'Weapons' review: The kids aren't alright in Zach Cregger's mystery horror

Warner Bros. Pictures

Tomorrow at 2:17 PM, every cool person on Earth wakes up, goes to a movie theatre, sees an original film, has a great time and comes back to tell their friends all about it. You're welcome, Hollywood. In the meantime, let's get fired up for Weapons, a new mystery horror thriller written, directed and co-scored by Zach Cregger.

In the American small town of Maybrook, we meet teacher Justine (Julia Garner) who is dealing with extraordinary fallout that stems from everyone except one child from her class having disappeared, which we learn about from a creepy narration. Questions regarding this incident loom over Maybrook as we follow the story from different perspectives. Archer (Josh Brolin) is a dad of one of the missing kids, Marcus (Benedict Wong) is the school principal, Paul (Alden Ehrenreich) is a cop who's entangled with Justine, and James (Austin Abrams) is a homeless addict and low-level criminal stumbling around. Then there is also Alex (Cary Christopher), the sole kid not missing, who's temporarily cared for by his relative Gladys (Amy Madigan).

Weapons is tossing several balls in the air right from the get-go and trying to juggle them like an entertainer at a carnival for the entirety of its two-hour runtime, which I'm happy to report the movie is able to do. The mystery of these missing kids manages to hook you fairly effortlessly, building an ensemble piece in the process even if we're just in Justine's company for a while, all before ratcheting up the tension slowly but surely when we inch closer to more classic horror elements. You get your unbearable silences, empty hall- and doorway shots, suspicions of supernatural forces, as well as some gruesome gore with FX makeup that is obsessed with poking and stabbing, but it is the ensemble factor that keeps you running alongside the mystery with your arms out.

Structurally, these character-focused chapters won't be everyone's cup of tea, but it does provide a chance to appreciate the work of the entire cast (assembled by casting director Allison Jones) who are delivering on a high level. Garner is reliably great as a high-strung, possibly alcoholic scapegoat at the centre of all this madness; Brolin as the film's emotional anchor balances Archer's complicated feelings deftly, even earning a tear or two towards the end of his arc; and Abrams stands out as the comedic ray of light while never using insensitive addict tropes that could turn James into an annoying caricature, which is really commendable. The crew also struck gold with Christopher who has to carry the last 30 minutes or so and the young actor is certainly giving the project more than was ever required of him. His part is also tied tightly with Madigan who shows up as the wild card, changing the film's energy in a memorable way.

When it comes to the screenplay's themes, ideas and happy accidents, Maybrook's suburbia hides different stages of grief, mortality, paranoia and pain as punishment behind its basement doors. The first three are obvious considering the uncertainty that the parents and educators live with, but the last one manifests itself in different forms. Justine and Paul give into the burn of liquor, James distances himself from the awfulness of the real world with drugs, Archer seeks to lessen his heartache by abusing Justine verbally, others hurt themselves, while several characters inflict violence on others when they're not in control of the situation.

Everything evolves into a reaction to shocking deaths, whether it's something literal or something more abstract like thinking about how you could've saved your loved one or what you'd say to them if given the opportunity. Cregger's story also becomes an allegory for school shootings with its premise and setting, and how this external force is willing to steal the kids' youth, their futures and their potential as long as you get prosperity in return in this devil's bargain. One aspect that the helmer fluffs, though, is the impact of guns because they're used as a form of disturbed justice during the final chapter, which seems like a rather big, problematic blunder. Thankfully this is the only blunder in an otherwise thought-provoking, ambitious and well-told story.

While 2022's 'Barbarian' reintroduced Cregger as a skilful and entertaining writer, this movie is a massive step-up for him as director. You can see this in the aforementioned performances that are challenging because of the tonal tightrope walk, as well as in the craft. Cinematographer Larkin Seiple's incredibly effective camera placement and movement, much more impressive and oppressive sound design, refreshingly lowkey needle drops, and stunts towards the end are just some of the things that have been elevated to meet the writer-director's ambition.

You put all of these perspectives, ambitions and accomplishments into one melting pot and the grand finale explodes like one of the kids' volcanoes they made as a science project. The film definitely veers towards comedy with this denouement—although there are lots of funny moments sprinkled in—which is not only fitting since it's like making a joke in order to alleviate the tension in an awkward situation, but it also feels relatable personally. Looking at the big picture, this is an impressive and creative thrill ride, which is something we need to see more on the big screen, and it cements Cregger as one of the most exciting filmmakers working right now. Whenever we get something that has a distinct vision and feels so original despite wearing its influences on its sleeve, we ought to celebrate. Drinks are on you, not Paul.

Smileys: Story, directing, ending, acting, originality

Frowneys: None

Find these kids, you say? Child's play, I say.

5.0/5

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