Tommy Guns (2022)

55% – Critics
80% – Audience

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Tommy Guns Movie Reviews

A symbolic portrait of war with a supernatural edge

It’s not often that you see war films that experiment and become more of an arthouse piece.

But this one decided to shift tones dramatically and give us something not as straightforward.

The opening is quite dramatic with some brutal sequences and a great use of the landscape to make it almost feel like a horror.

Then we get something a little about the imagery rather than the narrative structure. It is different and I wasn’t sure if I was on board with it.

There’s not much to speak of from an acting side as there were no standouts. It’s more of an ensemble piece and they all did a perfectly functional job.

It’s honestly a hard film to sum up as the changes in its vibe and tone challenges you. It is certainly well made, very atmospheric especially in the opening act, contains a lot of strong imagery and gives you an idea of the true events it’s portraying.

While it may lack in logic. This was more of a symbolic portrait of war with supernatural edges to it.

Overburdened to the point of incoherence

A meandering repetitious film, devoid of characterization, rhythm, or honest political insight.

All those echoes of Jacques Tourneur, Pedro Costa or Miguel Gomes only betray the essences of what these film masters achieved in their vibrant and haunting critiques of colonialism. Conceicao tries too hard to emulate their styles and tempos, but he simply lacks the know-how and intellectual foundation to pull it off.

And just as sadly, the director fails to approach the eloquence of the zombie genre “master classes” achieved by true pop iconoclasts like Romero or Jarmusch.

Conceicao may be somewhat well-grounded in the history of his homeland, but he doesn’t seem to comprehend the positive value of the terms “offhanded” and “entertaining”. But credit is still due to Anabela Moreira as “Apolonia” for a valiant effort in what is otherwise a desert of film performance..