Maybe Sebastian Maniscalco should make a horror movie next.
We’ve already seen Jordan Peele pivot from Comedy Central to horror with “Get Out” and “Us.” Now, Zach Cregger follows his flawed but fascinating “Barbarian” with the year’s best shocker, “Weapons.”
Cregger got his start with The Whitest Kids U’ Know comedy troupe. Now, he’s part of the new wave of horror mavens, including Peele, Osgood Perkins and Mike Flanagan.
Yes, “Weapons” boasts laugh-out-loud moments, and not the kind that happen at the film’s expense. Don’t call it a horror-comedy. The laughs let us process the unbearable tension in this fresh, prickly original.
Buckle in.
It’s so good you’ll struggle to watch the next B-movie that flashes across your streaming menu. That’s the worst that can be said about Cregger’s instant classic. Other genre fare suddenly pales in comparison.
The story opens with a child narrator setting the horrific scene. Her tone is sober and crisp, which makes her message all the more alarming.
The students in teacher Justine Gandy’s third-grade class go missing one day – save one child, young Alex (Cary Christopher).
Julia Garner, great as always, plays the distraught teacher. She becomes the target of grieving parents like Archer Graff (Josh Brolin), who suspect she’s not telling all she knows about the mass disappearance.
Local officials are stumped. The town is in mourning. Justine fears for her safety. And “Weapons” is just warming up.
Cregger’s film deserves to be seen with as few spoilers as possible, so we’ll stop the plot description there. Just know the writer/director embraces a familiar storytelling tic to flesh out the narrative, but it’s done in ways that crank up the tension and flesh out the larger story.
What seems a distraction is suddenly a vital, necessary approach. And about that two-plus hours running time? Don’t give it a thought. This film moves.
At times, “Weapons” doesn’t resemble a horror film. It’s exquisitely crafted and raw, but extended scenes let us get to know the players without genre trappings. Some figures are obvious given their roles in the narrative. Others? Far less so.
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Garner’s character is wildly imperfect, and her romantic entanglements spike the stakes. Brolin’s rage at his child’s disappearance finds him tilting at windmills, a nod to our conspiratorial age.
You can read plenty into “Weapons,” but Cregger isn’t foisting anything specific on us. Great films let us tease out themes where none may exist, a mark of crafty world-building.
An exception? One visual evokes AK-47 imagery, but the moment fades before it leaves any kind of mark.
This small town feels like one we’ve known all our lives. And let’s not dismiss Alden Ehrenreich. The “Solo” alum is quietly terrific as a cop juggling more than the mass disappearance.
Veteran actress Amy Madigan steals the movie, but the less said about her character, the better. Heck, we’ve said too much already.
“Barbarian” had its share of gonzo moments, but Cregger kept a firm hand on the material. His discipline is even better with “Weapons,” a sure sign of creative growth. Horror junkies will still see kills they’ll be praising for weeks.
Remember that “buckle in” warning?
Cregger packs plenty of style into “Weapons,” but it’s never flashy or distracting, nor is the haunting score (credited to Cregger and Ryan and Hays Holladay) anything but part of the excitement. The writer/director is fully in charge of his talent, creating a comfort of sorts for audiences.
You’re in good hands. Now, get to the edge of your seat … and stay there.
HiT or Miss: “Weapons” is a fiercely original shocker with strong performances, a sly structure and an ending that’s both creepy and cathartic.