Weapons (2025) - Film Review

      Weapons. 2025.

      Written and Directed by Zach Cregger.

      Starring Julia Garner, Josh Brolin, Alden Ehrenreich, Benedict Wong, Toby Huss, Austin Abrams, June Diane Raphael, Amy Madigan, Cary Christopher, Clayton Farris, Whitmer Thomas, Callie Schuttera, Luke Speakman, Melissa Ponzio, Sarah Kopkin, and Sergio Duque.

      SYNOPSIS:

      When all but one child from the same class disappear on the same night at exactly 2:17 AM, a community is left to ponder the cause of this mystery. The film, Weapons, like writer/director Zach Cregger's debut Barbarian, wields unpredictability as one of its tools. Despite successfully blending eerie mystery, grotesque horror, and dark humor, this reliance on misdirection, while compelling, reveals itself as a pronounced flaw.

      Widely regarded as inspired by Paul Thomas Anderson’s celebrated Magnolia, the narrative unfolds through shifting character perspectives in a chapter-like format, as a small town searches for answers regarding the vanishing of a specific group of children—except for one. An introductory voiceover from a child hints at two crucial points: the investigation has spanned around 30 days without any leads, and there will be humorous elements, as she jokingly speculates the police may have given up due to embarrassment over their inability to solve the case.

      The only details available to us and the characters are that at 2:17 AM, 17 children from Justine Gandy's (Julia Garner) class seemingly sleepwalked downstairs, exited into the night in a threatening stance reminiscent of Wolverine, suggesting they have been "weaponized" for an unknown purpose, and vanished without a trace. The unsettling cinematography by Larkin Seiple powerfully draws us into the mystery, leaving us without a clear understanding of the children or the reasons behind their actions.

      Only Alex (Cary Christopher) remains, being the sole student to attend class. A typical narrative would delve into his life and what sets him apart from his classmates, but Weapons takes a different route. The voiceover indicates that the real story begins 30 days later, when community members escalate hostility towards Justine, accusing her of witchcraft—a claim even graffitied on her vehicle. This assertion misrepresents the narrative, which is largely about misdirection until we reach Alex's storyline, taking us back to the events leading up to his classmates' disappearance.

      Misdirection and red herrings are not inherently negative. The story shifts among various characters, addressing topics from law enforcement ineptitude to societal apathy regarding the incident. One of the sharpest segments features a junkie, played by Austin Abrams, who is more interested in a $50,000 reward for information about the children than in actual lives. Justine, despite her desperate attempts to communicate with school superintendent Andrew (Benedict Wong) about Alex, does so more from her personal turmoil than concern for the already traumatized child.

      Cregger also explores other facets of the characters' lives, such as Justine's relationship with an ex-boyfriend and a bumbling police officer (Alden Ehrenreich) she seeks to manipulate for information, revealing that her intentions and methods in solving the mystery are misguided.

      Additionally, some focus is put on Archer (Josh Brolin), the most vocal parent determined to prove Justine's complicity by digging into her past—a pursuit that may not be relevant to the mystery. He is depicted as sympathetic yet confused and sorrowful as he watches doorbell camera footage of his son Matthew eerily walking away from home, collaborating with other parents to pinpoint where the children might have gone by analyzing their footage.

      However, the perspective-switching technique, which continuously shifts back in time and sometimes intersects scenes with multiple characters, undermines the horror elements of Weapons. Whenever the film escalates in tension, the narrative often jumps back in time, diminishing the impact of the unfolding horror—excluding typical weak nightmare scenarios seen in modern horror films, though some imagery remains unsettling, accompanied by a self-aware, humorous twist.

      The structure manipulates the audience to the point where merely indicating a certain character or noting the performance of an actor delivering a chilling portrayal can expose major spoilers. A linear retelling of this story likely wouldn’t resonate, but the existing structure feels frustrating and nearly detracts from the overall experience. Thankfully, there’s enough character development and reasons to feel invested in these individuals to keep the story afloat.

      Fortunately, Cregger takes Weapons to a uniquely haunting place in its third act, culminating in a blend of demented horror and sinister laughter, showcasing Cregger’s mastery of this art form, despite the film often teetering on the edge of failing under its own ambitions and narrative complexity.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder