The Hollywood Reporter by Leslie Felperin

As with so many of the best mystery-horror films, the optimum way to enjoy a first viewing of this is try to remain as ignorant as possible about what happens. That said, it also brims with tiny, blink-and-you'll-miss-them details that will repay repeat viewings.

The New York Times by Jeannette Catsoulis

The movie is so perfectly acted and gorgeously filmed (the cinematographer is Julie Kirkwood) that we don’t mind its coyness; the twanging notes of trepidation make us almost grateful for the leisurely build.

The A.V. Club by A.A. Dowd

The Blackcoat’s Daughter is a clammy hand on the back of the neck, a chill running down the spine, a shot of ice water straight to the veins. Every moment, almost every shot, has been carefully calibrated to stand hairs on end.

Village Voice by Alan Scherstuhl

Few horror debuts unnerve and fascinate as much as this one.

Variety by Joe Leydon

In addition to everything else he does right in February, Perkins plays fair: When you replay the movie in your mind after the final fadeout, you realize that every twist was dutifully presaged, and the final reveal was hidden in plain sight all along.

Los Angeles Times by Noel Murray

Eventually, The Blackcoat’s Daughter connects the pieces and ends strongly, though Perkins smartly spends more creative energy on crafting creepy situations than on pointing toward the payoff.

Consequence by Randall Colburn

This is the kind of film that follows you home, that makes you scared to enter a dark alley or go in the basement.

Consequence of Sound by Randall Colburn

This is the kind of film that follows you home, that makes you scared to enter a dark alley or go in the basement.

The Film Stage by Michael Snydel

A stylish exercise in dread, teasing out its slow-drip horrors with precision, and building a deliriously evil presence that hovers along the fringes.

ReelViews by James Berardinelli

Some genre fans may feel cheated by the lack of overt gore (there is some but, although it's explicit enough to have warranted an R-rating, it falls considerably short of the graphic bloodletting of slasher films), the unhurried pace, and the lack of many horror tropes, but the movie isn’t a carbon copy of every other “demon possession” movie out there.

Arizona Republic by Bill Goodykoontz

The film gets gory toward the end, and as with most horror films, the climax isn’t as satisfying as the build-up. But Perkins builds layer after layer of dread, so that when an explosion finally occurs, it’s almost a twisted relief.

IndieWire by Eric Kohn

The root of evil in The Blackcoat’s Daughter isn’t particularly original or deep, but the movie’s twisty plot and eerie atmosphere makes it deeply unsettling anyway.

Slant Magazine by Chuck Bowen

Oz Perkins exhibits a committed understanding of the cinematic value of silence and of vastly underpopulated compositions.

Movie Nation by Roger Moore

The Blackcoat’s Daughter — an illusion to a priest’s cassock? — never amounts to much more than its tone, the dread Perkins summons up with morose faces, shadows and music.

RogerEbert.com

In spite of some compelling performances and a consistent mood, the film fails to ground any of these aesthetic flourishes in story or emotion.