Weapons (2025)
Director: Zack Cregger
Starring: Julia Garner, Josh Brolin, Amy Madigan, Benedict Wong
Primary genre: Mystery
Secondary genre: Horror
The follow up to Zach Cregger’s “Barbarian” (2022) is another one-word-named horror flick. The second genre entry of 2025 with a sensational trailer that simultaneously spoiled nothing and raised a few hairs (the other being the disappointing “28 Years Later” (2025)) certainly attracted moviegoers and rightfully so. Despite the current dominance of creative saturation, it is good to experience original films that unapologetically avoid established and bloodless routes to cater towards modern day sensibilities. Its central premise - the disappearance of 17 children in a small suburban American town at the exact same time - is creepy considering no meaningful or sinister circumstances were observed during this event.
Cregger leans heavily into the mystery aspect structuring his movie in the same way Paul Thomas Anderson did in “Magnolia” (1999). In an ambitious move, the film goes back and forth in perspectives, giving clues through a new point of view until the inevitable resolution. Cregger’s inserts strong contemporary allegories for the children’s disappearance and bathes his characters in ambiguous morality, a welcome change from the clean-and-cut heroes of the genre who must overcome evil against impossible odds. The key players here feel and behave like regular humans guided by their impulsivity and instinct instead of a strict sense of justice.
“Those kids walked out of those homes, no one pulled them out. No one forced them. What do you see that I don’t?”
As such, “Weapons” is a solid addition in the horror pantheon prompting many to discuss how important its contribution or legacy will be. Without giving anything away, there is some inventive use of cinematography and camera work which suggests a dash of influence from James Wan and an emphasis on an atmosphere of dread. Best described as a cross between “It” (2017) and “The Conjuring” (2013) devoid of the excessive jump scare factor and cacophonic soundtrack, “Weapons” takes roughly two hours to unveil the answers and when things go awry, genuine suspense is being invoked effortlessly due to long camera takes that leave our imagination doing the dirty work as opposed to cheap tactics.
Scary and appropriately tense at times, the film takes several hints from John Carpenter’s “Halloween” (1978) where the tranquility and safety of a small town is being disrupted by a malevolent force (or does it?). The residents start becoming more paranoid looking for answers at all the wrong places echoing the early works of Stephen King in which the movie draws several parallel themes from (e.g., isolation, brutal deaths, alcoholism) including the duality between the Apollonian and Dionysian school of thoughts where primal forces clash with logic in a spectacular fashion.
Hailed as a modern horror masterpiece under a perfect critical score, “Weapons” is not impervious to criticism. It suffers from an “Insidious” (2011) tendency where the bizarre phenomenon is scarier when we don’t know what is going on. Like his previous output, Cregger does offer his audience a concrete (and original) explanation which is to be complemented; subsequent viewings though might take away its disturbing edge. And while its structure is surely a bold move, it tends to extend its running time in the second half until the pretty intense finale.
Supported by solid performances with a remarkable restraint for gotcha! scares, “Weapons” morphs into a genuine surprise which will pick your interest till its last shot. It cements its director as a unique voice in the genre that refuses not bow down to studio meddling or the attractiveness of horror plot holes which propel the narrative and the stupidity of the characters forward.
Well-executed horror mystery
+Well implemented horror moments
+Fascinating and engrossing mystery
+Ambitious structure
+Intriguing themes and metaphors
+Hair raising suspense
+Solid resolution
-A tad too long
-Subsequent viewings might diminish its sinister edge