The first trailer for One Piece Season 2 is here, and so is confirmation that Netflix is bringing back its live-action anime adaptation for Season 3.

The streaming mega company debuted its new video as part of the annual One Piece Day celebration in Tokyo today. It’s a one-minute sneak peek at what Netflix subscribers can expect from the next chapter of Monkey D. Luffy’s (Iñaki Godoy) live-action journey ahead of Season 2’s premiere next year.

This first look at One Piece Season 2 highlights more of the characters and moments from the original manga by Eiichiro Oda that the show pulls from. Alongside familiar faces established in Season 1, such as Luffy, Nami (Emily Rudd), Usopp (Jacob Romero), and Roronoa Zoro (Mackenyu), the footage shows off a few newcomers, including Lera Abova as Nico Robin and Callum Kerr as Smoker.

There’s plenty to chew on in the trailer, which comes in at a little more than one minute long, but fans do still have to wait for a firm release date for Season 2. Netflix is at least feeling confident in its treasure hunt for more live-action anime content, as the end of today’s One Piece Season 2 trailer comes with confirmation that the Straw Hat Pirate crew will be back for Season 3 “soon.”

One Piece Season 2 has yet to receive a release date but is expected to set sail sometime in 2026. That will put it out nearly three years since the arrival of the first season, so don’t expect to hear much about Season 3 too soon.

While we wait for updates, you can check out a handful of One Piece Season 2 set images that were published last year. You can also check out a first look at live-action Tony Tony Chopper before his debut in the new season and then read our 6/10 review of Season 1.

Michael Cripe is a freelance writer with IGN. He's best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).

We've rounded up the best deals for Saturday, August 9, below, so don't miss out on these limited-time offers.

In the world of movies, prequels have a somewhat mixed reputation. There's the ones that enrich their existing worlds and stories, like X-Men: First Class. There's the ones that ruin the mystery, like the heinous Hannibal Rising. And then there's the ones no one can actually agree on, like the Star Wars prequel trilogy. Over in the world of games, though, prequels tend to fare better than their cinematic counterparts. Just look at the recently released Mafia: The Old Country, an enjoyable romp through the early 1900s that chronicles the formative years of the earlier games' criminal empires.

Prequel games often benefit from better technology and development tools, making them visually and technically more impressive than their predecessors. But truly great prequels aren’t just remembered for how they look or play, but by how they transform the way we experience the original games we fell in love with and add to the stories we already hold dear.

With that in mind, the following prequels were chosen not just for their technological and gameplay achievements, but because they forever changed the way we look at some of our favorite characters and worlds. That extra chance to develop and deepen what we already hold dear means some games on this list are even considered the best in their entire series. So without further ado, here are the 10 best video game prequels ever made.

10. Batman: Arkham Origins

Released in an effort to shorten the wait between Rocksteady’s Arkham City and Arkham Knight, Batman: Arkham Origins is described as a “Year Two” story, taking place on Christmas night, eight years before the events of the first game. Developed by WB Montreal, it stars a 27-year-old Batman facing off against eight of Gotham’s deadliest assassins, including Bane, Deathstroke, and Deadshot, who have all been hired by Black Mask to kill the Bat for $50 million. These events also serve as an origin story for The Joker, who makes himself known to Gotham for the first time and introduces the city to his unique brand of criminal lunacy.

At the time of release, Arkham Origins was perhaps unfairly compared to Arkham City. But this comparison was a disservice to Arkham Origins, which acts as a fantastic accompanying act to Rocksteady’s second chapter rather than one-upping it. WB Montreal took everything that made Rocksteady’s games so great, held them faithfully in place, and used them to create a compelling early story for the Arkham-specific versions of Batman and the Joker. More than that, Arkham Origins sets the stage for the main Arkham trilogy by introducing TN-1, Bane’s super soldier serum that’s eventually used as the basis for Titan, a more powerful drug that has major consequences over the events of Arkham Asylum and Arkham Knight.

9. God of War: Chains of Olympus

Despite arriving on a handheld, the PSP’s God of War: Chains of Olympus was no smaller in scale than the original home console trilogy when it came to story.. A prequel to 2005’s God of War, Chains of Olympus takes Kratos and his Blades of Chaos to The Underworld and back on a foreboding tale that sets his’ story in motion, laying the building blocks for his disdain for the Gods.

By fueling that fire of hatred, developer Ready at Dawn not only created an entry steeped in exciting God of War lore, but performed borderline witchcraft in getting a PlayStation Portable game to both look so handsome and play so responsively. Perhaps the most visually impressive release to hit Sony’s first handheld, the studio managed to translate God of War’s breakneck action and signature head-splitting combos for the tiny device, ensuring those blades felt just as satisfying to swing with abandon despite the lack of a second analog stick. It’s a short, stylish burst of ungodly violent action that could easily stand alone, but as a prequel to one of PlayStation’s landmark trilogies, it serves as a fantastic expansion of Kratos’ blood-soaked Greek saga.

8. Super Mario World 2: Yoshi’s Island

Following the release of Super Mario World in 1990 and with the 3D revolution looming on the horizon, Nintendo needed one last, great, side-scrolling Mario platformer for the SNES. So, with Miyamoto’s blessing, Yoshi creator Shigefumi Hino received the green light to develop a game starring his popular dinosaur creation. The result was Super Mario World 2: Yoshi’s Island, one of the greatest 2D platformers of all time.

Nintendo’s headline act is not typically concerned with timelines and canon, but Super Mario World 2 jumps backwards to tell a story about how a group of Yoshis rescued Baby Mario before they all set off to rescue Baby Luigi from Kamek. It’s a cute origin tale that explains how an infant plumber became friends with a dinosaur, but narrative is really beside the point. With Yoshi’s Island, Nintendo set out with a goal to make a more “gentle and relaxing” game that encouraged exploration over precise platforming. To do this, Nintendo removed time limits for players so they can progress at their own pace, and Yoshi’s specific moveset, like the flutter jump, made it easier to control the character in the air.

But beyond just Yoshi’s unique abilities, Super Mario World 2 is an iconic send-off to the SNES era. The beautiful, marker-like art style was drawn by hand and scanned digitally, and Koji Kondo’s Yoshi’s Island theme is an earworm so perfect you can’t help but hum along with it whenever it comes on. It may show us some of Baby Mario’s very first steps, but as a full package, it is the culmination of a 2D-platforming development team putting all of their exceptional visual, audio, and technical design experience on display.

7. Divinity: Original Sin

While Divinity: Original Sin isn’t technically the earliest point on the Divinity timeline (that would be Dragon Commander, an unusual marriage of role-playing and strategy game systems) it is the only game in the series we’d genuinely consider a prequel. Taking place over a millennium prior to 2002’s Divine Divinity, this RPG charts the early years of Rivellon, Larian Studios’ original high-fantasy world. While not an essential foundational chapter of the land’s lore, Original Sin does a fantastic job of establishing the dangers of Source magic and the motivations of those who use it. And thanks to Divinity’s immortal wizards, longtime fans get to meet much, much younger versions of characters like Zandalor and Bellegar.

But Original Sin’s story is not what makes it special. Instead, this prequel’s triumph is in how it spun the fate of the Divinity series on its head, taking it from a struggling cult curiosity and putting it on the road to becoming an all-time RPG heavyweight. Larian developed a brand new turn-based combat system for Original Sin, fuelled by an elemental approach that allows you to combine effects to produce exhilarating results; freeze liquid with an ice spell and force your foes to slip on the blood that they spill, or bolster forked lightning with the help of a little electricity-conducting rain. All this makes battle a deeply tactical, flexible affair, and the same attention to detail is afforded to the RPG elements, too. With the freedom to approach quests in almost any manner you can think of, Original Sin laid down the rules for not just its exceptional successor, Original Sin 2, but also Larian’s multiple Game of the Year-winning Baldur’s Gate 3.

6. Devil May Cry 3: Dante’s Awakening

Set several years before the first game, Devil May Cry 3 features a much younger Dante, once again sporting the cool and arrogant persona that had been lost in the moodier, more serious second game. Going back in time allowed developer Capcom to restore the personality that fans fell in love with in the first place. More than that, Devil May Cry 3 even retcons the early life of Dante’s twin brother, Vergil, ensuring a teenage version of the fan-favorite character could be alive for the events of Dante’s Awakening.

Devil May Cry 3 had the unenviable job of salvaging Dante’s sullied reputation and did so with aplomb. What’s more, while Devil May Cry 2 is still technically canon, the events of Dante’s Awakening serve as the foundations for all later DMC games, and explain important character motivations while fixing plot holes.

Beyond returning Dante to his cool roots and resurrecting Vergil, Devil May Cry 3 delighted fans by being wickedly difficult. To put things into context, Capcom famously made the Japanese version of the game’s hard mode the normal difficulty for the North American release. That posed a hurdle for some, but many fans relished the extra challenge, especially given how popular the changes to the battle system were.

While Dante was always able to mix-and-match melee and ranged weapons to chain stylish combos, DMC 3’s biggest improvement was adding different combat styles that changed the way Dante controlled. You could focus on either melee (Swordmaster), ranged (Gunslinger), dodging (Trickster), or parry (Royal Guard) styles and play using your most preferred playstyle, an overwhelmingly popular choice for a game that challenges you to chain the biggest, coolest combos.

5. Halo: Reach

For 10 years, fans journeyed alongside the silent Master Chief as he fought and ultimately defeated the alien invaders known as the Covenant. But for its final Halo game, Bungie rewound the clock to the early days of the intergalactic war, when humanity was very much on the losing side.

Set during the weeks before the events of Halo: Combat Evolved, Halo: Reach casts you as a member of Noble Team, a special-ops Spartan unit, on a fateful mission to protect the planet Reach from falling to the Covenant. The fully self-contained prequel feels almost liberated by the absence of Master Chief, with the varied personalities of Noble Team highlighting how different other Spartan soldiers can be from the series’ most famous character, despite their shared heritage.

This team’s doomed but nevertheless vital final mission sees them escort Cortana from a lab on Reach to the UNSC Pillar of Autumn ship, thereby kickstarting the events of the first Halo. It’s both a perfect send-off for Bungie and an excellent closing-the-circle moment for the Halo story. But those triumphs are tinged by tragedy; Noble Team’s actions may trigger Master Chief’s quest to save the universe, but their final mission demands heavy sacrifices. Noble Six remaining on the dying planet in a last-stand fight against the Covenant is now a legendary moment in the Halo franchise – its own Rogue One moment that arrived years before Star Wars did it – and one of the greatest final levels ever made.

4. Yakuza 0

Yakuza has long been one of Sega’s biggest Japanese series, but only relatively recently has it gained traction in the West. This surge in popularity can be traced to Yakuza 0, a prequel that reintroduces heroes Kazuma Kiryu and Majima Goro to a new generation of fans who may have missed out on the first Yakuza game back in 2005.

Yakuza 0 is set nearly two decades before the events of the first Yakuza game, and tells the curious story of a small vacant property lot that somehow drags all of Kamurocho’s biggest crime families into an unlikely turf war. To say anymore would spoil a wild story full of Yakuza bosses jockeying for power, Chinese assassins, and head-spinning betrayals. Luckily, due to its prequel nature, players need no prior knowledge of the series to jump right in.

While Yakuza 0’s engrossing story will please any fan of Japanese crime dramas, it’s the chance to see a younger Kazuma and Majima, who act quite differently in their youth compared to their later years, that delivers the game’s biggest surprises. Kazuma is more hot-headed, not yet the stoic elder gangster he eventually becomes, while Majima’s wild dog persona has yet to fully form, so the Joker-like gangster is instead more of a silent and cool protagonist. Their evolution into the characters they eventually become forms the backbone of Yakuza 0’s sprawling narrative, and makes this prequel the perfect starting point for anyone looking to get into Sega’s now massively popular series.

3. Deus Ex: Human Revolution

There’s an argument to be made that Deus Ex: Human Revolution watered down a lot of what made the original Deus Ex a landmark success. It’s less flexible and more streamlined than its incredibly freeform forerunner. Despite this, Human Revolution earns its place among the greats, in part due to how its prequel story takes a deeper, more personal look at the series’ transhuman elements.

Protagonist Adam Jensen is robbed of his arms in an early-game disaster, his limbs forcibly replaced with mechanical prosthetics. But while they save his career, they unwittingly force him into a cultural war between the world's wealthy, augmented elite and the deprived working classes. As both Jensen himself and his broken bathroom mirror tell you, he “never asked for this.” While the game’s central tale successfully takes on the conspiracy-fuelled sci-fi of the original, it’s the cultural and ethical questions posed by Human Revolution’s augmented society that really lift it high. Every character has their own take on the world’s dividing issue and, despite some slightly hamfisted racism metaphors, the story makes salient points on the dangers of unrestrained, capitalism-fuelled science.

Deus Ex’s Matrix-coded, nanotech-fuelled world was a far-fetched fictional future at the turn of the millenium, but it has only grown increasingly realistic with each passing year. Human Revolution successfully bridges the gap between the original’s almost satirical approach and something more knowingly serious, resulting in a deeply compelling cyberpunk dystopia.

2. Metal Gear Solid 3: Snake Eater

Hideo Kojima played the ultimate prank in Metal Gear Solid 2: Sons of Liberty, making newcomer Raiden the surprise protagonist instead of everyone’s favorite spy hero, Solid Snake. Three years later, Kojima performed another variation of this prank by having Metal Gear Solid 3: Snake Eater be a prequel starring Naked Snake, the man who would eventually become the series’ main antagonist, Big Boss.

We didn’t know when it was first announced, but Metal Gear Solid 3 would become arguably the most important game in the series, both from gameplay and story perspectives. It revolutionized the stealth genre by putting Naked Snake out in the open jungle and fulfilling Kojima’s dream of having a Metal Gear game take place in an expansive setting. A technical triumph, the PS2 hardware-pushing Soviet jungles were a major departure from the walled corridors of Shadow Moses or Big Shell, with a smart adaptive camouflage system replacing static hiding places like lockers. As a result of this new design, everything from stealth to boss fights is dramatically different in Metal Gear Solid 3 compared to previous games, with plenty of room to experiment with how to defeat a boss or infiltrate a compound.

But it’s not just in how you fight each boss that magic can be found, but in the story that each of them tells. The events of Metal Gear Solid 3 set the foundations for everything that came before and after it. Not only does Snake Eater reveal the origins of the Patriots, the shadow organization and ultimate antagonist of the series, but also the tragic origins of Big Boss. The aftermath of his face-off with The Boss forever changed the way we view Kojima’s iconic villain. As his mission progresses, Naked Snake transforms from CIA spy into a tragic figure, whose betrayal at the hands of his country sets him on a path that leads through every Metal Gear game, all the way to the saga’s chronological ending in Metal Gear Solid 4: Guns of the Patriots.

1. Red Dead Redemption 2

How do you follow up a masterpiece? Well, if you’re Rockstar Games, you simply make another masterpiece.

Taking full advantage of the PlayStation 4 and Xbox One, Rockstar created one of the most breathtaking, expansive open-world games ever put on a disc with Red Dead Redemption 2. The level of detail the studio put into it is simply head-spinning, from the way new protagonist Arthur Morgan’s weight fluctuates depending on how much he eats, to how animal carcasses will decompose almost in real-time. And yes, Rockstar may have gone a bit overboard when they made it so your horse’s testicles shrink and grow depending on the temperature, but it all goes towards fully recreating a beautiful(?) vision of the Old West.

But the technical achievements almost pale in comparison to Red Dead Redemption 2’s epic story of a dying Wild West on the cusp of a new, industrial century. Arthur Morgan is a man whose time is coming to an end, not because of his criminal lifestyle, but because he’s slowly being made redundant by the rapidly changing United States as it evolves into a modern nation. Roger Clark’s performance as Morgan is frankly staggering, portrayed with equal parts confidence and vulnerability as his accomplices, lifestyle, and own body continue to betray him. Across the twilight years of his criminal career, Arthur sees firsthand how his beloved gang disintegrates due to the negligence of its leader, Dutch, and that downfall provides a strong platform for the passing of the baton from Arthur to John Marston, the original game’s protagonist.

Red Dead Redemption 2 does everything you could ever wish for from a prequel — from improving on every aspect of a series’ gameplay, to telling a story that builds out its world’s mythos to incredible effect — and is why it tops our list of the greatest video game prequels.

And there you have it, our picks for the best prequels in video games. Was your favorite included? Let us know what you think of our choices, or share your favorites in the comments below.

Matt Kim is IGN's Senior Features Editor. Additional contributions from Matt Purslow and Simon Cardy.

This year, I dove headfirst into Pierce Brown's science fiction world of Red Rising, which has quickly become one of my favorite book series out there. It wasn’t until I had finished most of the books that I discovered a board game based on these stories actually existed, but once I did, I instantly snatched it up faster than Sophocles would a jelly bean. While the board game version of Red Rising won’t make you feel like you are running with Sevro and the Howlers or taking part in an Iron Rain, it manages to do a good job of making you feel as though you are pulling off sneaky plays to increase your influence and take care of problems from the shadows.

What's in the box:

• 1 Rulebook (multiplayer)
• 1 Rulebook (solo)
• 112 character cards
• 30 Automa cards
• 6 asymmetric house tiles
• 1 game b oard
• 1 wolf-head tray and lid
• 60 Helium-3 red gem tokens
• 60 influence cubes
• 1 Sovereign token
• 1 crescent moon first-player token
• 1 custom Red Rising die
• 6 fleet tokens
• 1 scorepad (50 double-sided sheets)
• 6 reference cards

Red Rising TBG is published by Stonemaier Games and designed by Alexander Schmidt and Jamie Stegmaier. You may recognize that name from his other notable games, including Scythe, Viticulture, and his latest, Vantage, which was one of the most popular games at Gen Con this year. The Red Rising adaptation they created puts anywhere from 1-6 players in the roles of heads of various houses from the novels as they vie for power and influence in three distinct areas—the Institute, the Fleet Armada, and Helium-3 production. The houses, Apollo, Ceres, Diana, Jupiter, Mars, and Minerva, all have their special abilities that trigger whenever they manage to claim the Sovereign Token (more on this in a moment), which adds in a small sprinkling of asymmetry to the package.

Gameplay in Red Rising is rather straightforward. On your turn you play a card from your hand to one of the four rows on the game board, triggering that card’s deploy effect, then you pick up a card that from one of the three other rows adding it to your hand and triggering that rows effect, or if none of the cards look particularly appealing, you can draw blindly from the top of the deck and roll a dice, taking the action of whichever row is shown on the dice. These actions will let you advance your fleet track market, gain a Helium-3 token, add influence in the Institute, earn the Sovereign Token, and trigger your house’s bonus. The turn then passes to the next player, continuing until either: Between all players there are 7+ Helium tokens/influence at the Institute/Fleet Track or a single player has met two of those criteria, at which point scoring takes place.

While there is a good amount of strategy and planning in Red Rising, the lack of much interaction between players is a bit of a bummer. Outside of maybe snagging or banishing a card another you think may want, during my plays, I was always more concerned with my hand and where I was at in my trackers and not on my opponents. In the books, conflict is a big focus, and the board game offers a nearly complete lack of that, minus the few cards that impact another player’s hand or adjust their influence. Backroom dealings and backstabbing play a part in the novels, too, sure, but while I was playing, I just wished I could do more for the other players. Slamming down Sevro or the Howlers should feel exciting. Instead, in the Howlers card’s case, it serves to protect you from another player from trying to steal or banishing one of your cards, an act that only four other cards in the entire 112-card deck can do. This basically turns Darrow and Sevro’s elite band of soldiers into something you just want to keep in your hand, doing nothing, because it can score some decent points at the end of the game.

On the topic of scoring, I found it to be a bit of a mess. Each card in your hand has a point value that it will score at the end of the as along with a bonus effect that can net you additional points based on other cards in your hand, you will gain different points depending on how much influence you have in the three factions, bonus points if you have the Sovereign token, and then you subtract points for every card in your hand over seven you have. If the point values were just in single digits, this would be annoying to all tally up, but point values are double digits, with some being odd values like 28 or 43 just makes it more of a hassle than I want it to be.

If I’m being honest, a majority of my enjoyment from Red Rising came more from seeing artwork for my favorite characters from the books, painting a clearer picture in my mind of the world that Brown has crafted. I loved seeing the cards showcasing the larger-than-life Telemanuses (Sophocles too), being able to put a better face to the likes of Eo, Sefi, Uncle Narol, and Ragnar. There are still odd choices, though, with the characters that have been included, such as only showing Darrow as a Red Laborer card, and the fact that there is a generic “Mess Hall Cook” and “Dataport Specialist” but not a Reaper version of Darrow or any of the other notable Howlers like Screwface? Weird.

Where Red Rising excels is in its hand management and how it makes its players interact and think about the board state. Maneuvering cards around to the various rows, devising strategies that will leave their hand in the best shape possible to net those coveted bonus points while ensuring they also spread their influence to maximize potential there all feels good. The fact that the general flow of the gameplay is relatively simple as well means you can focus on crafting those strategies as well, and what results is a solid solitaire-style game. It’s a game that I wouldn’t necessarily want to play with my friends who are prone to analysis-paralysis or have to take the most optimal turns possible, so they take forever, but the mechanics are solid enough that I would be fine playing this game if someone were to bust it out at a game night.

As a Red Rising fan, however, I never really got that “Red Rising feeling” while playing it, feeling more like it was a different game with Pierce Brown’s work sort of finessed on top of it. When I imagine a board game based on these books, I picture calling down Iron Rain to wreck my enemies, making tough decisions with big ramifications, deftly moving my Howlers behind enemy lines, and putting my allies in harm's way, or even sacrificing them, for my cause. Instead, this game offers a hand-building experience that incentivizes synergy. It’s a fun enough game, but it unfortunately doesn’t use Pierce Brown’s property to the best of its ability and instead makes it come off more as just a set dressing.

Go read the books if you haven't already

Full spoilers follow for Weapons.

It’s time to hold your arms out to the side and race towards your nearest cinema, because Weapons is now in theaters. Coming courtesy of Zach Cregger, director of Barbarian and the upcoming Resident Evil reboot, Weapons is a barn burner of a horror film, standing as one of the year’s most distinctive and accomplished theatrical offerings so far. IGN’s Tom Jorgensen echoed this sentiment in his 9/10 Weapons review, saying that Cregger manages to take his “blend of unbearable tension and dark humor to a new level of razor-sharpness.” Weapons was already heavily anticipated by genre fans because of its strong marketing, but now that critics are raving, it’s sure to be among the most talked about original films of 2025.

But what makes Weapons so creatively successful? We’ve already had a handful of solid horror entries so far this year, such as Sinners, Companion, and Final Destination Bloodlines. What puts Weapons near the top of that list? The answer is that the movie has a secret, well, weapon: its ability to be genuinely unpredictable. In a genre that’s as beloved for giving fans exactly what they expect as what they might not, Weapons is carefully crafted to keep viewers uneasy by not letting what the movie’s actually doing become obvious to the audience until near the very end. By embracing both narrative and tonal unpredictability in such a widespread fashion, Weapons doesn’t just use surprise as a tool; it makes surprise its entire identity.

Weapons and a Fluid Foundation

As revealed by the film’s trailers, Weapons takes place one month after 17 children from the same classroom in the town of Maybrook disappeared into the night. The movie has an ensemble cast and regularly shifts perspectives, never truly settling on a single main protagonist (although Julia Garner as class teacher Justine Gandy is the closest) as it explores various individuals and how they’ve been affected by the situation. This kind of structure isn’t anything novel, but the way Cregger deploys the convention serves two purposes: to allow the reveal of crucial information about the central mystery to be delayed as long as possible without annoying the audience (since we’re always learning something narratively new with whichever character we’re following), and also to acclimatize viewers to the array of tonal registers the movie plans to use by indicating that we’ll be following an array of different characters.

From the moment the “Justine” title card appears on screen, we understand that we’ll be seeing events from multiple perspectives and jumping back and forth along the timeline. Subconsciously, this technique also prepares the audience for how tonally disparate the movie plans to be from scene to scene, sometimes even from beat to beat. Early on, viewers might feel a bit confused as to where the horror is in this horror film, with many scenes in the first half hour having either a somber or humorous flair. The former is to be expected with an entire town having a classroom of children ripped out of it, but the latter is the secret sauce that reveals Cregger’s true conceit: that he literally “weaponizes” the balance of solemn character drama, off-kilter humor and expected scares to ensure the audience never quite knows what the movie will do next.

This perpetual uneasiness heightens the sense of terror because it makes it much harder to predict exactly when the movie will show something terrifying. Not knowing whether the next big beat will make you squirm in, jump out of, or fall laughing out of your seat is what makes Weapons such a thrilling moviegoing experience. But there’s more to the film’s success than having this kind of feel. Many mediocre to terrible genre movies feature “random stuff happening” and severe tonal whiplash only to fall on their face. The difference is Cregger’s adept command of the technique, of knowing exactly when to deploy humor, heart, or horror without any of them undercutting each other, that proves him to be one of the most promising up and coming horror filmmakers.

A Time for Twists

Another part of Weapons’ unpredictable nature is how it takes advantage of transitions between points of view. Whenever the movie is about to shift perspectives, it tends to end on something scary and bizarre that recontextualizes the entire scenario, raising questions the audience will be chewing on during the next section. This creates anticipation for the eventual answers while also broadening the scope of the story as it moves further along. What first appears to be a mere mystery about why the kids all ran away slowly unravels to reveal greater supernatural levels that are still a danger to the characters in the present tense. This onion peel narrative structure isn’t just gratifying to watch play out, but also makes a great subversion as to the contents of the story compared to its presentation.

The ultimate answer as to what’s happening here is remarkably old school: quite literally, a witch did it. Gladys (Amy Madigan), the aunt of Alex Lilly (Cary Christopher), the one student in Justine’s class who didn’t disappear, is a witch who is behind all the dark goings-on in Maybrook. She’s taken over Alex’s house by hypnotizing his parents (and later his classmates, who she’s keeping in the basement), and seemingly needs them to rejuvenate her body, although exactly how and why is left a bit vague. What makes the witch reveal work is how it’s essentially smuggled into the structure. The opening acts indicate the movie will be something more stylistically modern, so the twist that what we’re really doing is in the dark fairy tale wheelhouse gets to play out like an actual surprise, even though this knowledge elucidates all of the unexplained idiosyncrasies that came before.

This “twist as genre clarification” technique is something Cregger also used in his 2022 film Barbarian. That movie was what I’ve referred to as a “plot twist delivery machine,” a descriptor that works both for that film and the Cregger-produced but Drew Hancock-directed entry Companion. While both of those movies are perfectly enjoyable on their own terms, Weapons is a significant upgrade because of Cregger’s more audacious script and improved formal discipline. Weapons isn’t just a slickly produced roller coaster moving from reveal to reveal; it’s a well-crafted and strikingly unorthodox picture that expands its emotional scope as it narrows its genre focus. It takes serious directorial muscle to make a horde of third-graders chasing an old woman through the suburbs like a pack of zombies and literally tearing her limb from limb simultaneously unsettling, hilarious, and dramatically satisfying, but Cregger pulls it off.