[7] Lee Adcock of Drowned in Sound stated that "[e]verything about Jessica Rabbit is visceral—full-force drum slams, the slick claps, Miller's steely slabs of guitar, lyrics replete with bombs, knives, and natural disasters.

"[10] Heather Phares of AllMusic noted that "instead of just tweaking their dynamics, [the duo] play fast and loose with the most conventional and experimental parts of their music", concluding, "Contrasts like these have been Sleigh Bells' modus operandi since the beginning, but Jessica Rabbit's mix of brashness and finesse proves they can still thrill.

"[8] The Guardian's Gwilym Mumford found that "there's a wider sonic palette on show than on previous efforts: snatches of synth and glitchy breakbeats jostle for attention alongside Alex Krauss's clean, poppy vocals", calling the album an "encouraging move into new territory".

"[14] Josh Goller of Slant Magazine remarked that the album's "greater emphasis on melody, along with its more diverse, if occasionally too random, structure, clearly comes from savvier musicians who are more aware of their own tendencies and flaws, even if they can't always overcome them.

"[17] Cole Waterman of PopMatters wrote that "the album manages to still sound like Sleigh Bells, though unlike anything they've previously released", but felt that a "bloated tracklist of 14 songs is baffling [and] the middle section bears the brunt of this quality dip.