Chicago Reader by Noah Berlatsky

Conceição has created a smart, strange film that is disjointed because colonialism is a thing of disjointed desires, histories, and deaths.

Variety by Guy Lodge

Conceição steps into the same precarious territory sometimes occupied by Pedro Costa and Miguel Gomes... proving his own sly, supple talent.

Sight & Sound by Jessica Kiang

Tommy Guns builds, strangely, sneakily, to a parable of despair at the (predominantly masculine) mass delusion that is war itself

Screen Daily by Neil Young

Along the way there are occasional horror-movie touches, prefiguring an action-heavy Grand Guignol climax that provides a satisfying payoff to the picture’s interlocking enigmas.

New York Times by Natalia Winkelman

It’s a stylized spectacle, and the effects can feel discordant. Conceição eventually chips through the horror genre enamel to expose a message about the futility of war, but the tale’s miscellany of moods dulls its ultimate power.

The New York Times by Natalia Winkelman

It’s a stylized spectacle, and the effects can feel discordant. Conceição eventually chips through the horror genre enamel to expose a message about the futility of war, but the tale’s miscellany of moods dulls its ultimate power.

The Film Stage by Ethan Vestby

The idea of a moralist ghost story to be read under the covers with a flashlight isn’t so bad, but it gets lost under so much art-film ostentation.

Slant by Clayton Dillard

Carlos Conceição’s Tommy Guns unfolds less as a cunning mashup of war-movie and horror-comedy tropes than as a flatfooted genre hybrid.