The Film Stage by Jared Mobarak

You can’t deny its visual panache via immersive cinematography and production design. That it never embraces the supernatural element it teases is disappointing, but far from a dealbreaker.

Consequence by Ryan Larson

Unfortunately, The Reckoning is the biggest whiff in Marshall’s filmography. At its best, it delivers moments of optic greatness (a lightning strike-illuminating barn scene stands out), but most of the film is bleak and droll, full of a muddled script and lackluster performances.

The Telegraph by Tim Robey

Despite a spirited score and a few other redeeming features, The Reckoning is too clumsy, overlong and generally miscalculated to add up to an intelligent commentary on misogyny, or a satisfying riposte to it

Empire by Ian Freer

Neil Marshall’s return to his homegrown horror wheelhouse doesn’t reach the heights of Dog Soldiers and The Descent. Instead, it’s a witch-hunt thriller that lacks the texture to be realistic and the no-holds-barred energy to be pulpy. Sean Pertwee has fun though.

Movie Nation by Roger Moore

The whole tedious affair makes one wish they’d gone to less trouble making a bad movie with tame villains, an uninteresting lead and confused (Was this recut to play up “the plague?”), scattered story.

RogerEbert.com by Simon Abrams

The ensemble cast members all dutifully perform their roles, but there’s not much for them to sink their teeth into.

The Guardian by Cath Clarke

The film left me shaking with anger more than fear.