Weapons is the scariest funny movie and the funniest scary movie I’ve seen in quite some time. Horror and comedy have always been joined at the hip, and writer/director Zach Cregger has proven himself a master of finding the perfect balance — that sweet spot where a sudden left turn into discomfort fuels shivers and laughs in equal measure. Much like his previous film Barbarian, Weapons is uproariously funny, often within seconds of having just been deeply upsetting. Also similar to its predecessor, Weapons is a film that really can’t be spoiled on account of how frequently and effectively it changes its identity (don’t worry, I will work hard not to spoil a thing anyway). But whereas Cregger’s “something in the basement” movie unspools its tale pretty directly, with one notable flashback, his “the kids are missing” film is more playful in its structure. Much like Go or certain portions of Pulp Fiction, we see the same period of time repeatedly from different characters’ points of view, with each new narrative angle netting us a bit more information about the central mystery and the relationships/personalities of the people who inhabit it. While this unconventional format could come across as gimmicky, and occasionally does, it ultimately proves to be a vehicle for teasing a tremendously compelling mystery to feature length, culminating in a raucous and gruesome third act that feels like it could, with a slight tonal tweak, be ripped straight from the The Whitest Kids U’ Know playbook.
The film begins with narration from a child who we presumably never meet. She tells us that what follows is true, and that no one in town is likely corroborate the events. Law enforcement officials have done whatever they can to cover it all up, while the populace is content to let this odd and tragic chapter fade from memory as quickly as possible. And who could blame them? If not for our omniscient view of the proceedings, none of it could be explained without sounding crazy.
You see, one might, at precisely 2:17 AM, a group of children, all from different homes, simultaneously rose from their beds, and ran out into the night, never to be seen again. Doorbell cameras have caught a handful of their exits, but beyond that, there’s no information as to where they’ve gone or why. The only thing connecting the’ to one another is that they’re all from the same elementary school classroom.
The bulk of the film begins one month after the event, chronicling just a few days within a town in a perpetual state of arrested mourning. Initially we follow Justine (Julia Garner) the teacher of the affected classroom, as she deals with misplaced blame while also trying to reach the one student who did not run off into the night. From there we move on to a few other characters: Archer (Josh Brolin), the father of one of the missing, Marcus (Benedict Wong), the school principal, and Paul (Alden Ehrenreich), Justine’s ex who doubles as a bumbling local cop, as well as a few others who I won’t mention for fear of dipping into spoiler territory.
This format allows for the central mystery to remain compelling throughout this endlessly energetic film, while also highlighting a roster of exceptional performances (we can put both Garner and Brolin next to Toni Collette in the category of horror performances that will never see Oscar love but totally should). Each and every character feels flawed and human, which builds an incredible dynamic where everyone is compromised in some sort of way. By avoiding squeaky clean heroes, Cregger’s script presents a thematic framework that all but demands multiple viewings. There will be thinkpieces upon thinkpieces as to what this film is really about, and there’s enough material here that audiences will be chewing on it for a long time. Credit to Cregger who seems to have taken to heart David Lynch’s purposefully cryptic responses to interviewers looking for concrete answers. The film is the explanation, and we can draw from it what we will. I appreciate that it’s not yet another “elevated” horror film that yells its themes of grief and trauma (pronounced trow-ma in interviews) at a full volume. This is It Follows not The Woman in the Yard.
For me, it’ll take a few more (very very welcome) viewings to parse out what this gleefully gruesome cinematic circus is trying to say, but even a single viewing makes it clear there’s a lot going on. The one thematic idea that really stuck out to me did so because I relate to it: my parents tried so hard to get me to think like them – to live my life as an extension of their beliefs – that it all but ensured the opposite would occur.
Maybe I’m projecting.
Anywho, Weapons is a satisfying and marvelously functional film that never stops being entertaining for even a second (doubly so with a good crowd), chock full of some of the best performances I’ve seen all year, and bolstered by electrifying direction and sound design. Also, the score is just aces. Between this and Sinners I’m ready to plunk down cash I don’t have to get these compositions on wax.
This made me want to watch Cuckoo again. IYKYK.
Directed by Zach Cregger
Written by Zach Cregger
Starring Julia Garner, Amy Madigan, Benedict Wong, Cary Christopher
Rated R, 128 minutes
