Untraceable Reviews

  • Lane skillfully sells the tech-heavy script. But after a much-too-early reveal of the murderer's identity, the 'low battery' signal starts to flash on this film by thriller specialist Gregory Hoblit.

    Clark Collis — Entertainment Weekly

  • Morally duplicitous torture porn: how else to describe Untraceable, a bleak, rain-washed horror thriller.

    Stephen Holden — New York Times

  • This new variation on the theme isn't bad, in a gruesome and horrible way, and features a strong performance from Diane Lane as an FBI agent.

    Peter Bradshaw — Guardian [UK]

  • Untraceable feels sleazy and gratuitous.

    Claudia Puig — USA Today

  • As Untraceable descends into the progressively more perverted territory, it begins to practice the very hypocrisy it condemns in its audience, engaging in the rancid voyeurism it pretends to abhor.

    Ann Hornaday — Washington Post

  • Hoblit and veteran cinematographer Anastas Michos try to darken the proceedings by giving us nocturnal characters and Portland at its grayest. But it's window dressing, just like the layers of computer geek-speak that can't disguise an analog-age plot.

    Janice Page — Boston Globe

  • Untraceable hasn't the brains of a class-act psychothriller like Silence of the Lambs, and lacks the balls to juice up the trashy verve of the Saw series. Stuck in the middle, it leaves everyone stranded, actors and audience alike.

    Nathan Lee — Village Voice

  • Untraceable essentially forces its audience to identify with those who would be willing accomplices to torture and murder.

    Jack Mathews — New York Daily News

  • This joyless thriller runs the gamut from unconscionable through unwatchable to unendurable. It's also unfathomable that two talented people, Diane Lane and her director, Gregory Hoblit, got themselves involved in such an unpromising enterprise.

    Joe Morgenstern — Wall Street Journal

  • The film teases and unnerves for 100 minutes with scenes of cold brutality. Then in a rush to the end, it tries to make it all better, or at least make it more complicated.

    Lisa Kennedy — Denver Post

  • Untraceable is a horrifying thriller, smart and tightly told, and merciless.

    Roger Ebert — Chicago Sun-Times

  • In addition to being dull, Untraceable is a monster hypocrite, wagging its finger at the mass audience's appetite for strictly regimented, 'creative' torture scenarios. This film is not really in a position to point a finger.

    Michael Phillips — Chicago Tribune

  • By now the hypocrisy of simultaneously condemning and exploiting the audience's sadism has become so commonplace in American movies it hardly seems noteworthy.

    J. R. Jones — Chicago Reader

  • An abhorrent cyberthriller starring a compelling Diane Lane, the film exploits the inhumanity of torture as it cynically condemns Internet rubberneckers (and by extension, moviegoers) for watching it online.

    Carrie Rickey — Philadelphia Inquirer

  • It would be good to shrug off this film as an unwatchable mess, but sadly it is the work of skilled actors and a proficient crew.

    Colin Covert — Minneapolis Star Tribune

  • There's a good movie to be made about the power of the virtual mob, the ethical consequences of participating in it, the costs of free will. But Untraceable isn't it, not by a long shot.

    Bill Goodykoontz — Arizona Republic

  • Untraceable has flaws, but this cat-and-mouse team is so hypnotic that all you do is sit there waiting while they deliver one big shock after another.

    Rex Reed — New York Observer

  • Untraceable is a satisfying slice of solidly crafted meat-and-potatoes filmmaking.

    Joe Leydon — Variety

  • The movie chides us for being a sick voyeuristic society, hungry for the sight of violence. The purity of this moral stance is somewhat clouded by the movie's habit of staging sick violent acts.

    Kyle Smith — New York Post

  • From its obvious foreshadowing to Marsh's big PowerPoint presentation of the killer's cause-and-effect, Untraceable is a mite too traceable to get under the skin.

    Roger Moore — Orlando Sentinel

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