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Even greater than the pleasure that accompanies the emergence of a new talent is the pleasure of seeing that talent confirmed. With Weapons, an almost absurdly enjoyable nerve-shredding night at the movies, writer-director Zach Cregger vaults into the esteemed company of modern horror maestros like Ari Aster (Hereditary, Midsommar), Robert Eggers (The Lighthouse, Nosferatu) and Jordan Peele (Get Out, Nope).

Where those directors can have ambitions and/or pretensions toward art, Cregger simply (and not so simply) prefers to toy with audiences in ways that keep them off guard while letting them play along. Hitchcock did the same, and none better, but Cregger is an apt pupil.

So where the director’s 2022 breakthrough Barbarian appeared to be telling one story before taking a hard left turn into something far darker and weirder, Weapons slowly and fiendishly turns up the heat under its narrative suspense, lulling moviegoers into complacency until they realise they are well and truly cooked.

Cary Christopher plays Alex, the only one of Miss Gandy’s students who didn’t disappear. Photo / Warner Bros. Pictures

The movie opens with a skin-prickling hush: 17 children have mysteriously vanished from the (fictional) town of Maybrook, all running out their doors and disappearing into the dark at 2.17am, and Cregger scores their flight through the night-time streets to George Harrison’s Beware of Darkness - a spectral melding of music and image.

Because the children came from one third-grade classroom at the local school, the good people of Maybrook turn as a mob on the class teacher, Justine Gandy (Julia Garner), certain she must have had something to do with the disappearances.

She didn’t and doesn’t, but she’s an interestingly imperfect heroine all the same, with weaknesses for vodka and a married policeman lover, Paul (Alden Ehrenreich), that paint her as a highly-strung impulsive.

But you’d be on edge, too, if you were getting anonymous death threats and someone had painted “WITCH” on your car in big red letters. That last is a clue, although possibly pointing in the wrong direction.

Weapons unfolds in chapters, each told from the vantage point of a different character: First Justine, then an anguished and angry parent named Archer (Josh Brolin), then Paul the cop, then a local sad-sack drug addict (Austin Abrams), all the way down to little Alex Lilly (Cary Christopher), the only one of Miss Gandy’s students who didn’t disappear.

Each chapter reveals more of the story; each introduces a smidge more freakishness and grue and sheer what-the-hell.

Julia Garner as Justine and Josh Brolin as Archer in “Weapons.” Photo / Quantrell Colbert, Warner Bros. Pictures

Beyond that, I can’t say more, since Weapons is nothing if not predicated on surprise. Cregger has a knack for images that linger on a moviegoer’s retina, though: the children diving into the dark with arms outstretched like tiny airplanes; the school’s principal (Benedict Wong) coming out of nowhere with a face full of blood and his arms outstretched; a front door opening on to a darkness within; a mother and father seated immobilised at a kitchen table.

At a certain point, as Justine and Archer join forces to piece together bits of the puzzle, Weapons introduces its wild card, and it is a marvellously wild one indeed.

Among its many dark felicities, the movie serves as a reintroduction to an under-recognised (and almost unrecognisable) actress, Amy Madigan, who may be best known for playing Kevin Costner’s supportive wife in Field of Dreams (1989) and who here plays a nightmare from our collective unconscious.

Madigan gives a startling and unforgettable performance that’s the closest Weapons comes to outright comedy while still remaining profoundly unsettling. But funny. And scary.

For that reason, Weapons is a movie that begs to be seen in a theatre, where a moviegoer can ride the communal waves of horrified delight.

Cregger understands how close screaming is to laughter, and he pitches his movie into the uncanny valley between, where the two fuse into the heightened state reserved for the best roller-coaster rides and scariest ghost stories.

He modulates the pace with skill, drawing out suspense, using offscreen sound in novel ways, utilising the camera frame for maximum heebie-jeebies and building to sequences that can reduce an audience to primal howls. (You may never look at a potato peeler the same way again.)

The preview audience with whom I saw Weapons was happily wrung dry by the end, and I have to imagine the movie would play very differently in the relative quiet of a home media room.

Cregger is two for two as a writer-director now, and it’s disappointing to hear that his next project will be a sequel to a reboot of the Resident Evil zombie-horror series.

This kind of confident originality with character and story structure and audience manipulation should be encouraged, not stuffed into the straitjacket of intellectual property.

That said, I’m withholding a half-star from my critic’s rating for Weapons in part because of a few plot holes that might have been closed with some forethought - the investigating detectives are required to be extra-clueless in this movie - but more because I’m expecting even greater things from Zach Cregger in the future. So should you.

Three and a half stars.

Weapons is in New Zealand cinemas now.