Published on March 26, 2026
Aren’t there evils that sleep? They hide beneath the ground, or perhaps somewhere else, for years—dormant, silent, yet always present. Sometimes, they awaken every twenty-three years, like the Creeper introduced (Victor Salva) over two decades ago. Other times, they remain lurking for twenty-seven years, waiting for the right moment, like the clown from “It.” The horror genre artfully consumes our fears, cradling us with both a comforting and menacing hand. It also follows its own cycles. Every once in a while, it demands its sacrifice: a director to be elevated to the altars of the genre, a new voice willing to get their hands dirty while looking straight into the abyss of horror. This year, in direct competition with the Phillipou brothers, Zach Cregger emerges as the titleholder for the most intriguing director at present.
In “Weapons” (2025), Cregger repeats the successful formula from “Barbarian” (2022), reusing a split structure that is poised to become his authorial signature. It’s a risky narrative bet that confirms he is not just a casual filmmaker in the genre, but someone committed to forging his own language. The film kicks off with a tense and restrained atmosphere, supported mystery that serves to introduce characters and their struggles with deceptive calm. It’s a dark trick of an illusionist, crafting a story that appears familiar (a rural intrigue with supernatural undertones), yet is secretly setting the stage to blow everything up later.
Once we are entrenched in the questionable dynamics of this community, having learned enough about the characters while still lacking a single thread to unravel the mystery, Cregger demonstrates again that he is unafraid to disrupt his own narrative. He detonates the structure brutally with the introduction of a character who serves as an absolute pivot: Aunt Gladys. From her shocking first appearance, impossible to look away from, the film unleashes itself like a flood. Each cut, each twist, every shift in tone seems driven by a need to push boundaries and avoid falling into the mold of conventional horror.
The film’s atmosphere is paramount. Silences stretch, shots pull back, and the textures of everyday objects become grotesque. All of this leads to another basement, one that harbors not just physical secrets but horrors that defy comprehension. “Weapons” boldly combines explicit violence, razor-sharp sarcasm, and an intelligent audacity that allows Cregger to break free of any inhibitions, delivering a high-octane spectacle where one can jump, feel tension, laugh, and experience deep terror—all within two hours that fly a blink.
On the technical front, “Weapons” is impeccable. Its construction of confusion borders on the masterful, as seen in “Barbarian” and now in this latest offering. Cregger directs with near-surgical precision. Fragmenting the film into chapters is not the whim of a pretentious director but rather an excellent device that enables the plot to navigate from one character to another, revealing details that alter the perception of the story. In this respect, the framing of each chapter is crucial, culminating in a brilliant final act that places the camera in such a way that compels the viewer to become the last protagonist.
“Witnesses” rises as one of the best and most audacious films of this year. Brutal, twisted, unsettling, and, above all, fascinating and entertaining. It dares to challenge us as viewers, inviting us to run with open arms through a town teeming with skeletons in closets, pushing us to peer into its shadowy corners until we ultimately scream: Long live modern horror!
The cinematography itself feels like a character, playing with darkness, saturating frames, molding shadows, and dragging color into the supernatural realm—something that, strangely enough, fits perfectly. The sound design and performances also warrant special recognition. Julia Garner and Josh Brolin deliver precisely in the first half, but it is Amy Madigan as Aunt Gladys who steals the show. From her initial appearance, she imposes presence and magnetism, becoming the most memorable character of 2025. The supporting cast, far from being mere filler, enriches the plot and enhances our understanding of the town.
Without concessions or shortcuts, “Weapons” establishes itself as one of the best and most audacious films of this year. It’s a brutal, twisted, unsettling work that is, above all, fascinating and fun—a piece that challenges us as audiences, enticing us to explore a town with dark secrets waiting to be unearthed.
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