Closed doors in the “Black Phone”

that’s when black phoneFind your best moments. Grabber will have to face an unexpected element. This will test his ferocity, violence and cruelty. But at the same time, it will show that inside every horror story there are immaterial monsters, much worse than visible ones. Derrickson takes the best moments from Hill’s history and constitutes a cruel concept of suppression, survival and, in the end, evil. One is twisted, poisonous and about to destroy all the characters in the movie.

Of course, the old black telephone on the basement wall is the centerpiece of the film’s supernatural play. But Derrickson doesn’t fall into the trap of giving the impression that this is the most important, and therefore irreplaceable, element. black phone much more than an advertisement for deep psychological horror. It is the world that gives rise to its nuances and, most disturbingly, the dark beauty that results from their combination. Perhaps his greatest merit.

Source: Hiper Textual

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