Spoiler Warning: This piece discusses major plot points from ‘Weapons’ (2025)
Coming off the unexpected grassroots success of director Zach Cregger’s debut hit ‘Barbarian,’ ‘Weapons’ arrived with high expectations and one of the most tantalising horror concepts in recent memory: a mass runaway of kids from their homes, all at 2:17am, with no clear reason. The trailer alone was horror-film gold, dripping with mystery, tension, and the promise that original movie ideas could still feel fresh.
However, while the film’s premise teased deep, sinister possibilities, ‘Weapons’ ultimately sidestepped the full scope of its dark potential. Cregger’s inspired concept still carried much of what made it so compelling thanks to truly gripping performances, yet the final product often veered closer to awkward laughs than bone-chilling scares – leaving more on the table than what was promised.
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A Killer Premise That Loses Its Bite
‘Weapons’ follows a chilling and mysterious mass exodus as dozens of children suddenly run away from their homes all at once, sparking panic across a tight-knit community. As families and authorities scramble to understand the cause behind this eerie phenomenon, the movie unravels its impact on multiple lives – exploring fear, suspicion, and desperation through a series of interconnected stories. This unsettling premise sets the stage for a horror experience rooted in both mystery and a broader social ripple effect.
The brilliance of ‘Weapons’ begins with its premise – a haunting ripple effect that the trailer captured perfectly as an edge-of-your-seat mystery loaded with untapped potential. Yet, this same enigma may have been the film’s greatest obstacle.
By placing the suspense at the forefront (along with the lofty expectations for Creggar’s sophomore feature), the film raised the bar so high that any resolution risked falling short – and fall short it did. The story’s final direction didn’t dig deep enough into the unsettling why and how, leaving much of the promise unexplored and the tension ultimately diluted.
Narrative Ambition Meets Uneven Horror Execution
One of the film’s smartest choices is its non-linear structure, which proves essential for a story this narratively and emotionally complex. With so many children affected by the movie’s eerie mass disappearance, weaving multiple perspectives together is the only way to capture how deeply the event devastates the community. Rather than centring on a single protagonist, the film shifts between characters and households – creating a mosaic of fear, confusion, and desperation.
This approach adds dimension to the narrative and keeps the audience actively piecing things together – giving the story a sense of scope and immediacy. The payoff arrives as the final title cards hit the screen, when the mounting tension culminates in a moment of genuine thrill. Structurally, it’s a choice that elevates the film’s ambition, even if the story itself struggles to fully land.
Still, while ‘Weapons’ falters in its ultimate resolution, it isn’t without striking moments. A particularly harrowing sequence involving Marcus (Benedict Wong), the school principal, slices through the weaker stretches of the film with undeniable dread. Unfortunately, these peaks are rare. Too often, the scares rely on predictable beats, and the pacing stumbles during critical moments, blunting the movie’s overall impact.
Performances Breathe Life Into The Nightmare
In a genre where performances can make or break the suspense, ‘Weapons’ finds its greatest strengths in the most crucial roles: the villain and the child. Amy Madigan dominates every scene as the imposing ‘big bad,’ giving the role a chilling weight and a presence that lingers long after the credits roll.
Equally impressive is the young actor playing Alex (Cary Christopher), who delivers a nuanced portrayal rare for horror’s often one-dimensional – or worse, irritating – kids. Avoiding the usual pitfalls of precociousness or cliché, Alex becomes someone viewers genuinely root for, grounding the supernatural chaos in heartfelt reality.
Money Talks, But Creativity Leads The Way
The leap from Creggar’s scrappy debut ‘Barbarian’ to this well-funded studio production is unmistakable on screen. With the resources to take us far beyond claustrophobic basement scares, ‘Weapons’ uses its elevated budget to explore multiple perspectives – creating a complex structure perfectly suited to the film’s scale, adding meaningful depth to the story.
While a bigger budget brings polish and ambition, it can’t completely mask familiar flaws – issues with pacing, script, and direction keep the film from fully reaching its potential in terms of scares, suspense, or emotional payoff. Yet despite these shortcomings, Creggar’s original concept shines through as genuinely creative, compelling, and entertaining.
As a major studio outing for a fresh horror idea, ‘Weapons’ is a promising sign that well-funded, original horror can still find space – and success – within Hollywood, setting a hopeful tone for future projects that dare to break the mould.
Born in Korea and raised in Hong Kong, Min Ji has combined her degree in anthropology and creative writing with her passion for going on unsolicited tangents as an editor at Friday Club. In between watching an endless amount of movies, she enjoys trying new cocktails and pastas while occasionally snapping a few pictures.
