“Weapons” Is Smart, Scary, and Full of Surprises

Weapons opens with a disorienting, dreamlike image: children sprinting from their homes in the dead of night, their arms held out in a “full-on Naruto run” before vanishing into the dark. An eerie child’s narration plays overhead, instantly creating a chilling vibe. The hook comes when only one child returns. The rest are gone without a trace, leaving a quiet, simple premise that allows something mysterious and unsettling to creep in.

Director Zach Cregger (Barbarian) returns with a horror film that aims to unnerve you, emotionally and psychologically. Told through a fractured, chapter-like structure, the story unfolds through the eyes of characters like Justine (Julia Garner), Archer (Josh Brolin), and others. As a town grapples with the mysterious disappearances, each character explores themes of grief, guilt, addiction, obsession, and fear. Each chapter shifts in tone, tension, and horror, yet they all connect to one dark, aching mystery. Cregger successfully keeps you invested by leaving you in the dark about what’s happening or what’s going to happen. You have to invest in these characters to be rewarded with a great storyline. The eerie tone blended with humor Cregger mastered in Barbarian is back here, but with intermittent narration. 

The Acting: Our Guides Through the Darkness of Horror

Justine played by Garner at first as seen as the traumatized, ridiculed and harassed teacher, because the students in her class, except one, is accused of being connected to the children’s mass exodus. While she appears innocent and deeply caring, the film’s non-linear narrative gradually reveals her complex past and questionable actions. Garner does a great job of balancing the two sides of the character so that you don’t hate her nor root for her completely, you understand why she’s in this story and why people have their assumptions about her. 

 Brolin has a standout performance as the father of one of the missing children. You can tell he’s tormented, is pulled by guilt, stressed out, and is dedicated to finding out what was wrong with his son by any means necessary. He’s intense in some moments, but who wouldn’t be in this situation? He also has some comedic moments in the film that I find to be memorable. What I love about the film is how you barely see his wife, he’s uninterested in his construction job; it puts him in a place where you feel Archer is laser-focused on his children and nothing even matters. 

There’s more great acting here from the other cast members, especially from Austin Adin as James and Alden Ehrenreich as Paul. They’re easily the funniest characters in the film and bounce off each other perfectly. Benedict Wong as Principal Andrew was a solid casting choice, too; he’s chilling as this zombified, mindless version of himself. I know Brian Tyree Henry was initially set to play the principal, and I would’ve loved to see his take, but Wong definitely delivered. And shoutout to Amy Madigan as Gladys, Alex’s aunt, she’s very creepy. What’s wild is no one else in the film seems creeped out by her except Andrew’s assistant, who reacts exactly how I would’ve. She’s like, “Something ain’t right with you, lady.”

What really stands out is how the film allows room for moments of humor without ever deflating the tension. It’s a delicate balance, but Cregger pulls it off. He’s not afraid to make you laugh before slapping the smile off your face with a jump scare or scary image. It’s really hard to write comedic timing, nevertheless, comedic timing in a horror film, but it’s a success in this film as it was in Barbarian. 

The Craft of Fear

The scares in Weapons are creepy, some stealthy, and well-executed. There are jump scares, yes—but they don’t feel cheap or wasted. It’s the kind of horror that gets under your skin, like some of these mind-controlled beings actually do: sudden noises, haunting visuals, and that feeling that something is very wrong, even in broad daylight. It’s kind of like Freddy Krueger haunting people during their naps or micro-naps in the day. You couldn’t tell if the characters were dreaming or actually experiencing it.

The sound design especially deserves praise, as each creak in the floor, broken twig, snapping bone, and skull smash builds tension until you’re clutching your seat, I know I did.

Cregger’s chapter-based direction gives the film structure without ever feeling repetitive; it’s like an R-rated R.L. Stine story come to life. Each segment feels distinct yet interconnected, and the pacing never drags. One chapter even follows a drug addict’s perspective, who saw that coming? Not me! It’s the kind of movie you’ll want to rewatch just to catch the clues hiding in plain sight. I even noticed a few logos and posters that might be Easter eggs or deeper interpretations.
There’s something satisfying about a horror movie that respects your intelligence. Weapons isn’t chasing cheap thrills—it’s digging into what happens when the unexplainable crashes into everyday life. It explores how trauma reshapes relationships, how fear distorts memory, and how grief opens doors we’d rather keep shut. 

I still have questions about how the entity’s powers work, but maybe that’s the point—it keeps you guessing about why these kids vanished and how. There’s definitely an IT-like quality to it that I haven’t fully wrapped my head around, but it doesn’t distract from the film’s impact. If anything, it makes the mystery more compelling.

The Conclusion

Weapons is a rollercoaster, terrifying, thoughtful, and at times unexpectedly funny. It’s easily one of the best horror films of the year. Yes, I’d rank it right up there with Sinners. Cregger is quickly becoming one of the most exciting filmmakers in horror, which might explain why Jordan Peele reportedly fired some of his Monkey Paw team after losing a bidding war for Weapons. I’m giving it a strong 9 out of 10. And yes, it’s worth seeing in theaters. Just… don’t go alone—bring someone to scream and laugh with.