The Black Phone
Director:
Scott DerricksonCámara:
Brett JutkiewiczMúsica:
Mark KorvenReparto:
Mason Thames, Madeleine McGraw, Ethan Hawke, Jeremy Davies, E. Roger Mitchell, James Ransone, Gina Jun, Banks Repeta, Megan Petersen, Kellan Rhude (más)Sinopsis(1)
Un sádico asesino secuestra a Finney Shaw, un chico tímido e inteligente de 13 años, y le encierra en un sótano insonorizado donde de nada sirven sus gritos. Cuando un teléfono roto y sin conexión empieza a sonar, Finney descubre que a través de él puede oír las voces de las anteriores víctimas, las cuales están decididas a impedir que Finney acabe igual que ellas. (Universal Pictures España)
(más)Videos (10)
Reseñas (10)
Scott Derrickson es un buen artesano, sus películas siempre se ven bien. Aquí, sin embargo, intenta combinar el tema del thriller de un secuestrador de niños (realidad) con una historia de fantasmas (fantasía) de una forma más mecánica que creativa, y la verdad es que eso no funciona. Los elementos espirituales sólo cumplen la función del desarrollo de la trama. El villano no da suficiente miedo y está poco descrito. Ni siquiera sabremos su motivo. La línea dramática con el padre débil y violento no tiene suficiente espacio. El motivo de «algún día tienes que defenderte por ti mismo» tiene mucho atractivo, pero sólo está dirigido a un público adolescente. El pilar más estable de la película es el joven Mason Thames en el papel protagonista. De él volveremos a oír.
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Excelente, intrigante, aterrador y triste. Al principio, el ritmo es más lento, la atmósfera está dibujada con maestría, y luego ya llega... Ethan Hawke ciertamente disfrutó el papel, no ha interpretado tantos personajes en su carrera. Gran satisfacción.
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For a film that was supposed to be one of the highlights of this year's horror season, The Black Phone is terribly basic. There's really nothing extra beyond what the synopsis says and what the trailer showed. I kept hoping that Derrickson and Hill held some sort of ace up their sleeve, but alas. It's well made, it has quality actors and likeable characters, a creepy bad guy, but what's the point when it's more period atmospheric than scary, the rules of how the supernatural works float in a vacuum, the finale lasts about a minute, and the only minor plot surprise elicits raised eyebrows rather than appreciative shock at the screenwriter's abilities. A watchable genre film, but we should demand more from Scott Derrickson's cinematic horror.
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In my eyes, Scott Derrickson has done it again, and hasn't faltered once in his career, including that piece of craft slavery in the form of a Marvel movie. He's just a smart kid. I could actually do without the supernatural element here, but I understand that it is crucial to the development of the plot. It's not horrifically spooky, but it's finely unsettling, the seventies production design paces flawlessly, and Ethan's masks are creepy enough to make his personality both repulsive and appealing. And on top of that, a double pleasure: the performance of the charismatic boy Mason Thames and the discovery that Jeremy Davies can give a solid performance if the director leads him to do so. I give a shout-out to the musical dramaturgy for Pink Floyd's "On the Run" (from the album "Dark Side of the Moon") at the very end.
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He's a bad boy, that Ethan, but let's be honest, without his meaty glam rocker, this would hardly be a slightly scarier episode of a cartoon. There are a couple of ideas in there, but they are not the most polished I’ve ever seen. Derrickson surprises us a bit through the fluctuation of tone, and the goofball elements are really out of place. Overall, I wasn’t really blown away by it. Deliver Us From Evil may have been corny as hell, but it had a dense atmosphere. This film oscillates between a cute Stranger Things ballad and a feeble genre hybrid. I am not going to give him any credit next time.
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