Alex Thompson’s review published on Letterboxd:
I'm sure most of you reading this know what happens at a certain point in the film involving Cameron Diaz and the windshield of a Ferrari. It's a nutty scene in an otherwise super serious film made all the nuttier by Javier Bardem's insane description of the act. Catfish, after years of meaning duped by somebody on the internet, now has a whole different association for me. I know a lot of viewers didn't like that scene, thought it was TOO crazy. I say the rest of the film doesn't live up to that scene's peculiarity, is too staid and workman-like for such a story. Ridley Scott attempts to live up to Cormac McCarthy's verbose script but ends up not giving a real point of view among all the competing character voices. A big part of the problem there is the hole at the near-center of the film in Cameron Diaz's horribly bland performance. She's going for broke on the smoldering femme fatale thing but that doesn't look any different from disinterest when coming from her. Ridley! You worked with the perfect choice for this role in your previous picture. Get Charlize Theron in there and have her go to town on the role. Still, the movie is an effective noir once you can figure out that's what it's trying to be. The dialogue fits into the genre's conventions and the murky plot follows suit. It's just too bad that Diaz is so bad.