IndieWire by Eric Kohn

As a statement about the fixed nature of cinematic tropes, Redemption provides a compelling supplement to Statham's current stardom.

Variety by Peter Debruge

A debut effort that occasionally bogs down in its own symbolism.

Time Out London

[Redemption] doesn’t always work but wins points for originality.

The A.V. Club by Ignatiy Vishnevetsky

When Redemption works, it’s as a series of writerly miniatures fleshed out by Statham’s street-tough charisma and Chris Menges’ neon-soaked nighttime camerawork.

Los Angeles Times by Gary Goldstein

Statham's broody charisma and veteran cinematographer Chris Menges' ("The Killing Fields") eclectic views of contemporary London help hold interest, even as we ponder what Knight is really trying to say.

McClatchy-Tribune News Service by Roger Moore

The more correct title would have been “Retribution,” which could work for any number of Statham vehicles over the years. But Redemption is just different enough to make us remember “The Bank Job” or “Killer Elite” or that he’s about to give those fun-but-silly “Fast & Furious” movies a proper villain.

The Hollywood Reporter by Frank Scheck

Part somber character study and part revenge thriller, Steven Knight‘s debut feature lacks the thematic depth necessary to take it seriously while not featuring enough of the high-octane action that its star’s fans have come to expect.

Empire by Helen O'Hara

An awkward mix of realist social drama and Statham actioner, this doesn’t quite convince as either.

The New York Times by Stephen Holden

Its narrative continuity is so sketchy and the screenplay so haphazard that the movie doesn’t add up to more than trash, seasoned with pretentious religiosity.

Time Out by David Fear

There’s a need for redemption here, to be certain, and it has nothing to do with the narrative.