Chicago Sun-Times by Richard Roeper

Penna and his co-writer Ryan Morrison handle this existentially challenging material with grace, and Kendrick, Collette, Kim and Anderson deliver equally impactful, intense performances.

IGN by Robert Daniels

Stowaway is shrewd in its decision-making and even better in its execution.

Film Threat by Alex Saveliev

Rather unexpectedly, the result is gripping and immersive, bolstered by a committed cast and some remarkable visuals.

San Francisco Chronicle by Bob Strauss

If you can buy the film’s unlikely core premise, you’ll be rewarded with persuasive speculative fiction in all its other aspects. Penna and company make it easy for audiences to do that, while putting four people whom they’ll come to really care about through all kinds of hell.

Observer

Empathy and compassion aren’t vulnerabilities in this narrative. They’re resources, with which you can defy the cold cosmos — though not without cost.

The A.V. Club by Mike D'Angelo

The film is strongest when simply exploring the terrible notion of triage among the healthy, with everyone involved fully aware of which individual will be deemed the most expendable.

The Playlist by Asher Luberto

Stowaway is surprisingly decent despite the drag near the finale.

Observer by Noah Berlatsky

Empathy and compassion aren’t vulnerabilities in this narrative. They’re resources, with which you can defy the cold cosmos — though not without cost.

Los Angeles Times by Jessica Kiang

For the most part, aside from a slightly slack start, and its stirring but simplistic ending, that kind of well-researched procedural detail is what makes Penna’s film such an engrossing and surprisingly touching addition to a genre already bursting with splashier, more extravagant and more overtly sentimental titles.

Time by Stephanie Zacharek

Stowaway pulls plenty of pages from the generic space-movie handbook, but it still builds a mood of dread and contemplative ennui, finding its resolution in a final, somber shot.

The Hollywood Reporter by Frank Scheck

The strength of the ensemble helps give the proceedings further dramatic resonance, with the performers providing subtle emotional depths that keep us firmly invested in the characters' plight.

The Globe and Mail (Toronto) by Barry Hertz

Whenever the story’s central tension threatens to get interesting and complicated, the filmmakers deflate it in the most obvious of ways.

The Guardian by Benjamin Lee

The focus on the job at hand works until it doesn’t as with just the slightest of characterisation, we’re invested in the problem rather than those solving it and the grip of the first two acts loosens as the finale beckons.

Arizona Republic by Bill Goodykoontz

It’s a matter of pacing and choices, what Penna chooses to focus on and what he ignores. He’s got all the elements of a good movie right in front of him. He just never puts all the pieces together.

The New York Times by Lena Wilson

For all the empathy it expects of its viewers — every character cries onscreen at least once — the film is troublingly removed from human reality.

Slant Magazine by Chris Barsanti

By paring their story down so much, the filmmakers only end up highlighting just how little it contains.