Empire by Nick de Semlyen

A thinking person’s Bad Boys, this off-kilter indie crime comedy introduces two deliriously warped lawmen to the screen. Here’s to a Cuba-invading sequel.

Variety by Peter Debruge

While his American competition practices the right to remain silent, McDonagh writes his clever, coal-black heart out, delivering another firecracker script.

Rolling Stone by David Fear

For some folks, such retrograde pleasures have lost their bloody-knuckled charm. If this is still your bag all these years later and you wish the 1990s had never ended, however, then everyone wins.

Los Angeles Times by Justin Chang

It’s pleasurable enough to see Skarsgård and especially Peña, so often cast as a genial second banana, taking pride of place in their own vehicle, even if this one fails to make the most of their considerable chemistry.

Village Voice by Kenji Fujishima

Much of it feels inconsequential compared to his previous films, but McDonagh's unflagging anarchic energy keeps it juicily diverting in the moment.

We Got This Covered by Matt Donato

War On Everyone is a pitch-black, nihilistic riot, like a pissed-off teenager spinning atop a mountain with two outstretched middle fingers pointing in every direction.

The Playlist by Jessica Kiang

Entertaining though it is in parts, it can’t really be said to mark any particular growth for McDonagh as a filmmaker, being both less angry and more cynical that the brooding "Calvary" and consequently less memorable and relevant too.

Screen Daily by Lee Marshall

War On Everyone is essentially a clothes hanger for smart one-liners, verbal and visual, and its success will depend partly on how folks like the look of the clothes hanger.

Screen International by Lee Marshall

War On Everyone is essentially a clothes hanger for smart one-liners, verbal and visual, and its success will depend partly on how folks like the look of the clothes hanger.

Total Film by Philip Kemp

Skarsgård and Peña relish their roles, but this pitch-black action-com feels like 100 gags in search of a storyline.

Time Out London by Tom Huddleston

After the bruising honesty of ‘Calvary’, it’s probably not surprising that McDonagh felt the urge to cut loose a little and make a movie with few ambitions beyond cheap violence and filthy laughs. Let’s just hope he’s got it out of his system.

Consequence by Marten Carlson

McDonagh seems to have more to say in this film, but it’s lost among the narrative and stylistic inconsistencies.

The Film Stage

A noticeable step down from the highs of The Guard and Calvary, War on Everyone is still only McDonagh’s third effort and nonetheless a bold, lively endeavour.

Consequence of Sound by Marten Carlson

McDonagh seems to have more to say in this film, but it’s lost among the narrative and stylistic inconsistencies.

The Hollywood Reporter by Stephen Dalton

War on Everyone is a little too keen to advertise its own cleverness. The characters feel more like random collections of quirky tics than real people.

Slant Magazine by Chuck Bowen

The film is in love with the tropes it ridicules, and it doesn't take long for that love to dwarf any possibility of critique.

The Guardian by Henry Barnes

You can’t let your heroes be truly, purely horrible. But McDonagh’s moral twist comes in way too late and much too hard. It leaves you dizzy.

Movie Nation by Roger Moore

McDonagh’s script is so ad hoc, so clumsily random, that nothing adds up to anything.

The Telegraph by Tim Robey

Theoretically, getting to see Peña and Skarsgård goof around with these leading roles is the film’s headline draw; but the script is so misguidedly pleased with itself, all you’re doing is watching two amiable stars mug strenuously and try their best.