Weapons

Released August 8, 2025

Written and Directed by Zach Cregger

* No Spoilers - but some brief discussion about general story structure and the tone of the climax - this movie is better when you know less *

Having just watched 2022’s Barbairan, I was excited to see what writer-director Zach Cregger’s twisted mind would cook up next. Weapons is a creative, unpredictable, and tonally varied horror thriller, that is as funny as it is creepy. It’s best to go in with as little information as possible beyond the basic premise: a group of children inexplicably vanish at the same time.

The story that follows weaves together multiple interconnected threads, slowly drip feeding the audience so that each revelation sparks two more questions. Most of those get answered, but, with some exceptions, they rarely led to anything moving or revelatory. It’s rich with mystery and intrigue but light on thematic depth or meaningful character arcs.

Told through a clever non-linear narrative reminiscent of Christopher Nolan, but more focused on how the story is told rather than what it’s telling. The last act pulls those ideas together wonderfully but there were still some abandoned threads and themes left hanging. Manipulation, the power of perspective, and parasitic relationships are portrayed throughout, often through subtle background details, but they often feel underdeveloped and shallow. The title, some overt imagery of firearms, and parents mourning their school age children beg for commentary on school shootings in the United States, yet that theme is left completely untapped.

Defying genre, Weapons sits primarily in horror-thriller-mystery territory, but there is so much absurdity and humour that my theatre was laughing more than it was screaming. This is clearly Cregger’s intention. Sure, there are a handful of jump scares and plenty of gratuitous violence, but even that is designed more for laughs than fear. (Still warrants a warning to those who are squeamish) Without spoiling anything specific, the finale is immensely cathartic and comedic. Completely out of left field, yet utterly satisfying. Once you’ve seen it, you’ll know exactly what I mean.

The cast is stacked with A-listers (many of them coincidentally Marvel alumni) and everyone delivers. Julia Garner (Fantastic Four: First Steps) channels an anxious paranoia that is infectious, while delivering for the comedic bits. Josh Brolin (Avengers: Endgame) embodies the pain of a grieving father, driven by cold determination. He certainly has an edge but feels like a softer version of Hugh Jackman’s character in Prisoners. Unlike most others, he actually gets a satisfying arc.

Benedict Wong (Dr. Strange) is quirky and endearing as the school principal. Alden Ehrenreich (Ironheart) nails the neurotic, hot-headed cop, and his dynamic with desperate drug addict, Austin Abrams (Wolfs), is hilarious. However, child actor, Cary Christopher (Mank) gives the stand out performance. Like Brolin, he gets genuine character development, delivering a heartbreaking performance mostly through facial expression and posture.

Visually, this is more restrained and less experimental but still strong. The extreme close-ups, dread-inducing static frames, and an intense (though brief) chase sequences stand out. I watched this in a laser projection theatre (which should have boosted the contrast and colour range) but most of the film’s night time scenes felt drab, dull, and flat. A sharp contrast from the varied and dynamic style of Barbarian.

The sound design is phenomenal, with one of the best moments coming from the sound of a car door opening off-screen, breaking a tense silence and causing the whole theatre to gasp. The car chase where we are put inside the police cruiser was full of satisfyingly rumbly bass and screeching tires. The music is perfectly creepy, with modulated hums, undulating pulses, and sharp strings that are all deeply unsettling. Cregger shares credit with Hays and Ryan Holladay, and the work here deserves serious praise.

Despite my thematic criticisms, I loved the way this was told. Especially how it was divided into chapters for each character, showing us the same events unfold from different converging perspectives. It’s not a new technique, but it’s used to great effect here, smoothing over some of the more jarring tonal shifts and exaggerating others to underline narrative turns.

Weapons is a genre-defying, intricately interwoven narrative that drip feeds its story to keep the audience intrigued, frightened, and laughing all at once. Though it tells its story masterfully, the underlying themes lack focus, feel underdeveloped, and leave its message unclear. It’s creepy, tense, and as much a dark comedy as it is a horror thriller.

In spite of its unique narrative structure, fantastic acting, and brilliant sound, I am left feeling torn (pun intended). This feels more like a ride than a compelling and meaningful experience. However, in an era of endless reboots, sequels, and adaptations, I am happy to see an imperfect but original story for a change.

7.5/10 - Not as surprising or inventive as Barbarian, but worth your time nonetheless. While Weapons borrows from many other films, it feels wholly unique. Think Prisoners, meets Stranger Things, meets The Mare of Easttown, with an absurdist comedy sprinkled on top. This is a horror fable, steeped with small town vibes, and lots of laughs.

…I’ll never look at a vegetable peeler the same way again.

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