'Weapons' Review: A Wildly Compelling Puzzle Box
After taking the horror genre by storm with his debut feature Barbarian, writer/director Zach Cregger returns with Weapons, a wildly entertaining horror mystery that easily sidesteps the dreaded sophomore slump.
The central conceit of ‘Weapons’ is simple, but highly effective. After the mysterious disappearance of 17 children from one teacher’s classroom, the police and citizens of a quiet town search for answers in order to find out who or what caused these children to all disappear on the same night. Director Zach Cregger has assembled a strong cast here, utilizing the reliable talents of Julia Garner, Josh Brolin, Alden Ehrenreich, Benedict Wong and Austin Abrams. This talented cast, coupled with Cregger’s unique horror sensibilities make this genre film one that will linger long after the credits roll.
This is a film that hinges on the central performances and thankfully they’re incredibly strong. Garner, who has shown a considerable versatility after finishing up her terrific turn as Ruth in Ozark, is fantastic here. She wonderfully showcases Julie’s growing sense of paranoia, anger, sadness, and frustration as the town turns her into the scapegoat for the disappearances as more time passes without concrete answers. Brolin is just as compelling here, exploring Archer’s grief and search for answers with a deep sadness and palpable guilt. The supporting performances from Ehrenreich and Abrams are also notable, the former playing a troubled police officer hurdling over one obstacle over another and the latter portraying an aimless drug addict who stumbles into something he truly doesn’t understand. Each performance is perfectly calibrated for the film, making each scene in which the characters’ cross paths and interact all the more engaging.
Then there’s Cregger’s script and visual storytelling here which are both phenomenal. From the opening frame, this is a horror film that grabs the viewer, reels them in without resistance, and never lets go. The atmosphere is ceaselessly creepy, unsettling, and even claustrophobic at times, creating a wholly enveloping experience. Cregger unfurls this mystery on his own terms and the slow-burn approach to the central mystery is an inspired choice, constantly keeping the audience on their toes and subverting expectations throughout. The script is tight and fine-tuned, structured exceedingly well, each new chapter of the story adding welcomed and fascinating context to the one before it not only in terms of the mystery but of the core characters as well. It feels as if Cregger put Denis Villeneuve’s Prisoners and Paul Thomas Anderson’s Magnolia in a blender and sprinkled his own distinct flavoring on top in the best ways possible, crafting a story that is as heartbreaking as it is thrilling.
This is not a horror film that aims to have bombastic, lazily orchestrated scares. Cregger aims to build and sustain tension and mystery and he does so effortlessly, letting this story and these characters breath and properly develop, building to a third act that is wildly unhinged and unexpected which makes the waiting more than worth it. Rest assured, he still manages to implement some terrific scares here that are thoughtful and not remotely predictable. Some may feel a bit underwhelmed by the ultimate reveal and resolution to the mystery, but the way in which it’s handled and woven into the context of the story is extremely effective. This is a film that explores trauma, grief, and guilt and puts that focus front and center, resulting in a horror film that feels far less hollow and far more emotionally compelling than most entries hitting theaters these days.
The only notable flaw the film suffers from is its inconsistent pacing. Clocking in at a little over two hours, this is a story that feels a little too stop and go for its own good, dragging in certain chapters and flooring the gas pedal in others. It makes for a rather frustrating, uneven viewing experience that could’ve been honed better in post production in order to give the film a far better flow and narrative propulsion.
Weapons is not only the best horror film this year so far, but it cements Cregger as one of the most exciting new voices in the genre. The talented writer/director’s distinct visual voice and singular storytelling, coupled with a set of outstanding performances, make this a film hungry horror fans will happily eat up and leave no leftovers.