“Arm like a mint!” a character exclaims at a key moment in 2021’s The Black Phone and I’ll admit right now that, when I heard that line, I rolled my eyes so violently that I’m lucky that I didn’t lose one of them.

It’s one of those lines that reminds us that we’re watching a movie that’s based on a short story and that the dialogue that works in a piece of literature can often sound awkward and forced when heard on film.  It’s a line that, at least for a few moments, took me right out of the movie’s reality and reminded me that I was watching was indeed just a movie.

There’s actually a few moments like that in The Black Phone but, fortunately, there’s more than enough that works about this movie to make up for what doesn’t work.

Taking place in a Denver suburb in 1978, The Black Phone deals with the evil activities of a serial abducted and murderer who is known only as The Grabber (Ethan Hawke).  The Grabber (who really should demand a better nickname) has spent years grabbing children off of the street and then holding them prisoner in his basement before killing them.  The Grabber drives a van and he usually wears a mask.  The mask is creepy but it also tells us something about The Grabber’s personality.  Obviously, when he talks the kids into getting into his van (or getting close enough for him to grab them), the Grabber can’t wear his mask so he’s not wearing the mask so he won’t be identified.  Instead, he wears the mask as perhaps a way to keep his “normal” life separated from his life as The Grabber.  Maybe that’s how this middle-aged man justifies being everyone’s worst nightmare.  Perhaps he tells himself that he’s not responsible for what he does when he puts on the mask.  Once he puts on the mask, anything bad that happens is the fault of The Grabber.

The Grabber’s latest victim is Finney (Mason Thames).  While Finney waits in the basement, his father (Jeremy Davies) struggles with his own alcoholism and his sister, Gwen (Madeleine McGraw), tries to get someone — anyone — to take her psychic visions seriously.  Gwen is determined to find and rescue her brother but, early on, the audience realizes that only Finney can save himself.  Fortunately, Finney has some help in the form of the ghosts of the Grabber’s other victims, all of whom call Finney on a black phone in the basement.  They offer Finney advice on how both to survive and how to fight against The Grabber.  Some of the ghosts are angry.  Some of them are surprisingly cheerful.  All of them are understandably eager to help Finney fight their murderer.

It’s an effective film, even if it does feel a bit overlong.  The film is based on a short story and it’s hard not to feel that the story would have been better served by a 30-minute short film than an obviously extended feature film.  That said, The Grabber is a genuinely creepy villain and the film leaves you feeling as if anyone in the film could easily become his next victim if Finney doesn’t figure out a way to get out of that basement.  Interestingly, by casting the handsome Hawke as a child abducted and murderer and the nervous Jeremy Davies as an imperfect father who wants to do better, the film challenges our assumptions about both characters.  The Black Phone is a film that effectively captures the terror of everyday life.