[7] Drowned in Sound's Samuel Rosean described Point as a Shibuya-kei album, albeit "in only the most abstract and contextual manner", noting that its "spacey guitar and synth-heavy production" was more comparable to that of works by artists such as Stereolab and the Notwist.

[9] Ty Burr of Entertainment Weekly described Point as "11 irresistible sound collages that feature driving beats, amiable guitar acoustics, and a quadraphonic sense of aural play that encourages rampant headphone abuse.

"[21] AllMusic editor Heather Phares found that while Point eschews the "stylistic about-faces" of its predecessor Fantasma, "the restraint and cohesion [Cornelius] brings to the album make its louder and crazier moments... that much more distinctive.

"[10] Blender's Alex Pappademas deemed it an improvement over Fantasma, with less "stylistic range" but a more refined pop sensibility.

"[22] Nick Southall of Stylus Magazine said, "More rounded and less determinedly schizo than Fantasma, Point is a great album of delicious odd-pop made by a whimsically modest genius.