Zach Cregger knows how to make the horror genre both bizarre and gripping. Like his previous directorial Barbarians, Cregger’s latest, Weapons, takes a small-town mystery and spins it into something strange and deeply unsettling, yet funny at times. The film takes an incisive look at how fear can rip a community apart.
Cregger gets into the heart of the issue with the first scene itself. At exactly 2.17am one night, 17 children in a small town get out of bed and run into the night. Their arms are stretched out like toddlers pretending to fly. None of them return.
The next morning, teacher Justine Gandy (Julia Garner), enters her classroom. Every desk is empty except one. Only one boy, Alex (Cary Christopher) was present in class. The town turns its anger toward Justine. People accuse her of hiding something or having caused the tragedy. Some even call her a witch.
Cregger tells the story in chapters. The focus moves from one character to another. After Justine, the film follows Archer Graff (Josh Brolin), a grieving father. The story then shifts to Paul, a police officer played by Alden Ehrenreich; James (Austin Abrams), a drug addict; and Marcus, a school principal played by Benedict Wong. Each section gives a new view of the events — much like Rashomon — and changes viewers’ perspective of how the events unfolded.
The final chapter delivers the most disturbing images, edging into body horror. Cregger stands apart from many modern horror filmmakers by refusing to over-explain. His storytelling style lets mystery drive the fear. The audience is free to decide how much meaning to attach to the events. The film invites interpretations about mass panic, parental helplessness and the fragile nature of community trust.
The acting is strong throughout. Garner holds the film together with an intense performance. Brolin shows grief in a raw and volatile way. Ehrenreich gives one of his most effective performances, playing a man already troubled by personal problems, including an affair with Justine, before the tragedy even begins. Abrams and Wong make the most of their smaller roles, adding weight to the story.
The film’s technical work is impressive. Cinematographer Larkin Seiple, known for Everything Everywhere All at Once, uses the camera in inventive ways. It is placed on a car door as it slams, runs alongside a character in motion, or hangs above a body falling to the ground. Editor Joe Murphy keeps the multiple timelines smooth and engaging. The changes in perspective feel natural rather than confusing.
Humour plays an important role in Weapons. The film finds moments of sharp, unexpected comedy in the middle of fear. These moments make the characters feel more human. The humour never weakens the horror. It gives the audience brief relief before the tension rises again.
