RogerEbert.com by Godfrey Cheshire

Petroni, in any case, is a skilled storyteller with a strong visual sense.

The New York Times by Neil Genzlinger

The film is part psychological thriller, part horror movie, and the horror elements deliver some solid frights. Mr. Brody isn’t asked to stretch much, but he does his usual thing adroitly.

Movie Nation by Roger Moore

Neill is quietly compelling, as always. Brody underplays Pete, emphasizing his suffering, his victimhood, his guilt. It’s a performance mostly of reactions, and the aforementioned wayward accent.

The Guardian by Peter Bradshaw

It’s a bit derivative, with borrowings from a handful of other films, but there are some nasty moments.

Los Angeles Times by Noel Murray

While everyone involved with Backtrack is a polished pro, the movie's tastefulness gets in the way of the suspense.

New York Daily News by Stephen Whitty

Backtrack eventually moves beyond its shamelessly borrowed set-up to create a few chills of its own.

The Hollywood Reporter by Frank Scheck

Lacking the stylistic finesse that might have compensated for its schematic narrative deficiencies, Backtrack lives up to its title all too well.

Village Voice by Aaron Hillis

Between the generic shadowy cinematography and a gothic score that manages to telegraph even the film's jump-scares, there's no tangible tension by which to build an effective climax.

New York Post by Kyle Smith

“I see dead people,” Adrien Brody all but exclaims in Backtrack, a movie that tries to make a choo-choo out of “The Sixth Sense” but immediately goes off the rails.

Slant Magazine by Ed Gonzalez

The film is the cinematic equivalent of watching a Rubik's Cube noisily solve itself for 90 minutes.