Weapons, Cregger’s sophomore horror, weaves missing children, small-town paranoia, and eldritch terrors into a fragmented narrative that’s both unsettling and audaciously crafted.
Weapons deliver a haunting atmosphere masterfully crafted by acclaimed filmmaker Zach Cregger (“Barbarian”) in this horror narrative centered on disappeared children, creating a batshit horror sensation that rivals any Stephen King movie.
A pivotal scene in the chilling thriller “Weapons” features the sudden appearance of an automatic weapon. This visual jars viewers not only for its unsettling and dreamlike quality but also for its loaded cultural significance: The AR-15 has become tragically synonymous with mass shootings across America. What makes this weapon’s presence particularly disturbing is the film’s central premise involving the inexplicable mass disappearance of 17 children, a plot element that inevitably calls to mind the devastating reality of school violence.
Actor Austin Abrams at the 81st Venice International Film Festival
Photo credit: Harald Krichel, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons
While “Weapons” doesn’t directly address these contemporary tragedies, perhaps it subtly does, or maybe writer-director Zach Cregger, emerging as a new horror auteur, simply aims to unsettle his audience. He demonstrates remarkable skill in establishing and sustaining a foreboding atmosphere, employing traditional horror techniques by hinting at impending doom (things appear grim!) before revealing the full extent of the horror (they truly are!). This approach mirrors his work in “Barbarian” (2022), his first solo directing venture that blends classic horror elements with authentic fears. In “Weapons,” Cregger amplifies those dark undertones, creating a world of eldritch horrors that would make even Sam Raimi proud. Ironically, the most terrifying scene unfolds in a well-lit space, showcasing humanity’s inherent capacity for evil.
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The narrative, told through multiple intersecting perspectives like an expertly designed puzzle, begins shortly after the children’s disappearance in a typical Pennsylvania town. Parents are distraught; the community is in chaos, gripped by communal trauma. Security footage reveals the children leaving their homes unescorted at midnight, seemingly of their own accord. They moved with eerie purpose, as if drawn by sinister powers toward some unknown destination. Each child ran with their arms positioned identically at their sides. The image resembled children playing at flight, a typically joyful sight that here becomes deeply unsettling.
The missing children all shared one classroom. Their teacher, Justine (Julia Garner), has become the inevitable target of parental outrage and hostility, quickly turning into the town pariah. Despite her protestations of innocence and proclaimed love for her students, few parents believe her, including Archer (Josh Brolin), a grieving father to one of the missing children. Her principal, Marcus (a compelling Benedict Wong), shows understanding but has his limits, particularly given Justine’s previous protocol violations at school. Her infractions mainly involved being overly friendly with students, though her apparent familiarity with local alcohol establishments seems more troubling.
Alden Ehrenreich
Photo credit: Ehrnrch, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons
Cregger employs a segmented narrative approach, allowing different characters to drive distinct portions of the story, which creates an intriguing interplay of perspectives. Following a cryptic opening narration from an unseen female voice claiming authenticity, Justine’s storyline accelerates the plot into motion. Garner brings her characteristic unconventional charm to the role, demonstrating her reliable ability to ground even the most extraordinary circumstances. Her natural resilience shines through, revealing an actress equally capable of portraying vulnerability and strength. While Justine struggles with solitary drinking and anxiety, Garner’s inherent intelligence suggests an underlying capability to rise to challenges when necessary, painting her as a compassionate educator caught in an impossible situation.
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The director’s deep appreciation for the horror subgenre is evident in his masterful control of pacing and his understanding of how humor can heighten terror. He expertly manipulates tension, building and releasing it in calculated waves. However, the film’s segmented structure, which presents the story through various character viewpoints, creates a somewhat uneven rhythm in the narrative flow, like a blender working in intermittent bursts.
The varying perspectives present two notable challenges. First, some character viewpoints prove more compelling than others. Second, as the focus shifts from Justine to other characters – including performances by Alden Ehrenreich, Austin Abrams, Cary Christopher, and a particularly strong Amy Madigan – the overlapping narratives and segmentation begin to feel like intentional stalling techniques.
While suspense relies on strategic delay, excessive prolongation risks trying viewers’ patience, especially if the payoff falls short of expectations. “Weapons” delivers a captivating opening and an audacious finale that’s so outrageous – yet so skillfully executed in terms of direction, cinematography, and editing – it elicits simultaneous gasps and appreciative laughter. The middle section proves less successful, featuring a murder scene that verges on gratuitous violence and some tired horror tropes.
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As the story unfolds, we see the community torn apart by parental paranoia and an angry mob mentality. The media frenzy surrounding the mass disappearance only serves to exacerbate tensions, with some individuals weaponizing grief for their own purposes. The film subtly hints at the troubled home lives of some of the missing children, adding layers of complexity to the supernatural premise.
Though “Weapons” might primarily serve as a showcase for Cregger’s directorial prowess, he undeniably possesses the ability to create lasting psychological impact. The film peels back the unsettling facade of small-town America, revealing the darkness that can lurk beneath the surface. While it may not reach the heights of a true horror masterpiece, “Weapons” firmly establishes Cregger as a filmmaker to watch in the genre, capable of crafting stories that linger in the mind long after the credits roll.
Source:
Manohla Dargis (August 7, 2025). ‘Weapons’ Review: These Classmates Are Not All Right. The New York Times. https://www.nytimes.com/2025/08/07/movies/weapons-review.html
Header Image: Actor Austin Abrams at the 81st Venice International Film Festival
Photo credit: Harald Krichel, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons
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