I just got out of seeing Zach Cregger’s Weapons, and honestly? This is why I go to the movies.
When Barbarian hit back in 2022, it was one of those rare horror experiences where you walked out of the theatre telling every friend you had: “Go see this. Don’t read anything, just go.” I even rewatched it this week to get in the right headspace. Cregger’s debut had that perfect blend of seriousness and total left-field wackiness, told through an unconventional, multi-perspective structure. It was smart, surprising, and just flat-out fun.
So yeah, my expectations for Weapons were high. And they were met. Actually—surpassed.
A Mystery Hook That Pulls You In
From the start, the marketing kept things tight-lipped. The most we knew: one night at 2:17 a.m., 17 out of 18 kids in a class leave their homes at the same time and vanish into the dark. Julia Garner plays their teacher. Josh Brolin plays the disgruntled parent of one of the missing children. That’s it.
And that mystery works. It hooks you. It makes you lean forward from minute one.
The Slow Burn That Pays Off
Let’s get this out of the way—Weapons is a slow burn. Not in the “I’m bored and checking my phone” way, but in the “I’m glued to the screen because I need to know how this pays off” way. Cregger’s storytelling again shifts perspectives, dropping breadcrumb reveals here and there, pulling you deeper into the puzzle.
The whole time, I was thinking: Please stick the landing. And when the ending came? They stuck it. Perfectly. One of the most satisfying final acts I’ve seen in a long time. You could feel it in the theatre—everyone was locked in and just riding that wave together.
Performances That Sing
The film is masterfully crafted—the editing, score, pacing—but the performances make it soar. Julia Garner is absolutely phenomenal here, tapping into the same fire she showed in Ozark. Josh Brolin brings this raw, layered mix of grief, anger, and stubbornness. Amy Madigan pops up in a role I won’t spoil, but she brings some of that Barbarian-level chaotic energy that lights up the screen. Even Cary Christopher the young actor playing Alex gets his moment in the spotlight in the third act.
Balancing Tones Without Losing the Edge
For a film dealing with missing children—a weighty subject—it’s surprising how funny Weapons can be in places. Not in a way that undercuts the tension, but in a way that makes the world and characters feel lived-in and human. It’s a tricky balance, and Cregger nails it.
The Bigger Picture
It’s no wonder there was a bidding war for this script. Jordan Peele reportedly wanted it bad enough that, when he didn’t get it, he fired his representation. And while I’d be fascinated to see the Peele version, what we got here feels just right. With Weapons, Cregger cements himself in the conversation with Peele and Robert Eggers as one of the top horror voices working today.
Next up for him is a Resident Evil adaptation, which is a big tonal shift into more action-heavy territory. After Barbarian and Weapons, I can’t wait to see how he handles it.
Final Verdict
See Weapons in theatres. See it with an audience. Don’t let it get spoiled for you. This is tense, smart, funny, and deeply satisfying filmmaking from start to finish. A true slow burn that rewards your patience in spades. We need more movies like this every single year.
Weapons = 93/100
