"Get into the blind." It is a warning that accompanied the two amazing horror films originating from director Zack Kreger. After giving us a nightmare story based in "Erbnb" based in "Varvaria", the latest, Kreger's weapons, sees a city spent with fear all over the children's classroom mysteriously disappear at night at 2:17 am. In the two finals of these now critically recognized films, the audience remained to fuel after the horror holes were shot down (quite literally in the "Barbarian" case), regardless of what was waiting for them at the end of them. Created a refreshing and exciting voice in the genre, and the one that seems to reflect on the same level of tension, fever and rug, especially one director.

In 1999 One of the biggest turns in the history of the cinema. His success of success saw him shooting at the top of the lists of "viewing directors". Shijalan was often compared to Alfred Hitchcock-thanks to his first series of films that had an audience of second planting (and third assumption and fourth stress) where the story took place-it became a blessing and burden for the director. Now, after making two exceptional horror movies back to the back, Creeger has a chance to get the same kind of traction. If he is not careful, he could be able to succumb to a similar question that torments his predecessor for most of his career.

Many directors have trademarks in their work. Michael Bay's film can be seen as a mile if the recorded sunset stroke is straight, and has a speed and sharp edge of the story written by Sorkin, which sounds like no one else. However, after the world found out from Shyamalan that ghosts do not know that they are dead, twists have become its Chinese seal. The audience was actively looking for and disappointed if they did not respond to his most famous, or worse, they were not even present. We literally have List of his twists ranked on unpredictability. They are so large in the number that both South Park and "Robot Chicken" had fun with it.

If Creger is the new Schyamalan, rather than the "weapon" is his "unbreakable", it is said with the greatest respect. His follow -up to "Barbarian" is just as brilliant, if not better, but the audience is gathering to see this film after his first, it may be more prepared to turn their heads. Just like any horror story, part of the treatment is in a trick and the one that Creger delivers in the last act of "weapons" is amazing enough that it will undoubtedly stimulate demand for another in his next project. It is this trap that the director of Trap has fallen so early in his career, and it is one creger to avoid it if it continues to apply an essential ingredient: it should keep things gross. Like, really gross.

Just like any good horror director whose career is on the rise, Kreger's work becomes something of an urban legend. His films tell stories that the daring cinema tells those who are too scared to join them, thanks to an incredibly disturbing trailer Or the threat of things to become a little more common than what they are ready to sit through. Shijalan's work was a particularly lack of this level of brutality, which allowed the mainstream audience to be bold enough to watch his films. However, the more the show is, the easier it became to catch on Twisty-Turny rides Shiamalan set for them.

Kreger, according to his loan, does not have that luxury and succeeds. The skulls are broken, the faces are a fork, and the grotesque monsters are revealed enough that only an audience with a strong stomach is ready to bear it. It is this fierce and often grotesque vision that can allow his random to grow at a very stable pace and maintain demand for a mandatory bay twist. Creeger can continue to play with the kind of cooking moments that both "Barbarian" and "Weapons" have moved away in the shadows before the party begins, and sending the audience to the head just as Shiamalan did in front of him. He just needs to ensure that any secrets he keeps is intertwined with blood, those that spread to the intestines only for those brave enough to see them.