NME by Jordan Bassett

It’s a shame the movie has such a goofy name, which throws a shroud over a powerful and unique cinematic experience.

Paste Magazine by Jesse Hassenger

On its terms, and especially with an ending I read as ambiguous, The Woman in the Yard is also unflinching enough to maybe count as daring, and maybe Sollet-Cerra’s most viscerally moving film. It’s also among his least playful, least comforting. Your anxieties can’t follow you around if you can barely make it out of bed.

IGN by Steve Greene

More unsettling than outright terrifying, The Woman in the Yard is smaller-scale horror that works as a return to fundamentals for a talented filmmaker, and is further proof of Danielle Deadwyler’s immense skill as a lead performer who knows how to pull off the psychological ramp-up required for a movie like this.

Rolling Stone by David Fear

Like a particularly concise, purposefully elliptical short story, The Woman in the Yard quickly milks this beguiling, WTF-is-going-on-here? scenario for all the dread it’s worth, while not necessarily being in a hurry to fill folks in on the full 411 regarding this sticky situation.

The Hollywood Reporter by Frank Scheck

Some genre fans will be disappointed by the film’s slow-burn style and the cryptic nature of Sam Stefanak’s screenplay, including its twist ending that’s open to interpretation. But for anyone more interested in cerebral horror and less in watching arteries gushing and entrails popping out, The Woman in the Yard offers considerable rewards.

The A.V. Club by Natalia Keogan

Leave it to Collet-Serra to deliver a trim, serviceable product—something almost impressive when compared to some of Blumhouse’s other recent original efforts.

Slant Magazine by Justin Clark

The film is a slow-burning tale of very real traumas suffered by a woman far out of her element and forced to process a tragedy on top of it all.

Collider by Jeff Ewing

There's an excellent film somewhere in The Woman in the Yard, but it would take another draft to uncover it from beneath that jet-black burial shroud. Suffice it to say, it's a horror outing that works rather well until it falls apart at the end.

Screen Daily by Nikki Baughan

A raw central performance from Danielle Deadwyler brings some depth to this Blumhouse thriller, which otherwise maintains a creepy atmosphere but mostly trades in familiar psychological horror tropes and an abundance of jump scares.

Empire by Helen O'Hara

It's well performed, and Collet-Serra knows his way around a beautifully timed scare, but what's most haunting is the sense that the same idea has been done better before.