Tommy Guns(Nação Valente)

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.

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.

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

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.

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.



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.