Los Angeles Times by Noel Murray

The actor’s fierce commitment turns Between Worlds into another solidly strange entry in the ever-expanding “Nicolas Cage movie” sub-genre.

The Hollywood Reporter by Frank Scheck

Veering heavily into sexual territory, the film is more a gothic melodrama than a horror film. It certainly feels like a waste of not only Cage's talent (although the actor has a climactic, literally fiery scene that will forever change the way you think about the pop song "Leader of the Pack"), but also Potente, whose potential has been sadly underrealized in American films.

The New York Times by Jeannette Catsoulis

While fragments of past, present and who-knows-what events flash past, Cage, bless him, fully commits to the nuttiness.

Movie Nation by Roger Moore

Between Worlds is a down and dirty supernatural thriller with the faintest veneer of substance covering the sordid.

RogerEbert.com by Simon Abrams

Between Worlds is also, unfortunately, a weird "Twin Peaks" homage, complete with industrial band ohGr's not-so-industrial, "Twin Peaks"-y score and "Twin Peaks"-like theme during the opening credits sequence (performed by "Twin Peaks" composer Angelo Badalamenti, no less).