The Principal Archivist tells us that Raising Cain is probably the closest antecedent to Passion, with all of the "is she dreaming, or merely tired and disoriented or crazy" sequences in the new movie. He also says the Pino Donaggio score "seemed to me to be purposely parodying [Bernard] Herrmann's score for Sisters." The Archivist says that De Palma has "kept the best of the Corneau film (several of its most effective scenes are reused almost shot for shot), but rightly created some doubt in the audience's mind about who the murderer is, by providing other characters with solid motivations and by shooting the killing from the POV of the killer, and injecting some ambiguity about whether the alibi is dreamed."

Mountain Express' Justin Souther calls himself a De Palma fan, yet seems to find Passion somewhat of a guilty pleasure: "I want to preface my thoughts on Passion by saying that this is in no way a good film if judged by any normal critical standards. But as overheated, glorious trash, it’s De Palma at his finest, all bloody murder, lesbianism, and intrigue. I had a friend describe the film as De Palma playing the hits, which is approximately what it is -- there’s some (really excellent) split screen work, a little deep focus, and even a few 'it was all a dream' moments. But damn, if it’s not fun. You have to know what to expect going into a De Palma film, and if you’re open to his nonsense, you’re likely to have a good time. I saw it in a half-full press and industry screening, and about a third of the audience broke out into applause once the credits started rolling. It was kind of amazing -- especially since P&I screenings are notoriously bad audiences who are there to work, not enjoy some movies. I overheard a couple after the film discussing the film, and attempting to dissect it and analyze it, and it took everything in my power to not pull them aside and explain to them that it’s De Palma, and that’s all that matters. The film is a lot like De Palma walking through the audience giving everyone the finger, and a chunk of us really getting a kick out of that. Because a lot of us De Palma fans wouldn’t have it any other way."

Movies.com's Monika Bartyzel says Passion is fun, but not really a modern women's film. Her review opens with this: "The beginning of Brian De Palma's Passion plays out like the entry point in a professional battle. Rachel McAdams' Christine and Noomi Rapace's Isabelle look at a computer screen, frustrated over the misfires in their latest ad campaign. They talk shop, they drink, and just the slightest hint of competition breaks through the interplay as Isabelle briefly sits alone on Christine's posh couch – arms spread, palms down on the soft cushion like a plebeian sneaking a moment on the royal throne. There's a whiff of sexuality in the air and a playful melody suggesting a classic professional battle set on modern women's terms. But that would be sane, and Passion isn't about sanity. It's a mind-boggling feature of illogicality playing in the confines of De Palma's distinctive eye."