
Where is ‘Weapons' filmed? Behind the filming locations of 2025's best horror.
Weapons starts off on one such gloomy night in Newport, more specifically at 2.17 am in the night when 17 elementary schoolers step out of their house, their arms stretched out, transfixed by an invisible power of sorts.
What happens next is a town crumbling into chaos. The school turn into a hunting ground for the missing children's teacher (Julia Garner). The liquor store attracts all sorts of eerie visitors. And a particular gas station hosts a blood-oozing, eye-popping altercation that is crowd-pleasing shlock at its finest.
The burning question is: what happened to those children at 2.17 am? Once you know the answers, the question remains: is Maybrook, Pennsylvania real?
Where did they film Weapons?
It turns out that Maybrook is actually Atlanta, Georgia. Cregger's brief to production designer Tom Hammock was to create 'a small New Eastern town'.
For inspiration, Hammock studied the communities outside cities like Philadelphia, Cleveland and Cincinnati.
The production designer, who worked on Ti West's stylish gonzo horror X and the ultra-maximalist Godzilla x Kong films, stuck closer to reality with this one. '[Zach] wanted everything to appear as normal as possible. He wanted the audience to buy into this town as being the most normal place in the world.'
Principal photography began in May 2024 in Atlanta, wrapping in July. But filming in midsummer in Georgia is a sweaty affair, especially on soundstages without air-conditioning. To combat the heat, dozens of yards of tubing were installed to supply A/C.
Where is the real Maybrook Elementary school?
Maybrook's local elementary turns into a disturbing sight after the mass disappearance. While classes resume, the school is shrouded in memorial flowers, photographs, and banners to commemorate 'the Maybrook 17'.
This school from Weapons is actually Brockett Elementary in Tucker, a city in Georgia a few miles outside Atlanta. The school's mascot, a friendly-looking bobcat giving a thumbs up, looks reassuring after the gory chaos of Weapons.
On the busiest days of filming, the production would be home to more than 170 children. Child labour coordinators were enlisted to keep the kids engaged when not filming.
Now, coming to that gas station scene…
While the trailers and promos of Weapons were deliberately ominous, the film didn't pull back from teasing that shockingly entertaining gas station scene. The one with a bloodied Benedict Wong running in a fit of unhinged frenzy and pinning down Julia Garner.
They filmed that sequence in unnerving daylight at a BP gas station in Covington, Georgia. The Weapons crew filmed there for three days, utilising both the filling stations and the adjacent To Go convenience store. Hopefully, those blood stains on the forecourt got hosed down.
Who stars in Weapons?
Julia Garner, the Ozark actress who was last seen as Silver Surfer in Fantastic Four: First Steps, leads the cast as Justine, the troubled teacher of the class that went missing.
The cast also includes other MCU veterans like Thanos actor Josh Brolin and Benedict Wong who played the sorcerer Wong in Doctor Strange. Brolin stars as a grieving father driven to the brink of desperation while Wong plays the principal of Justine's school.
Austin Abrams (Wolfs, Euphoria) stars as a homeless junkie who is chased by an adulterous short-tempered cop played by Alden Ehrenreich (Solo: A Star Wars Story, Fair Play). Newcomer Cary Christopher also shines as Alex, the only student in the class who doesn't disappear.
Where can I watch Weapons?
It's in cinemas worldwide now.
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This leaves Weapons open to the charge that it's not about much of anything – that it's all great hook and solid technique in service of a thrill ride where some stray inspiration from Paul Thomas Anderson's Magnolia is more superficial homage than thematic link. The real question, though, is how bad of an offense this is supposed to be. Plenty of great horror movies are principally concerned with the visceral experience of watching them in the dark, rather than the talking points or takeaways they might hand over to the viewer in broad daylight. Subtext shouldn't have to be plainly visible at first glance. Indeed, some of the skepticism over Weapons seems to stem from the fact that it turns out to be … a horror movie. The children in the movie are enchanted by a witch. The movie doesn't say whether she's always been a witch, or has turned to witchcraft in the face of a debilitating illness. But that's why she takes control of these children, and various other adults at her convenience: to sap their life force, attempt to heal herself, and, in the meantime, use her control to make her victims do her bidding. So yeah, pretty witchy stuff, and her comeuppance has the gory satisfaction of a Brothers Grimm story fed through a powerful amplifier. That wild, almost fanciful ending may strike some as reductive, especially when its first half plays more like a dark mystery like David Fincher's Zodiac, or at least Seven. But is the spectacle of brainwashed children being turned against their older captor and ravenously destroying her so devoid of opportunities for interpretation? It's not even that Weapons is demanding a lot of work from the audience – and that might be exactly what rankles some about it. Most of what happens in the movie is unambiguously explained; it's the meaning that's left up to the audience, and maybe some sense an incongruity between those two approaches. That's a fair-enough critique, as is a thoughtful consideration that concludes none of the movie's interpretations hold up to much scrutiny. But it's hard to fault Cregger for making a horror movie that is more concerned with its own scary, twisty immediacy than its optics as a social critique. At the same time, maybe the discourse over the meaning of Weapons suggests that the eye-rolling about 'metaphorror' has been overblown, too. Countless horror classics could very much be described as driven by metaphor. Some are murkier or more interpretative than others, but having a central idea and conveying it clearly isn't a marker of hackdom. It's just something that some hacky movies have done, often directly imitating very good ones. Think of Get Out, which may have been thornier than it was given credit for, but still has a trackable central conceit that's not exactly obtuse; then think of heavy-handed Get Out knockoffs like Antebellum and Blink Twice with too much visible effort and too little inspiration. Jordan Peele himself followed a path not unlike Cregger's when following up Get Out; his movies Us and Nope are immediately engaging visceral experiences with more allusions and evocations than clear signaling of a central metaphor. They may be more successful in that realm than Weapons, but then, that's true of most movies when compared with Peele's output. It's the prescriptiveness – give us a meaning, or kill all metaphors – that goes against the nature of horror in general. The combination of the concrete and slippery is what makes horror such a compelling field; there may not be a genre better suited to blurring the lines between reality and a heightened dream state. There's no single correct way to have a nightmare.