“Weapons,” the latest horror film from writer-director Zach Cregger, known for his brilliantly deranged 2022 hit “Barbarian,” plunges viewers into a chilling mystery beginning at 2:17 a.m. on a school night. In a sleepy suburban community, 17 third-grade children from Justine Gandy’s class simultaneously vanish from their beds, running out into the night with arms outstretched. Only a shy boy named Alex is left behind, as bewildered as the town’s angry parents.

This intriguing premise sets the stage for a horror movie made unconventional by Cregger’s choice to let a local girl describe the ostensibly supernatural events, leaving the audience to question how much she could have known. The narrator’s assertion that “The police and the top people in this town … were not able to solve it” immediately primes the audience for a mystery that will remain at least partially unexplained, aligning with a successful horror subgenre that embraces ambiguity, akin to films like “Hereditary” and “Longlegs.”

Cregger significantly expands on his sinister powers of suggestion, previously seen in “Barbarian.” He reveals threats lurking behind seemingly innocuous environments, in this case, the Pennsylvania town of Maybrook. The mass disappearance transforms mild-mannered parents into an angry mob, creating a close-to-home setting and an imperfect collection of relatable characters. The film evokes the feel of a Stephen King story, allowing the audience’s imagination to run wild with associations – from QAnon-style conspiracies to the painful aftermath of a school shooting, as parents desperately seek answers, consolation, and blame.

Instead of following a single protagonist, Cregger splinters the mystery among six characters, each explored in distinct chapters. The narrative rewinds with each new section, replaying key scenes from different perspectives to provide fresh insights. The ensemble cast includes Justine (Julia Garner), the stressed teacher accused by angry parents; Archer Graff (Josh Brolin), a broken father whose son Matt has gone missing and who demands answers; a troubled police officer (Alden Ehrenreich); a school administrator (Benedict Wong); and two other undisclosed characters. Young Cary Christopher delivers a superb performance as Alex, the boy left behind, whose flat answers and slow blinks add to the eerie tension.

For the majority of its runtime, “Weapons” maintains a grimly self-serious tone, reinforced by Larkin Seiple’s steady-handed camerawork and a bone-vibrating score. However, more than halfway through, the film takes an unexpectedly campy turn with the arrival of Aunt Gladys, portrayed by Amy Madigan. Unrecognizable behind smeared, clown-like makeup, Gladys blends humor and repulsion, creating a distinctive character. By this point, Cregger introduces an adult driven to homicidal acts by the same suggestive force that compelled the children to flee. As understanding begins to emerge, the initial runaway ideas in the audience’s mind start to narrow to a single, albeit potentially limiting, explanation.

The violence escalates in the home stretch, revealing the significance of the title: the community is made up of two kinds of people—targets and weapons—and practically anything, from an impressionable child to a vegetable peeler, can become dangerous. While Cregger’s artfully oblique approach allows imaginations to soar for three-quarters of the movie, some might feel its edge softens once the answer emerges. Regardless of how audiences feel about the darkly comic finale, Cregger has crafted a cruel and twisted bedtime story, reminiscent of the Brothers Grimm, where characters kill on command and sleep may prove elusive afterward. “Weapons” is rated 18, runs 128 minutes, and has received a four-star rating.