30/10/2025

LYFE THURSDAY | OCT 30, 2025

25

Black Phone 2 dials up horror ante S COTT Derrickson’s Black Phone 2 moves from the dim streets of suburbia to the isolated grounds of Camp o Ethan Hawke reprises chilling role as masked serial killer The Grabber Ű BY AMEEN HAZIZI MOVIE REVIEW

0 Director: Scott Derrickson 0 Cast: Mason Thames, Madeleine McGraw, Ethan Hawkes, Demián Bichir, Jeremy Davies, Miguel Mora

Alpine Lake, a snow-covered summer camp frozen in time. The shift in setting gives the sequel a fresh visual identity, but the story itself feels too eager to explain everything. Instead of the quiet tension and ambiguity that defined the first film, this instalment leans on heavy exposition, spelling out backstories and motivations that might have been better left to the imagination. If the first film grounded its horror in the realism of random suburban kidnappings, this sequel leans more heavily into the supernatural, blurring the line between the living and the dead. The sequel sees the return of Mason Thames as Finn “Finney” Blake, the Grabber’s only known survivor, and Madeleine McGraw as his psychic younger sister Gwen, who now takes a more central role. Ethan Hawke reprises his chilling role as The Grabber, the masked serial killer who was previously killed by Finney. Joining the cast are Demian Bichir as Armando, the stern supervisor of Camp Alpine Lake, and Jeremy Davies as Terrence, the troubled father of Finney and Gwen. Miguel Mora also returns but this time portraying Ernesto, the brother of Robin Arellano and one of the Grabber’s past victims as well as Finney’s close friend, after playing

PLOT

7

E-VALUE

8

ACTING

8

Finney answering the phone to a ghostly Grabber.

Robin himself in the first film. The focus this time is clearly on Gwen, with McGraw stepping into the spotlight as the real lead. She gives a strong performance that fully establishes her as a modern scream queen, although the marketing never hinted at her taking centre stage. Thames, on the other hand, delivers a more angsty and withdrawn take on Finn, still carrying unspoken trauma of what happened before. It is a noticeable shift that shows how much the events of the first film have changed him. The story dives into The Grabber’s

past, making him more complex but less frightening. By connecting him too closely to the Blake family, the film loses the unsettling mystery that once surrounded him. Derrickson also explores Finn’s psychic connection, suggesting his phone calls in the first movie came from his own medium-like abilities rather than the basement dungeon being haunted. Visually, Black Phone 2 stands out. Derrickson brings his A-game, with strong editing, clever camera work and an atmosphere that recalls the unnerving grainy film tone of Sinister (2012). The icy, snow-filled backdrop and synth-heavy soundtrack capture the 1980s sound aesthetic accurately, even if the setting may not feel as terrifying for viewers. The Grabber remains a striking horror figure, cruel and menacing as ever but his return feels strangely weightless. With no major deaths or lasting consequences, the danger seems muted and the story’s tension less impactful. Overall, The Black Phone 2 is a stylish and well-acted sequel that sometimes tries too hard to expand its mythology. It remains a solid follow-up, but at this pace, the series risks heading down the same path as other overextended horror franchises. One can only wonder how much more The Grabber has left to say.

Gwen (McrGraw) being hunted by The Grabber.

Thames gives a more brooding and moody take on Finney.

Hawke’s The Grabber returns from the dead to haunt the living.

Tomonari Sora unleashes battle cry with Hoko for Kingdom season six cries and thundering footsteps directly from the field. Sora’s artistic momentum has been undeniable. Earlier this month, he delivered a standout

RISING artiste Tomonari Sora is continuing his rapid ascent as one of Japan’s most dynamic new voices with the digital release of Hoko , the ending theme song for TV anime Kingdom season six, available from Oct 19 across all major streaming platforms. The release coincides with the premiere of the anime’s ending sequence video, now live on the official Kingdom YouTube channel. Written, composed and arranged entirely by Sora himself, Hoko centres on the theme of “a clash of convictions” – a sonic embodiment of courage, struggle and unwavering belief. To capture this intensity, Sora collaborated with an American football team, recording the real sounds of protective gear, battle

high-profile collaboration with one of Japan’s household snack brands, pairing its fiery energy with the rich flavour of a new “Pure Potato” chip campaign. The partnership underscores Sora’s ability to blend art and mass appeal – his sound transcending boundaries between underground and mainstream. As he continues to blur the lines between music, storytelling and emotion, Sora stands poised to become one of Japan’s most compelling exports – an artiste whose sound knows no borders.

The result is a visceral, cinematic soundscape that mirrors the ferocity and soul of Kingdom’s world – a track that channels conviction not only in its lyrics, but in every layer of its sound. With its commanding energy and emotional depth, Hoko marks another powerful chapter in Sora’s artistic evolution – a fusion of experimental sound design, emotional storytelling and fearless originality.

performance at Avex Music Night, an exclusive showcase held during Groovedriver Festival as part of the Singapore Grand Prix 2025. Commanding the stage with magnetic presence, he had the audience chanting his name in unison. His music has also found resonance beyond the stage. Fan-favourite track Demons Banquet was recently tapped for a

Sora is an up-and-coming Japanese artiste and producer known for his intricate wordplay, metaphor-rich lyrics and bold, aggressive soundscapes.