At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album has an average score of 78, based on 16 reviews, indicating "generally favorable reviews".[3] In a three-star review, Rachel Aroesti of The Guardian said that Beatopia's "crowd-pleasing combination of poppy euphoria, laidback cool and often rather generic lyrics tends not to leave a lasting impression of much beyond stylishly executed nostalgia".[7] Arielle Gordon of Pitchfork criticised the lyrical content of the album as being "often more form than function",[11] though in a mixed review for PopMatters Jay Honeycomb noted that the lyrics deal with the challenges of human intimacy.[12] In a more positive review, Kerrang! characterised Beatopia as a progression from Beabadoobee's debut album with "more diversity, more complexity and less care paid to the genres it falls within", marking an artistic evolution.[8] Similarly, Hollie Geraghty writing for NME sees "the seeds that were planted in Fake It Flowers not only blossom, but inhabit an entirely different world" with Beatopia.[9] In a mixed review for The Telegraph, Kate French-Morris wrote, "Kristi's music may sound fresh to the ears of those born this side of the millennium, but it's rehashed, scrubbed-up, 1990s alt-rock to everyone else, so well-cribbed she sounds like a fictional artist dreamed up to soundtrack a teen movie."[13] Writing for The Line of Best Fit, John Amen scored the project 8/10 and commented, "If Fake Flowers featured Laus toeing the indie line, at times self-deprecatingly, Beatopia is her unapologetic leap into mega viability."[14]
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