‘Weapons’ Review: Zach Cregger Cements Himself as a Genre Icon in His ‘Barbarian’ Follow-Up

Two years after making his unforgettable entrance as one of the next great genre filmmakers with Barbarian, former Whitest Kid U’Know Zach Cregger has returned with the similarly ominously titled new horror flick, Weapons. This ambitious, creepy odyssey has been hyped up ever since it was first announced, as back in 2023, all the major studios reportedly went hog wild attempting to get the rights to the film, with New Line Cinema ultimately winning it.

Yet, if you are expecting a traditional fast-paced horror flick full of jump-scares and moments that are made to make the audience break out in applause or terror, well, maybe you should go back and rewatch Barbarian.

What Is ‘Weapons’ About? 

Weapons is the kind of movie where the less you know about the plot walking in, the better. Much like Barbarian, it is a film that is built around a central mystery Cregger has crafted that is designed to mislead you. Set in the small Pennsylvania town of Maybrook, the movie kicks off in a beautiful sequence set to George Harrison’s “Beware of Darkness,” as 17 third graders leave their homes at 2:17 a.m., running with their arms spread out as if they are anime ninjas.

The people of Maybrook are obviously very concerned, many pointing to the fact that all of the kids who vanished were in the same class taught by Justine Gandy (Julia Garner). In fact, all but one of her students disappears, leaving the lone Alex Lilly (Cary Christopher) to carry on at Maybrook Elementary.

Weapons tells its story in six distinct chapters, arranged in a nonlinear fashion, with each section focusing on a specific character, including Justine, Alex, concerned and angered parent Archer Graff (Josh Brolin), volatile police officer Paul Morgan (Alden Ehrenreich), unhoused junky James (Austin Abrams), and school principal Marcus Miller (Benedict Wong). The first five chapters end on ambiguous cliffhangers that may or may not be answered later, but one thing is certain: For as much of a slow-burn that Weapons is, it is never not fascinating.

Zach Cregger’s Big Risks Pay Off in ‘Weapons’

Cregger’s direction is confident and assured, and in only his second film, he makes his ambition feel effortless. A lot is going on within the world of Weapons, with complex characters and a layered mystery, and Cregger pulls it off effortlessly. Yes, there are a few loose ends that are tied neatly up, but it feels intentional, and it all leads up to a bold and unforgettable third act that only a filmmaker like the young horror auteur could pull off as successfully as he does.

The cinematography from Larkin Seiple is equally transfixing and spine-chilling (though a little dark), making the town of Maybrook feel like a suburban hellscape. From tracking shots following the characters walking into liquor stores or even more nightmarish sequences showing a character witnessing a giant assault rifle floating over a house, Weapons has a unique look to it. This is all aided by an incredible score from Cregger, Ryan, and Hays Holladay. 

Weapons is as effective as it is because of the unpredictability of the story. Cregger is never one to stray away from swinging for the fences, and he makes the wild nature of the twists come across as seamless. It’s bizarre, but never at odds with the rest of the film. That’s because Cregger has never fully rejected his background in comedy; he still finds ways to make us laugh in even the most despondent of situations. Whether it be because of the sheer audacity of the narrative choices or simply just how characters react to certain situations, the laughs never feel like they are at odds with the rest of the movie.

‘Weapons’ Is Perfectly Cast All-Around

While watching Weapons, it’s hard to imagine that the film almost had a completely different cast. Back when Warner Bros. and New Line first acquired the film in the spring of 2023, Renate Reinsve, Pedro Pascal, and Brian Tyree Henry were cast in the roles of Justine, Archer, and Marcus. Due to the dual WGA and SAG-AFTRA strikes, these three eventually had to depart from the project. Yet, the final product makes the argument that maybe this was for the best. That’s not to discredit the talents of those three performers, far from it. But every single cast member in Weapons fits their roles perfectly.

Garner’s Justine starts as someone who appears very innocent and pure, but as her storyline progresses, we realize she’s far from a model citizen. Garner gives a performance that comes from a place of understanding; you still feel for Justine, she’s human, but the skeletons loom larger and larger.

Brolin, known for playing gruff characters, is also able to give a vulnerable performance as Archer, playing off his usual persona. Much like Justine, Archer isn’t a model citizen, and his grudge against Justine builds a sense of tension that feels uncomfortably real. Yet, we also can’t help but root for him at the end of the day.

Ehrenreich and Abrams are also major standouts, playing a darkly comic version of cop-and-robber. Their storylines have tonal echoes of the Safdies, while still playing into Cregger’s specific style of writing, constantly having the audience question who these characters really are. Without a doubt, the movie’s greatest performance comes from Amy Madigan as Aunt Gladys, giving one of the most unhinged outings you’ll see in a movie all year. The same goes for Cary Christopher’s Alex, which goes down as one of the strongest child performances of the year.

‘Weapons’ Is Not What You Think It Is and That’s a Good Thing

If you’re expecting something tonally in line with The Conjuring or Insidious, that’s not what you’re going to get with Weapons. It’s horror, certainly, but there are also hints of the Coen Brothers and Paul Thomas Anderson in its knack for morbid humor, as well as traces of drama that you normally wouldn’t get from a studio horror movie.

Weapons is bound to be over-analyzed by many, and some have already dubbed the film as being about “nothing.” It’s not that. This is a film where multiple rewatches will feel rewarding, and it’s one that will cement Cregger as one of the greatest genre filmmakers in the business.

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