If you’re down with horror movies and haven’t seen Barbarian (2022) yet, stop reading this and fire it up immediately. Directed by Zach Cregger, Barbarian is one of the freshest-feeling horror movies I’ve seen this decade. His film toys with you, laughs at you, and prods you with tension. I think Zach Cregger is the most exciting horror filmmaker working right now, and his success could be the antidote to the repetitive, cheap horror trends from studio genre films infecting theaters right now.
The feeling I had back in the theater in September 2022, when the first major twist occurred after going into Barbarian completely blind, cannot be replicated. The closest approximation comes when I rewatch the movie with someone who knows nothing about it. Last year, I watched my squeamish, non-horror fan friend Luke’s reaction to when the titular “Barbarian” shows up, and it was just as entertaining as the movie itself.
Few films elicit this visceral, replicable shock in me that lingers with every rewatch. Barbarian is chock-full of well-made jump scares, but the humor makes these moments shine compared to the serviceable slop found in generic Blumhouse fare. Zach Cregger was in the Whitest Kids U’ Know comedy group, so the general knowledge of how to time a punchline comes in handy. Each of the most shocking moments in Barbarian is punctuated by a moment of levity.
At the first reveal of the creature living in the basement of Tess’ Airbnb, the horror of the jump scare and the terrifying image linger just long enough to sear themselves into your brain before a hard cut to AJ singing in his car on the other side of the country. To make this disorienting smash cut all the more hilarious, it is the first reveal of Justin Long, who plays an integral part in the rest of the film as AJ.
The other accomplished horror directors of the modern filmmaking era, like Ari Aster, Jordan Peele, Robert Eggers, and Jennifer Kent, may have more movies under their belts, but are commonly hailed for their signature styles. Aster tackles modern dysfunction, Peele taps into the contemporary social consciousness, Eggers’ films patiently build tension, and Kent sets the standard for the modern psychological horror film. Cregger, then, is the master of regulating audience response. In Barbarian alone, he displays complete confidence in being able to terrify the viewer right before easing them back into the film with a moment of levity.
In my experience watching the film, these rises and falls made the jump scares much more effective. When the monster suddenly appears in a frame, I jolt and get tense, but then something sort of ridiculous happens, like Justin Long encountering a breastfeeding instructional videotape playing on a vintage TV, and I feel more relaxed. The state of ease never lasts long, though, and serves mostly as a reset for the next shock to deliver maximum impact.
What I want most out of a horror movie is for the filmmaking to be so assured and well crafted that the trick works on me no matter how many times I watch the movie. With how many humorous breaks Barbarian gives me, I fall back into a trusting comfort before it eventually rips that away again. It’s a cruel game, but one I love to play. Cregger’s camera has a playful personality, too, which only boosts my trust in the film. If a character cautiously looks down a hallway, the camera slowly pulls away from the shadowy deathtrap as if to say, “Hey, I’m on your side, let’s get out of here.”
Cregger’s ability to manipulate me when I’m watching Barbarian is exactly why I have complete faith in him going forward. While all the best horror filmmakers are adept at this, the particular absurd humor Cregger injects into the typical ebbs and flows of a horror story makes him stand out.
A teaser for Cregger’s next film, Weapons, was released earlier this week. Much like the marketing for Barbarian, it gives away nothing about the film. If it has anything in common with the rollercoaster structure of his past film, I’m sure Weapons is going to be special. In 2026, he’s helming a Resident Evil reboot — and given the tone of the games (that I love dearly), he seems like the perfect fit.
The future looks bright for Cregger, and while he isn’t yet working on the same blank check basis filmmakers like Eggers and Peele are, I’ve got my season tickets to watch anything the guy makes. You should, too.