The New York Times by Andy Webster

This isn’t activism; it’s by-the-numbers suspense.

The Dissolve by Scott Tobias

By trying to have it both ways—goosing up black-market trafficking for cheap thrills, while posing as being sincere about a real global scourge—the film winds up stuck in the middle.

Variety by Dennis Harvey

Alan White’s polished but pedestrian pic mines little real suspense and few surprises from a formulaic script.

Los Angeles Times by Sheri Linden

Carmine Gaeta and Luke Davies' screenplay is constructed from plot mechanics, and the emotional stakes grow less convincing with every twist of the screw.

The Hollywood Reporter by Frank Scheck

And to be fair, Cusack doesn’t phone it in. He gives the part his all, displaying his usual expert deadpan comic timing while delivering the weak quips in Carmine Gaeta and Luke Davies’ screenplay. But it’s disheartening nonetheless to see him working so hard to enliven such inferior material.

New York Daily News by Elizabeth Weitzman

There are no twists or even surprises, except the final realization that director Alan White is taking his culturally clueless, ineptly shot B-movie totally seriously. Judging from the uniformly underwhelming performances, he’s the only one.

Slant Magazine by Drew Hunt

Reclaim's highly mechanized plot ensures that the film is over before it even ends.