The Guardian by Peter Bradshaw

The film punches out its warped drama with amazing gusto and Clark is lethally assured: not Saint Maud really, but Saint Joan, a spectacular horror heroine.

Los Angeles Times by Katie Walsh

In only an hour and 24 minutes, Glass has crafted a film rich in history, reference, psychology, spirituality, style and even some gore, but it never overstays its welcome, recognizing that less is more.

Austin Chronicle by Matthew Monagle

With elements of psychological terror, spiritual warfare, and even a dash of repressed sexual urges, Saint Maud is the kind of complicated, slippery horror that fans will talk about for years to come. This is the horror film most A24 titles wish they could be.

The New York Times by Jeannette Catsoulis

Folding sexual arousal and religious ecstasy into a single, gasping sensation, Saint Maud, the feature debut of the director Rose Glass, burrows into the mind of a lonely young woman and finds psycho-horror gold.

The Telegraph by Robbie Collin

Glass could hardly have asked for two more game accomplices than Clark and Ehle, who play the…well, the you-know-where out of their respective roles, and are both naturally attuned to the film’s murkily sensual, dread-laden wavelength.

Slate by Dana Stevens

Glass has set herself a high bar to clear in one’s first feature: tackling hard-to-film ideas about faith, psychic trauma, and mental illness. Yet rather than seeming abstract or preachy, Saint Maud is visceral, sensuous, and tactile.

The Playlist by Jason Bailey

This is a stunning piece of work and a triumphant fanfare for the arrival of a remarkable new talent.

The Observer (UK) by Mark Kermode

Charting a razor-sharp course between the borders of horror, satire, psychodrama and lonely character study (Taxi Driver has been cited as an influence), Saint Maud is a taut, sinewy treat, blessed with an impressively fluid visual sensibility and boosted by two quite brilliant central performances.

Consequence by Ryan Larson

Saint Maud is a fantastic and gripping debut from an exciting new talent in the genre. Hoisted by a tight script and dynamic performances, it’s a standout title that deserves its heaps of praise.

Variety by Guy Lodge

Skirting easy cynicism to view fire, brimstone and occasional grace through Maud’s awestruck eyes, this is finally as much a sympathetic character study, a mental heath mind-map, as it is any kind of chiller. Whatever the case, it’s one hell of a debut for Rose Glass.

IndieWire by David Ehrlich

A slender but unholy cross between “First Reformed” and “The Exorcist."

Empire by Ian Freer

Place your faith in Saint Maud. Original, unsettling and surprisingly moving, it’s a strong calling card for filmmaker Rose Glass and actor Morfydd Clark.

Slashfilm by Meredith Borders

Glass keeps her audience on our toes, always surprising us, challenging us, provoking us. The film’s a marvelous thing in its own right but also a thrilling invitation to follow this filmmaker wherever she dares to take us next.

The Globe and Mail (Toronto) by Barry Hertz

I’ve come around to Glass’s singular, purpose-filled vision – one that is intent on pushing its audience so far outside their comfort zones that you’d need a map to find your way back to baseline existence. Clark is also a wonder as the title character, playing a deluded and dangerous antihero with an unnerving zeal.

Screen Daily by Jonathan Romney

Featuring a terrific performance from Jennifer Ehle and a bold, quietly nerve-shredding lead from Morfydd Clark, this is a hugely individual, distinctly British piece of genre-tweaking with a strong female focus and clear potential to cross borders between arthouse and upmarket horror sectors.

The Hollywood Reporter by Leslie Felperin

[A] striking and auspicious feature debut ... Saint Maud seeds the clouds with an eclectic mix of influences, but it works, creating a film with its own strange weather.

CineVue by Christopher Machell

Saint Maud is the dive into obsession, isolation and urban deprivation that you need right now.