In the spellbinding mystery ‘Weapons,’ six characters reveal bloody slices of the truth

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The emergence of evil appearing more convincing than its demise is a common theme in implausible horror films that require viewers to accept that curses can be lifted, killers vanquished, and nightmares neatly resolved. However, filmmaker Zach Cregger prefers to create chaos. His critically acclaimed debut, the 2022 release “Barbarian,” intertwined multiple storylines within a single basement, startling audiences with an abrupt shift in tone and a conclusion that left unanswered questions. “Weapons,” his latest work, is a more ambitious demonstration of intentional disorder. This intriguingly disorganized narrative brings together six characters without clear-cut heroes – these chaotic victims never fully understand the reasons behind the violence they encounter.

The narrative unfolds around an anonymous young girl, who hints at a hidden, inexplicable crime that the townsfolk are ashamed to discuss. The heart-stopping incident involves all 17 third graders mysteriously disappearing during the night, leaving only their ghostly silhouettes imprinted on the minds of those left behind. In a chilling sequence, editor Joe Murphy vividly portrays each child dashing into the darkness, arms extended like paper airplanes, signaling the magnitude of the town’s calamity, even though only two of them are personally identified. A month later, as the story resumes, there is still no sign of the missing children returning home.

As a movie enthusiast, I’ve found myself puzzled: “What gives here?” The character Alex, portrayed with somber depth by Cary Christopher, seems to have been left behind in the storyline. Interestingly, director Cregger started writing the script without even knowing the answer himself, and this exploratory process is evident in the plot development. Unlike some movies where events are contrived for convenience, here the characters’ narratives intertwine organically – it’s as if they’re following their natural paths instead of being forced into predetermined patterns. Each part of the story adds another layer to the overall picture, much like Cregger is stacking transparent sheets on top of an overhead projector, gradually revealing a fuller image.

The story begins with Justine, a teacher played by Julia Garner, being confronted at a packed meeting by upset parents who suspect her of either negligence or complicity, particularly Archer (Josh Brolin), whose son is missing and was a bully in class. Principal Marcus (Benedict Wong) attempts to shield Justine from the criticism and verbal attacks, but she ends up fleeing to a liquor store, suggesting she often turns to vodka in times of stress. Larkin Seiple’s camera work through the alcohol-filled aisles adds to this impression.

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The initial part of the film, where Justine is prominently featured, is notably extended, highlighting the movie’s primary themes: personal struggles and individuals cautiously peeking through gaps, as if captured in a series of lengthy hallway scenes that could easily be advertised on Zillow. Antoinette Garner has a knack for portraying sensitive, introverted characters like Justine, who are brimming with tension and self-destructive tendencies. Many of the unfortunate incidents she encounters aren’t supernatural in nature. For instance, her contentious encounter with her ex-boyfriend’s wife (June Diane Raphael) is largely her own doing, and when she attempts a misguided surveillance operation, she becomes intoxicated and falls asleep.

The story typically focuses on Justine, with her making a series of blunders that keep audiences entertained. However, she’s not equipped to handle the situation, and Cregger decides to introduce other characters. Among them, many are more engrossed in their personal dramas than the mystery of the missing children. These include conflicts with their superiors, financial struggles, and personal crises.

In this story, we meet Officer Paul (Alden Ehrenreich), whose primary focus is on James (Austin Abrams), a drug addict who lives in a world of his own comedic despair. It often appears to be raining during James’ scenes, and when frightened, he dives headfirst into his tent like a comic cat. The character Gladys (played by Amy Madigan) adds a quirky touch, with her flamboyant ’70s polyester outfits and meddlesome nature. She subtly suggests the atmosphere of “Suspiria” transposed to suburban life. The film’s unique style is enhanced by the retro music selections from George Harrison and Percy Sledge, as well as the captivating main theme (composed by Hays Holladay, Ryan Holladay and Cregger) that harmoniously blends harp, piano, and rattling bones.

As a horror enthusiast, I’ve witnessed countless instances of unlucky officers knocking on the wrong door at the worst possible time, only to meet an untimely end. While knowing Paul’s name and his personal struggles don’t significantly contribute to the main narrative, they certainly add a playful twist to familiar tropes. However, director Cregger is such a jokester that it’s hard to feel too much empathy for Paul.

Elevating side characters to lead roles does make the story more complex, which can dilute our emotional connection with any one character, except perhaps Christopher’s abandoned boy. Yet, this narrative choice creates a vivid portrayal of a world where the ordinary and the extraordinary coexist, where peaceful suburban life can be disrupted by sudden, brutal violence at any moment.

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Cregger excels at attention to detail. He skillfully elicits a collective gasp from the audience simply by the sound of an off-screen door opening. The emotional depth in the set design is just as palpable as that of the characters. One character subtly switches from soup cans needing a can opener to ones with pull tabs, a change that goes unspoken yet resonates deeply when noticed, tugging at your heartstrings.

In “Barbarian,” Cregger grasps the eerie silence of a residential area and the dangers of not being acquainted or trusting one’s neighbors. The challenge lies in the fact that acts of kindness, during this community’s time of distress, have been deemed as ‘inappropriate’, as expressed by Principal Marcus when reprimanding Justine for giving a stranded child a ride home. (However, his strict rules appear sensible later.) Yet, it remains chilling to witness Justine seeking refuge in a convenience store, only to be told to leave by the cashier. The expletive-laden dialogue provides humor and drives home the point that individuals in crisis often lack the ability to think of witty responses.

A comedian previously known for his sketch comedy, Cregger excels at engaging audiences. The blend of his self-confidence and the bewilderment of his characters creates a captivating moment, reminiscent of a speech delivered by someone who seems eccentric yet could be articulating absolute sense. (This situation mirrors a scene in the movie.)

The concluding part of the movie is powerful and fulfilling yet leaves you slightly unsatisfied in an appealing manner, much like when the enchantment of “Weapons” fades post-theater exit. Some elements that appeared profound in the dimness lose their impact under sunlight: the dream segments, a suspended gun motif, the movie’s title itself – which doesn’t seem to offer more than Archer’s comparison of the kids as “heat-seeking missiles.” It’s frustrating that the end credits emphasize the symbolic significance of a triangle shape. However, I appreciate the concept that not all challenging questions receive answers, and I hope Cregger continues to explore these unanswered queries.

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2025-08-07 23:01