Movie review
October 15, 2025 · 114 min · R
Woke Score
Lower is better
Review
Black Phone 2 is a supernatural horror sequel set in 1982. Four years after the first film, Finney Blake struggles with trauma while his younger sister Gwen receives dream calls from the black phone and visions of three boys murdered years earlier at Alpine Lake, a Christian winter camp. The siblings and a friend go to the camp during a blizzard, uncover ties to their family's past, and confront the Grabber's ghost, which has grown stronger in death. Gwen takes a leading role through her visions and uses prayer and faith to fight back.
Breakdown
These are the editorial factors and ratings behind our score for Black Phone 2.
Woke representation / casting
Some supporting roles feature Hispanic actors in positions that fit the 1980s camp setting and characters. Gwen drives action through her established visions and family connection. Marketing and reviews show no identity signaling, quotas, or emphasis on representation.
Woke political dialogue
No activist or political speeches appear. Dialogue centers on trauma, family secrets, supernatural threats, and personal faith.
Identity-driven story themes
The premise follows classic horror patterns of lingering evil, trauma, and family history. No race, gender, sexuality, or identity-focused arcs or messaging drive the narrative.
Western institutional / cultural critique
The Christian camp has a past of covering up murders that serves the horror plot and tension. Characters counter the evil through faith and family rather than modern institutional or cultural critique.
Woke character or canon changes
Not relevant. The sequel continues the established characters, premise, and source elements without ideological reinterpretations.
Anti-woke backlash and complaints
No significant anti-woke or right-leaning complaints accuse the film of pushing woke, DEI, identity politics, or activist messaging.
Creator track record context
Key writers and the director have low activist records focused on horror and, in Derrickson's case, faith themes. Some producers show moderate liberal comments or past diversity mentions, but these do not shape the film's traditional horror content or marketing.
Production
