‘Weapons’ is Character-Driven Horror at its Finest
Weapons accomplishes an agenda that used to be a hallmark for filmmakers like JJ Abrams. The goal is to surround the narrative with a mystery box format. The intention is to influence the audience to rush to the movie to uncover all the secrets hidden within. The key difference is that filmmaker Zach Cregger clearly understands the assignment better than JJ Abrams ever did.
Similar to Barbarian, Cregger‘s new horror film withholds a lot of information from the audience. Remarkably, Cregger‘s style shows that the mystery box can be more than a manipulative marketing tactic. With movies like Barbarian and now Weapons, the withholding is part of the experience. The goal is not meant to create theories or spark conversations on Reddit. The withholding aims to evoke the same chaotic confusion the characters feel. As a second swing at horror, it’s a wild follow-up that could be among the best movie experiences of the year.
What is Weapons about?
Written and directed by Cregger, the film centers on a town in turmoil after a group of kids ran away from home at the witching hour of 2:17 a.m. Even stranger, every child belonged to a specific classroom run by elementary school teacher Justine Gandy (Julia Garner). Adding further to the bizarre event, every student disappears except for one child, Alex (Cary Christopher). This premise alone could make for an intriguing horror story, but it’s the way everything unfolds that elevates Cregger‘s concept.
The movie isn’t solely focused on the main hook; instead, it shifts between characters’ perspectives to show how the town tragedy affects different people. Initially, we see Julia Garner‘s character, Justine, as the town labels her a pariah since all the kids from her classroom vanished. With Weapons, she delivers some of her best work, portraying a deeply flawed teacher battling insecurities and alcohol dependency. The film then shifts to Archer, a parent of one of the missing children, played by Josh Brolin. One of our first scenes with Archer is at a town hall meeting with angry parents, and like the town, Archer blames Justine for the disappearances.
Next, we meet police officer Paul (Alden Ehrenreich), a married man and recovering alcoholic who has a weak spot for Justine. Like many in town, Paul is one bad day away from losing control, and the escalating events threaten to crack his composure. The film excellently explores other characters, such as school principal Andrew (Benedict Wong) and the remaining student Alex, unveiling each perspective until the mystery starts to emerge.
Zach Cregger skillfully builds tension through character
The screenplay masterfully develops each character’s story, carefully crafting conflicts that build toward an intense crescendo. Cregger‘s patience as a screenwriter allows audiences to connect with each character before amplifying the horror. Barbarian demonstrated this skill well, giving Georgina Campbell and Bill Skarsgård time to develop before the horror strikes. Weapons shows Cregger refining this talent further, evolving into a better filmmaker. The result is that every character becomes painfully sympathetic once horror arrives, making the scares even more effective because we care about everyone.
A significant trigger warning for viewers of the Warner Bros movie Weapons
Although the film is impressive, there’s one specific issue that must be addressed. Obviously, it’s a horror movie; therefore, many characters die. However, there’s one scene that needs a clear warning, especially since The Cosmic Circus is an LGBTQ-friendly website. The film contains a sequence involving a gay couple that is particularly upsetting.
Without revealing too much, it’s one of the most violently intense moments and is heartbreaking as it unfolds. Out of all the victims, it was difficult to see this set of characters depicted in that manner. The sentiment isn’t suggesting any ill intent behind the scenes, but even as a straight viewer, the sequence felt off-putting. And it is the one sequence in the movie where a few people walked out. As a reviewer, it raises concerns to see members of the community relive any possible trauma, especially for a group that is known to face violence through hatred. So with all the love that can be conveyed, proceed with caution.
Weapons has a bonkers finale with impressive cinematography by Larkin Seiple
The Barbarian comparison continues with its out-of-control finale. For a film that is already unpredictable in its design, there is no possible way for anyone to expect how this movie ends. It’s one of the most bonkers finales to any film and one of the best seen this year. Once the mystery is revealed, the narrative takes a wildly bombastic turn, mixing action, horror, and comedy simultaneously. The energy of the movie surges, and the creative team behind the film begins to execute amazing stylistic camera work. And honestly, the visual nature of it all should have been predictable, given it’s from the same cinematographer as Everything Everywhere All at Once.
Cinematographer Larkin Seiple pulls off some masterful work in Weapons. For example, there’s an extensive shot of someone being chased, and the camera hastily runs along behind them seamlessly as if the camera person is also in danger. Additionally, subtle details enhance the tension, such as a scene where a character attempts to escape a house, with the camera positioned from a first-person perspective from the door chain. The angle adds to the dread as the individual struggles to unlock the chain and escape.
Despite at least one sequence that might have pushed a boundary too far, Cregger‘s film Weapons is a relentless and unpredictable ride from start to finish. Like Barbarian, it gleefully withholds all its secrets until the opportune moment arrives to shake up some nerves. And it does so while featuring some of the best character and camerawork this year. Between Sinners and now Weapons, this has been a great year for horror, thanks to Warner Bros.
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