Zach Cregger after Barbarian: Why Weapons is the most talked-about horror of the year

In August, the horror film "Weapons" was released — the second movie by Zach Cregger. The director made a name for himself with his debut in 2022: the unconventional horror "Barbarian" is like a mosaic, combining a domestic thriller and biting comedy, modern and old-school cinematic techniques.

Cregger’s latest has also become popular. "Weapons" grossed $263 million at the box office. Critics and audiences are raving — some are calling it the main horror film of the year. But what's so interesting about this horror? Here’s an honest opinion.

The director based the film on classic techniques and personal experimentation. The action takes place in the small town of Maybrook — a closed-off space where everyone knows each other, and ancient evil terrorizes the townsfolk. Fittingly, it’s set in Pennsylvania, where George Romero’s cult "Night of the Living Dead" was filmed, setting the genre’s standards. But instead of Romero’s usual zombies, Cregger unleashes children — third graders who, at exactly 2:17, as if on cue, leave their homes and disappear into the darkness.

Stephen King’s influence is also present. A typical character from his novels, a young teacher, appears here as Justine. Stressed out, she has nightmares with jump scares — all according to genre conventions. And the ancient evil is embodied in a female version of Pennywise — more on her later.

The plot is split into six chapters, each focusing on a character — the teacher, a child’s father, a police officer, the school principal, a drifter, and a child. Some episodes are repeated in different chapters but from new perspectives, revealing fresh story details. This is a clever device borrowed from Paul Thomas Anderson and David Fincher. The latter personally advised Cregger on editing and non-linear storytelling.

Cregger openly borrows from Stanley Kubrick. Like in "The Shining," the film’s space becomes a suffocating trap. The grim atmosphere of the investigation is taken from Denis Villeneuve’s "Prisoners." The direction is beautiful in itself, but if you miss the references, it might not grab you. It seems like an ordinary detective horror, enjoyable but not sensational.

"Weapons" is hard to call truly scary: the jump scares are simple and sparingly used. The irony running through the character arcs is far more effective. The teacher awkwardly tries to start an affair with married cop Paul — he’s a lousy cheater, caught by his wife after his very first date with his lover. The unlucky cop chases after substance-abusing drifter George, who only encounters evil because he tries to rob a random house but enters the wrong door.

The main antagonist, inherited from "It," is both frightening and amusing: an ancient witch in an orange wig and smeared red lipstick. The character isn’t taken seriously, thanks to the heavy-handed King reference and several cringeworthy moments.

Black humor is typical for Cregger — what else would you expect from a director who started as a comedian? The ironic intertwines with the horrific and tragic, making the film feel like a thrilling ride. You’re overwhelmed by horror, then by laughter, and so on in a loop.

The "horror of grief" is gaining popularity, where trauma is explored through horror settings. It’s believed the genre emerged from unstable times — we’re living through pandemics, political crises, climate threats, and social isolation. "Weapons" is part of this new trend. The disappearance of children isn’t just a horror trope, but a metaphor for an epidemic: students vanish en masse and instantly, and the town is infected with panic. The theme of illness is central. The witch is slowly wasting away, so she drains energy from people and turns them into obedient puppets. This is both an image of old age and a symbol of collective fear of incurable diseases. On a personal level, it’s seen in the cop who accidentally pricks himself with a needle and lives in fear of contracting HIV. Later, the poor cop runs into a whole series of needles, turning his arc into ironic grotesque. Cregger exaggerates fears, pushing them to the point of absurdity.

Violence appears in various forms — from self-inflicted to global. Justine suffers from alcoholism, Paul is in recovery, and Justin uses illegal substances — addiction looks like aggression against oneself.

On a social level, violence is expressed through bullying, which ends in a school shooting — a frequent outcome in American schools. The quietest student, Alex, is bullied, and he’s the only one who doesn’t disappear with his classmates that fateful night. The missing children end up in his house. There’s a controversial scene in the film that either confirms the school shooting idea or simply fits the title and adds suspense. A rifle appears over the house where the children are locked up.

Another line of bullying develops — this time among adults. Naturally, since children bring bullying from home, copying aggressive adults. Residents accuse the teacher of witchcraft, call her with threats, and write "witch" on her car. The personal stories of child bullying and teacher harassment expand into a global metaphor. Symbolically, the children run from their homes with outstretched arms, echoing the pose of the "Napalm Girl" — the famous photo from the Vietnam War. This gesture turns the local plot into an allegory of wars and disasters, where children become hostages of others’ conflicts.

"Weapons" is an ambitious project. Zach Cregger turns the genre inside out, combining horror with realism and comedy. It’s unlikely to be called the main film of the year, but it’s worth watching for its humor, easter eggs, and shot composition.