[Film Review] Weapons

Where, how, and why did a class of elementary school kids go missing? That’s the central question in Zach Cregger’s Weapons, an eerie and mysterious suburban horror tale that is cleverly and intriguingly told. 

It all happened at 2:17a.m. - a time stamp that may forever shake an unassuming town in Pennsylvania. A class of third-graders all ran from their homes and seemingly disappeared into the abyss. Scratch that. All but one disappeared. Weird, right?

The film is told from the perspectives of different characters as they overlap, cross paths, and eventually converge. There’s the teacher (Julia Garner), a cop trying to solve the case (Alden Ehrenreich), the principal (Benedict Wong), a grieving father (Josh Brolin), a local junkie (Austin Abrams), and the one student who remained (Cary Christopher). The decision to tell the story this way is an effective one, especially because it’s a device not often used in horror films. Not only does it let us into the intimate lives of these characters, but it also forces us to attempt to piece the story together on our own, like a cinematic puzzle.

I’ve seen a lot of people say that this film takes a page from Stephen King’s world, but I’d argue that it’s more M. Night Shyamalan in the way that it constantly sparks curiosity and grips tightly to its odd and deliberately baffling concept until the very end. We’re constantly asking, “What the hell is going on?”

There are a lot of creepy and disturbing moments here, but even amid all the darkness, the film manages to be wildly amusing and even comical at times. Josh Brolin delivers a “What the fuck?” line that is way funnier than it even should be. The real star is Amy Madigan, who plays an unhinged old lady with questionable motives and witch-like behaviors. It’s a batshit performance that joins Longlegs’ Nicolas Cage in the club of sadistic, powder-faced menaces.

In a film shrouded in ambiguity, it’s natural for us as an audience to seek meaning and attempt to make connections with neat allegories. In my view, this film is not purely just about one thing, but many things at once. It’s about how collective grief and trauma can sometimes create more chaos than community. It’s about the pervasiveness of substance use. It’s about how everything can be used as a weapon—our minds, our bodies, our vices, and yes - actual objects. Watching the film, it’s also hard not to think that it might allude to America’s all-too-common school shooting problem.

In Weapons, not everything comes to the surface. And sometimes we don’t get the full answers. But that might be the scariest thing of all. 

* 9/10 *

[Film Review] Misericordia

A small village of peculiar people. A lush forest of lies. A dead body. Where does it all end? That’s the essence of Alain Guiraudie’s Misericordia, a low-key yet fruitful suspense tale that has life, death, religion, and desire on its mind. 

We follow a man named Jérémie (Félix Kysyl) as he returns to his hometown in rural France to attend the funeral of his former boss and provide comfort for the widow (Catherine Frot). But things go awry when a childhood friend named Vincent (Jean-Basptiste Durand) is convinced that Jérémie has bad intentions. Their ongoing beef leads to a fatal incident that turns the town upside down. 

What unfolds isn’t a whodunnit or even a mystery. The question is, how long will it take before the rest of the village finds out what we as an audience already know, and what will happen when they do? It’s a deliberate and well-executed technique that is reminiscent of Alfred Hitchcock’s work, as well as David Lynch when in “Twin Peaks” mode.

The well-shot film welcomes us in and casts us as a fly on the wall, or in some cases - a fly on a tree. The settings are picturesque, but they also play a pivotal role in the thick atmosphere of the story. We witness a fascinating juxtaposition—the surrounding forest feels so alive and ripe with vegetation and foliage, while the rustic town’s architecture and its niche industries are stuck in a state of long, slow decay.

A scent of suspicion brews throughout the air like a morning cup of coffee, and unfulfilled desires sprout like mushrooms on a humid day. Even though the film flirts with darker edges, it’s also very funny. It leans into a wry, midnight-shade brand of comedy that can’t help but be amused by the oddness of the situation. There’s a hardened shell of awkwardness that even the heaviest stone couldn’t crush. 

The impressive cast bolsters a sneaky good screenplay. There’s a pair of standout scenes between Jérémie and a local priest (Jacques Develay), where philosophical and thought-provoking dialogue ping-pongs, expounding upon human nature while wrestling with the meaning of life itself. It’s dialogue that’s so good you might find yourself wanting to rewind it. 

And this brings me to my first question. Where does it all end? The answer is that… it doesn’t. 

* 8.5/10 *

[Film Review] Superman

Writer/director James Gunn has a pretty stellar track record when it comes to the realm of spunky, comical, and heartfelt superhero films. In this latest incarnation of Superman, Gunn continues to prove he’s got the magic touch. Not only is this film thoroughly enjoyable, but it’s also a rousing portrayal of Superman at his most human.

When we catch up with Superman (David Corenswet), he’s really going through it. He’s just lost his first battle, the public is casting him as a pariah, and he’s even having relationship problems with his girlfriend, Lois Lane (Rachel Brosnahan). To make matters worse, the notorious Lex Luther (Nicholas Hoult) — in full-on evil tech bro mode — is concocting plans to eliminate Superman once and for all. 

Even with the cape on, Superman’s characterization here is vulnerable, emotional, sensitive, and empathetic. He also takes a lot of hits along the way, both physically and mentally. In fact, he gets the crap kicked out of him multiple times during this film. There’s also a global smear campaign against him that would send even the most experienced crisis management team running for the hills. Adding some comic relief is his foster dog named Krypto. This canine companion gives the film some extra cuteness while also bringing out the caretaker in Superman. 

Gunn opts for a decidedly lighter and kookier tone. It’s even cheesy at times. And you know what? It works! After all, Superman is a guy who goes around wearing his underwear over his pants. It’d be foolish to take him too seriously. That’s the fatal mistake that plagued Zack Snyder’s cold and brooding Man of Steel era. This film is much warmer -- all the way down to its colors.  

But what’s most surprising about the story is how daringly political it is. When watching the events unfold, you can’t help but think of real-world headlines. There are threats of authoritarianism, there's discrimination against immigrants, there's the abuse of artificial intelligence, there are media waves of disinformation and propaganda, and there are corrupt and unjust foreign wars. The film is all the better for diving head-first into these topics. 

Lois Lane plays a significant role along the way, going beyond just being a journalist who looks up to the sky, and it’s refreshing to see. And like Gunn did with Guardians, he gathers a quirky group of supporting characters in Green Lantern, Mister Terrific, and Hawkgirl. I must say, Mister Terrific wins the title of being the coolest character in the film. As for Lex Luthor, he's as ruthless and diabolical as he is pathetic and small - a dangerous combination. 

The proceedings deliver the spectacular action you’d come to expect. The action scenes hit with force and gravity, and it's a blast to watch. And by placing Superman in such desperate situations, he becomes quite an underdog, and it's easy to root for him. He's not only saving the world; he's also saving himself. When he says the line, "I put one foot in front of the other and I try to make the best choices I can," it feels sincere. The core of this film is really all about human kindness. Isn’t that a sentiment that everyone should get down with? 

* 8.5/10 *

[Film Review] Drop

Do you like thrillers that mostly take place in a single setting? How about thrillers where the main character is faced with a crucial dilemma? Ones where an ominous entity gives the protagonist a series of cruel commands? Drop checks all of those boxes. Coming from Christopher Landon, the director of the clever Happy Death Day slasher series, this film is a fun and focused take on a high-concept “What if?” scenario.  

Early on, we meet Violet (Meghann Fahy), a widowed single mother who has arranged a first date with a guy named Henry (Brandon Sklenar), whom she met on a dating app. When they take their table at what we humble folk would call a very fancy restaurant, things get weird. Here’s the gist: She receives a text message that essentially says: “Do what I say or your child gets killed.” From this moment on, she is forced to take tenacious steps in order to spare her child, all while risking looking like the worst date in history. 

Considering the film's incorporation of smartphone apps, memes, and social media-driven lingo, you could definitely call this a first-date thriller for the millennial generation. Its tech-savvy spin feels fitting for the times. The narrative sparks plenty of intrigue from the get-go, and it’ll make you want to stick around to know what happens next, who exactly is behind this sinister scheme, and how it will all turn out in the end. 

The plot escalates in an effectively suspenseful way, and the overall vibe of this outing is uncomfortable, awkward, and dangerous all at once — to the point where it might have you squirming in your own seat. With each message sent, the stakes are upped. Let’s just say that the wine isn’t the only red that is spilled here. And as you’d expect, the evening’s dessert is topped off with some big twists. 

One thing you can definitely say about this date: It’s never boring. So here’s a toast to Drop. 

( 7.5/10 )

[Film Review] Sinners

The word “Badass” is thrown around a lot when it comes to films, but writer/director Ryan Coogler’s Sinners resoundingly earns the honor. Part blockbuster with the blues, part pulpy vampire flick, and part shoot-em up showdown, this genre remix emphatically stomps to its own beat. 

It’s set during the Jim Crow South in Clarksdale, Mississippi, and the story takes place over the course of one day, one dusk, one evening, and a dawn. Michael B. Jordan plays a pair of twin brothers named Smoke & Stack, and the two roll into town like a hurricane of sharp suits, gold teeth, and shady business deals. With their entrepreneurial aspirations on full display, they buy a sawmill and flip it into a juke joint meant for showcasing the talent of local musicians. The club’s grand opening turns out to be a party for the ages. 

And by “a party for the ages”, I really mean a party for the ages. One of the film’s most awe-inspiring sequences is a musical montage on the dance floor that conjures up the spiritual evolution of black music and culture, bridging the past, the present, and the future in such a surreal and creative way. It’s a moment where I knew I was witnessing something truly extraordinary. Oh, and did I mention that there are vampires lurking about?

The blood-sucking narrative turn can feel jarring, but that’s the point. The film’s mashup of genres is most reminiscent of HBO’s "Lovecraft Country", where American history bleeds into horror and the supernatural. What unfolds is a tale of paranoia and survival—an old-fashioned “Avoid getting bit at all costs” saga.

Sinners is certainly elevated by its all-around technical craft. The camera work is graceful, the script is full of quotable lines, and the score and music-driven scenes are lively and soulful. The film is just as much of an ode to music as it is to cinema itself. Even the editing choices catch a rhythm. Michael B. Jordan is such a great screen presence here, and Jack O’Connell delivers a fully game performance as the story’s bloodthirsty antagonist, while also partaking in a lovely rendition of the Scottish folk song, “Wild Mountain Thyme.”

From Ryan Coogler’s early indie beginnings with Fruitvale Station, to the franchise fare of Creed and Black Panther, his films always wear a sense of palpable passion on their sleeves, and Sinners continues on with that tradition. He takes a huge risk here, and the gamble pays off big time. 

* 9/10 *

An alternate version of this review is slated to appear in the August 2025 edition of St. Paul's Community Reporter newspaper.