‘Weapons’ Hides Behind a 100% Rotten Tomatoes Score — Only Carefully Selected Critics Have Reviewed It

A few weeks ago, I mentioned how Warner Bros. was clearly taking a page out of Neon’s efficient “Longlegs” marketing from last year. It’s the same exact plan—and I think it’s working. “Weapons” could become a horror hit in August.

Warner Bros. seems to be taking the long road when it comes to marketing this film. Back in April, a 45-second teaser was released online. A few weeks later, a two-minute trailer dropped—still cryptic stuff. Warners also released over two hours of security cam footage for “Weapons” on an unlisted YouTube channel. Not to mention, half a dozen cryptic and highly eerie teaser posters have been rolled out, each within a week of the last.

Warners is now even copying the way Neon screened “Longlegs” for critics. Much like that one, the review embargo has lifted more than a few weeks before the film hits theaters—but only for specifically selected publications.

Notice how the trades are absent in these early reviews. What we have so far are write-ups from The Mary Sue, Geeks of Color, Slash Film, The Weekend Warrior, Exclaim, CinemaBlend, CG Magazine, io9, Dread Central, and Next Best Picture —the latter being the only publication to not give it a rave.

Why didn’t they screen this one for more outlets? Food for thought. What gives? If you’re that confident in the film, then why not let major critics see it as well? The result is that there is no “Weapons” score on Metacritic because only one of those publications (Slash Film) is approved by that aggregator.

Don’t kind yourself. The embargo having now lifted, and us only getting a handful of reviews, is part of the marketing. That 100% on Rotten Tomatoes will now hold until “Weapons” gets screened for the rest of us the week of release. Kind of genius, when you think about it.

After tons of hype, we all know how “Longlegs” turned out (good, not great). Is “Weapons” being positioned for the same fate? I sure hope not. I’m very much looking forward to seeing it — it’s one of the rare studio films this summer with immense potential.