The Rise of Zach Cregger: From "Barbarian" to "Weapons"

No one really saw Barbarian coming, the playful 2022 horror film that turned an Airbnb reservation into a nightmare. The film’s marketing was cleverly deceptive, offering a teasing trailer that revealed only a fraction of the story. This strategy, combined with a swaggering title, set the stage for a surprising reception. Critics and audiences alike showered the film with euphoric praise, hailing first-time writer-director Zach Cregger—whose background is in comedy—as a new king of the horror genre. However, for some viewers, including myself, the film felt more like a trick than a treat. While Cregger showcased considerable skill, the script often felt illogical and uninspired, relying on flashy gimmicks to mask its shortcomings.

The Anticipation for "Weapons"

Following the success of Barbarian, the hype surrounding Cregger’s follow-up, Weapons, has been palpable. The buzz began when his spec script sparked a bidding war, with industry insiders claiming that even Jordan Peele was eager to secure the project. Ultimately, New Line won the rights, and the anticipation has only grown over the past two years. Cregger himself has compared Weapons to Magnolia, and the film boasts a star-studded cast, including Julia Garner and Josh Brolin. The marketing campaign has been relentless, yet Warner Bros has managed to keep some surprises under wraps, teasing audiences with jolting trailers that hint at the film’s striking premise without revealing too much.

The Intriguing Premise

At the heart of Weapons lies a tantalizing setup: seventeen children from the same class mysteriously vanish in the dead of night, all getting out of bed at 2:17 AM and running off into the darkness. The police are baffled, and the parents, led by Garner’s character Ms. Grady, are furious, directing their anger toward her. The narrative unfolds through multiple perspectives, including a parent (Brolin), a cop (Alden Ehrenreich), a small-time criminal (Austin Abrams), and the one child who didn’t run away (Cary Christopher). This shifting point of view gradually builds a complex picture of the events that transpired that night.

A Slow-Burning Mystery

Cregger’s careful slow build keeps viewers engaged, creating a sense of anticipation as the puzzle pieces begin to fit together. The alternating viewpoints allow the talented cast to shine, with Garner portraying a nervy, vodka-swilling figure and Ehrenreich embodying a quick-tempered philanderer. However, while the film’s structure is intriguing, the characters themselves often feel thinly drawn. They resemble avatars in a video game rather than fully fleshed-out individuals, serving primarily to advance a magnetic mystery plot. This compelling narrative unravels in a way that distracts from the underlying emptiness of the characters.

A Departure from Trauma Horror

One of the film’s refreshing aspects is its departure from the trauma horror that has become prevalent in recent years. While some viewers may seek deeper allegorical interpretations—similar to those who claimed Barbarian was a powerful #MeToo statement—Weapons primarily serves as an engine of brute force. It’s akin to a schlocky paperback that you can’t put down while on holiday. Yet, it also feels crucially lacking in an added element of surprise or sophistication.

Comparisons to "Prisoners"

Weapons evokes comparisons to Denis Villeneuve’s Prisoners, a lurid thriller centered on missing children. While Weapons avoids the self-seriousness of its predecessor, it shares a similar high-end aesthetic that belies its straightforward narrative. The tricksy structure and repetition of scenes from different viewpoints might suggest a labyrinthine plot, but the film ultimately reveals itself to be far hokier and frustratingly simplistic. It relies on staggeringly incompetent police and willfully ignorant citizens, undermining the tension that Cregger works hard to build.

Cregger’s Directorial Confidence

Despite its narrative flaws, Cregger’s directorial confidence is undeniable. He constructs some genuinely rattling shocks and moments of seat-clenching uncertainty. His ability to conjure mood grips the audience, making for a fun, reactive experience, especially in a packed theater. A standout performance from a late-arriving actor—whose identity would be a spoiler—adds to the film’s unsettling atmosphere. However, even as the finale ramps up the violence to wince-inducing levels, it lacks the emotional depth that could elevate the chaos into something more meaningful.

The Search for Something Sharper

While Cregger appears to be expanding and refining his filmmaking arsenal, using his skills more effectively than in Barbarian, there remains a sense that something is missing. The film’s swagger and ambition are evident, yet it ultimately feels like it lacks the sharpness needed to resonate on a deeper level. As audiences eagerly await Weapons, it’s clear that Cregger is a director to watch, but the question remains: can he deliver a narrative that matches his undeniable visual flair?