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Cinema, New Releases, Reviews

Cinema Review: Weapons (2025) – a finely constructed horror mystery!

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Cinema Review: Weapons (2025)

Directed by Zach Cregger

Written by Zach Cregger

Produced by Zach Cregger, Roy Lee, Miri Yoon, J. D. Lifshitz, Raphael Margules, etc.

Main Cast: Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Benedict Wong and Amy Madigan.

Cinematography by Larkin Seiple

*** MAY CONTAIN SPOILERS ***

Zach Cregger’s Barbarian (2022) was an intriguing feature debut that captivated viewers with a suspenseful, tension-filled first half, expertly building a sense of dread and mystery. The film begins with a seemingly simple premise — a woman arrives at an Airbnb, only to find it double-booked — but what starts as a quiet psychological thriller quickly takes an unexpected turn. As the plot unfolds, the sense of unease grows, drawing viewers deeper into its web of secrets.

However, the second half of the film ventures into increasingly bizarre and chaotic territory, unravelling into a frankly insane series of twists and reveals. While it might initially seem like a more grounded thriller, Barbarian (2022) pushed the boundaries of genre, diving head first into over-the-top absurdity. It’s a thrilling ride that keeps you on the edge of your seat, even if the madness of the final act leaves you both bewildered and entertained. In some ways Cregger’s follow-up Weapons (2025) shares such structural and thematic similarities with his first film, however, it is a much more controlled and impactful mystery. Until the end.

Weapons (2025) immediately hooks viewers with the mystery of the seventeen children going missing in the town of Maybrook. This instantly draws us into a world brimming with tension and unanswered questions. The authorities investigation into their disappearance soon stalls and how the townsfolk react becomes the central thread, gradually unraveling a complex, carefully structured narrative. Thus, Cregger’s postmodern fairy-tale unfolds through the eyes of various interconnected characters, each of whom brings a unique perspective and layer to the plot.

Josh Brolin plays Archer Graff, a father grieving the disappearance of his son Matthew, one of the missing children. His portrayal is poignant, balancing grief with a desperate need for answers, and his journey pushes the narrative forward with a personal stake in the outcome. Next, Julia Garner’s Justine Gandy, a dedicated teacher, adds another emotional dimension. She’s devastated when she discovers that nearly all of her students have vanished without a trace, with the exception of Alex Lilly (played by Cary Christopher), the only child from her class who remains. Justine’s struggle to find out what happened to her students, coupled with her own crumbling personal life and alcoholism, make her a compelling protagonist.

Other characters include Alden Ehrenreich’s Paul Morgan, a troubled police officer with his own set of demons, is a reluctant ally to Justine. Their past relationship adds a layer of tension as they navigate the growing sense of danger and urgency surrounding the missing children. Then, Austin Abrams brings a sense of raw, chaotic energy to James, a homeless drug addict and burglar whose past intersects with the mystery in unexpected ways. Lastly, Benedict Wong plays Marcus Miller, the school principal, who serves as an important figure in Justine’s quest for answers. Though sympathetic to her, Marcus is often caught between his professional responsibilities and the mounting pressure of the situation.

Weapons (2025) masterfully weaves its non-linear narrative with a striking array of tense, spine-chilling moments that keep audiences on edge throughout. As the plot unfolds through intersecting character arcs, the film expertly intersperses surprising scares, thrilling foot chases, and creepy locations, all while pulling you deeper into its twisting mystery. The jumps in time and the interconnected storylines create a sense of disorientation that builds forces viewers to constantly question what’s real and what isn’t.

Each character’s journey is filled with psychological unease and physical danger, leading to some genuinely heart-pounding sequences. Meanwhile, the eerie, claustrophobic settings—ranging from decaying homes to ominous, unfamiliar spaces—serve as perfect backdrops for the increasing horror. These moments contribute to the growing sense that something monstrous is lurking just beneath the surface, waiting to break free. Further, the film also plays with ambiguity, surreal dreams and unreliable narrators, allowing characters’ perspectives to fracture.

However, similar to Barbarian (2022), Weapons (2025) takes a tonal right-turn in the final moments, descending into all-out mania and Savini-style gore. The reveal of the matriarchal menace, who emerges as a central ‘Pied Piper’ type villain, feels somewhat unearned, undermining the narrative choices before. The ending also didn’t quite fully connect with the deeper themes or subtext of the film that were promised in the set-up. Yet, despite such inconsistencies Cregger’s Weapons (2025) has been marketed incredibly well and as has deservedly done great box-office business. Lastly, Creggers is a very talented filmmaker and his second film remains a smartly written and gripping ride filled with tension, scares, and that insane final act.

Mark 8.5 out of 11

Cinema, Reviews

CINEMA REVIEW: ANOTHER ROUND (2020)

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CINEMA REVIEW: ANOTHER ROUND (2020)

Danish: Druk (2020)

Directed by: Thomas Vinterberg

Produced by: Sisse Graum Jørgensen, Kasper Dissing

Written by: Thomas Vinterberg, Tobias Lindholm

Cast: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe

Music by: Janus Billeskov Jansen

Cinematography: Sturla Brandth Grøvlen

***MAY CONTAIN SPOILERS***

See the source image

“First you take a drink, then the drink takes a drink, then the drink takes you.” – Francis Scott Key Fitzgerald

I love drinking alcohol. Perhaps TOO MUCH at certain periods of my life. Indeed, for many years I bordered on addictive reliance or at the very least some form of functioning alcoholism. I’ve binge drunk in my life, abstained for weeks and months on what one would call being “on the wagon”, and in a personal experiment I gave booze for almost twelve months in 2019. It was the longest year of my life. Thus, the old adage of doing everything in moderation certainly works for me where alcohol is concerned. It is all about balance.

In the Danish film, Druk (2020), four middle-aged Danish men attempt their own experiment with alcohol. Apparently, stuck in a rut and suffering inertia where work, family and relationships are concerned, they decide to follow a theory by psychiatrist Finn Skårderud, who has posited that having a blood alcohol content of 0.05 makes you more creative and relaxed. So, the rules are put in place as Martin (Mads Mikkelsen), Tommy (Thomas Bo Larsen), Peter (Lars Ranthe) and Nikolaj (Magnus Millang) — all teachers of variant levels at the same school — set about drinking a specific amount of booze to see if their lives improve over time. Fun and games are certainly had as they begin their “theorizing”, with Martin especially finding his teaching and home life improving. Have the four friends found the secret to happiness, or are these just false victories, with alcohol providing a screen to hidden existential pain?

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The film is structured well in establishing the various, admittedly privileged, white males in crisis. Martin’s marriage is crumbling, and his students hate his teaching methods. Tommy lives alone, seemingly overcoming the loss of his partner. Peter appears the most together, but he suffers from a lack of love, while the more academic, Nikolaj, struggles with being an adequate father and husband. As their drinking increases the relative first world problems are not really solved, but become exacerbated as the alcohol exerts a tight grip on them. There are some hilarious scenes where the four get blind drunk and make fools of themselves. However, as they take drink after drink, the demon liquor begins to take them. As the film moves toward the final act, their previous drunken joy leads to both emotional and physical pain. In fact, tragedy is not far away for the friends.

It’s not surprising there are reports of a Hollywood remake because Druk (2020), has a perfect hook and set-up for a classic mid-life crisis comedy. However, with Thomas Vinterberg’s expert direction, evocative natural cinematography, and Mads Mikkelsen giving yet another acting masterclass, the humorous narrative soon leaves the laughs behind to become a bittersweet, yet still uplifting, work of Nordic cinema. I must admit I was slightly disappointed there wasn’t more debate and exploration of the alcoholic experimentation. Because ultimately the theory is used as more of a springboard for the examination of men, friendship and their issues. While Martin is a fine character to lead the journey, overall his story dominance meant the other three, especially Tommy’s arc, were mildly undercooked. Yet, I am nit-picking here, as overall I really enjoyed going a few rounds with my Danish peers and one probably won’t see a more joyous end to a film in many a year and many a beer!

Mark: 8.5 out of 11

Cinema, Memorable Film Characters

MEMORABLE FILM CHARACTERS #4 – WITHNAIL

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MEMORABLE FILM CHARACTERS #4 – WITHNAIL

Written and directed by: Bruce Robinson

Produced by: Paul Heller

Cast: Richard E. Grant, Paul McGann, Ralph Brown, Richard Griffiths

***CONTAINS SPOILERS***

“We want the finest wines available to humanity. And we want them here, and we want them now!” Withnail

I am not one to believe in fate, but there has to be something magical about the random moment, at the age of seventeen, I was perusing my local video shop looking for a film to rent, and the cover of low-budget, British independent character drama, Withnail and I (1987), shone amidst the variety of Hollywood produced fodder. I picked up the box and for some reason the story of two unemployed actors mooching about at the fag end of the 1960s called to me. Perhaps it was the front cover featuring the debauched and worse-for-wear looking character of Withnail which drew me in? Or was it the casting of Paul McGann as the eponymous ‘I’, an actor I recognised from excellent TV drama, The Monocled Mutineer. Whatever the reasons, I rented the film and a special bond was formed forthwith. It lasts to this day.

Firmly in my top-ten-line-for-line-best-dialogue-ever-movies, Withnail and I (1987) simply bursts with memorable spats, insults, one-liners, and speeches. Another major strength of Bruce Robinson’s elegantly profane screenplay is the relationship between permanently inebriated and cowardly ‘thespian’, Withnail (Richard E. Grant) and his buddy, ‘I’ (McGann). It is a strange friendship full of mutual disrespect, petty bickering, and envy, but by the end of the film a kindly form of love is revealed. Withnail may seem an angry man, but ultimately, he’s using that ire to hide pain, sadness, and disappointment.

“I feel like a pig shat in my head.” Withnail

Richard E. Grant is incredible as the paralytic, pathetic and cowardly Withnail, who, along with ‘I’, laments a lack of career opportunities. Such bitterness, jealousy and ranting make him hugely obnoxious. However, Robinson’s exquisite writing and Grant’s subtly empathetic performance actually create an incredibly poignant character. Well, that and he’s absolutely hilarious, Indeed, it’s a hedonistic joy witnessing Withnail drinking every liquid known to humanity as he attempts to obliterate the now and tomorrow. Unbelievably, Richard E. Grant was teetotal, so director Bruce Robinson had to get him very, very drunk in preparation for a role he never bettered in his whole career.

Bruce Robinson, arguably, never reached the heights of Withnail and I (1987) again, although he does have other impressive writing credits. But this screenplay is one of the greatest ever written; conversely making it one of the funniest and tragic films of all time. Lastly, his often quoted but rarely bettered work is one of the greatest I have ever read, brimming with towering poetry, bilious insults, and drunken repartee. I mean there is little plot to the story of two actors getting drunk, going to the country, getting drunk and coming back. However, it remains one of my favourite films of all time, with one of the most memorable characters in Withnail.