When all but one child from the same class mysteriously vanishes on the same night at exactly the same time, a community is left questioning who or what is behind their disappearance.
So far in 2025, Ryan Coogler’s “Sinners” remains the standout film for me. Still, Zach Cregger’s “Weapons” comes close, delivering one of the most captivating movie experiences I’ve had this year. It’s rare for a director to spark genuine curiosity with just a trailer, but Cregger managed to do it. The teaser—showing flashes of kids darting down dimly lit streets, arms stretched like lazy airplane wings—immediately pulled me in, which is uncommon nowadays. Even better, the film itself exceeded the high bar set by its preview.
The story unfolds in a quiet Florida community, where at 2:17 a.m., seventeen kids mysteriously leave their homes and disappear. The town’s attention quickly turns to their teacher, Justine Gandy (Julia Garner), as panic and suspicion ripple through the community. After Cregger’s breakout with “Barbarian”—a film that turned horror conventions on their head—he once again pushes boundaries with “Weapons.” The movie’s biggest twist is hidden until the last possible moment, keeping viewers guessing throughout. The promotional campaign, particularly the trailer, was careful not to spoil any details, instead relying on mood and unease to build excitement—a refreshing strategy in an age when previews often give everything away.
Julia Garner brings a subtle, unexpected edge to Justine. Despite being eyed with suspicion—mainly by worried parents—she doesn’t shrink from public life or get bogged down by guilt. She keeps showing up at local spots, determined to stick to her regular routine. This felt more real and less clichéd than how accused characters are usually portrayed.
Cregger structures the story in a non-linear fashion, echoing Quentin Tarantino’s approach to “Pulp Fiction,” and introduces a group of interconnected characters. We follow Justine alongside Archer (Josh Brolin), a grieving father desperate for answers; Paul (Alden Ehrenreich), Justine’s ex and a local cop; Anthony (Austin Abrams), a local junkie; and Alex (Cary Christopher), the only student in Justine’s class who didn’t disappear. The plot bounces between their viewpoints, eventually weaving them together before settling into a more classic narrative style.
The fate of the missing children is kept ambiguous for much of the film. Are they victims of kidnapping, or is there something otherworldly at play? The film piles up questions, and every answer comes as a genuine shock, making it a truly gripping watch.
As a horror movie, “Weapons” is exceptionally good at ratcheting up anxiety and discomfort. The scares hit hard—not because they’re cheap or obvious, but because the imagery is genuinely disturbing. More than once, I heard the audience react out loud, proof that the tension landed the way it was supposed to.
The cast as a whole turns in strong work. Garner, in particular, brings a new level to her performance, surprising me after some of her past roles didn’t grab me. Her portrayal adds real substance to the film. Josh Brolin also stands out, channeling a father’s pain and drive in memorable ways, especially in his scenes with Garner.
Cregger’s direction shows an absolute mastery of mood and timing. He knows just when to let the dread simmer and when to unleash intense moments. The movie’s twists aren’t telegraphed in advance, so the audience remains just as unsettled as the characters. When violence does occur, it’s brief but packs a punch, often cutting away to leave a lingering sense of shock.
Horror can get stuck in predictable ruts, but lately, filmmakers like Cregger and Oz Perkins are giving the genre new life. “Weapons” is both frightening and fresh, a welcome change for anyone who loves horror. It’s proof that the genre still has plenty of energy and room for new ideas.
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