IndieWire by Jude Dry

The 1971 epic offers a stylish and scathing parable about the dangerous ways that the powerful can exploit religious zeal to stay that way.

The Guardian

There is much to irritate in the film, but it's bold, individual and a landmark in British cinema, with outstanding performances.

Chicago Reader by Dave Kehr

The funniest thing about this 1971 Ken Russell camp epic is probably the juxtaposition of its first-class production values (a good cast, great set design, marvelous photography) with Russell's no-class sexual fantasies—it's like a David Lean remake of Pink Flamingos.

The A.V. Club by Katie Rife

Russell’s penchant for aesthetic excess is thoroughly indulged, as the director stages grotesque human tableaus straight out of Hieronymus Bosch over Derek Jarman’s intricately detailed sets. The result gives the story a sort of wanton, overripe feel, with such ostensibly austere environments as a cloistered convent about to explode with repressed sensuality.

Time

It is like a lunatic opera, an attempt to make a furious poem out of frenzy. Russell's flamboyant theatricality and his interest in the perverse have been too much imposed on his other films; but here, style and subject are perfectly matched. The film does not work as drama. But as a glimpse of hell it is superbly, frighteningly effective.

Empire

Whatever the moral perspective, it keeps you gripped right to the end.

Time Out

No matter how thickly Russell piles on the masturbating nuns, tortured priests and dissolute dauphins, there's no getting round the fact that it's all more redolent of a camp revue than a cathartic vision. Derek Jarman's sets, however, still look terrific.

TV Guide Magazine

The set design, by future director Derek Jarman, is probably the most successful element of the film.

The New York Times by Vincent Canby

It's a see-through movie composed of a lot of clanking, silly, melodramatic effects that, like rib-tickling, exhaust you without providing particular pleasure, to say nothing of enlightenment.

Chicago Sun-Times by Roger Ebert

All the events and persons depicted in The Devils are intended to be confused with actual events and persons. How do I know? Ken Russell tells me so.