TheWrap by Sam Fragoso

Equal parts horror masterclass and internal home-invasion thriller, “Ouija” is as chilling and nerve-racking as they come. It’s a sort of cinematic heart attack — irreparably damaging to the body and mind, with a slow recovery time.

The New York Times by Neil Genzlinger

The director, Mike Flanagan, who with Jeff Howard also wrote the script, demonstrates rare patience for horror fare as he builds toward the macabre.

Arizona Republic by Randy Cordova

If anything, the movie's third act is the only thing that feels a bit a disappointing. The plot is carefully constructed, the performances are rich (both girls are excellent), the characters are believable and a sense of dread grows throughout. Heck, the movie is even great to look at, with its period sheen and slightly muted colors.

The Hollywood Reporter by Frank Scheck

Infused with psychological complexity and nuanced characterizations, Ouija: Origin of Evil falters only in the final section.

RogerEbert.com by Odie Henderson

This is one overstuffed horror movie recipe, with a dash of “The Exorcist” and a spritz of “Ghost” among its tasty ingredients.

St. Louis Post-Dispatch by Calvin Wilson

Timed for the Halloween season, Ouija: Origin of Evil should have horror fans clutching their seats.

The A.V. Club by Katie Rife

Flanagan has a couple of solid genre films on his résumé already; at this point in his career, it would have been surprising if Origin Of Evil wasn’t better than Ouija. It is better, though, in every conceivable way, from casting to story to atmosphere.

Consequence by Randall Colburn

Flanagan’s scares are so precise, so exquisitely timed, that they’re able to imprint the mind as much as quicken the pulse.

IndieWire by Kate Erbland

“Ouija” is genuinely frightening and smart, the rare horror prequel able to stand on its own merits and deliver a full-bodied story that succeeds without any previous knowledge or trappings. However, in outfitting this particular haunted house with monsters to spare, Flanagan loses the thread of what’s really scary: Everything we can’t see.

Variety by Geoff Berkshire

After an hour or so spent establishing characters worth caring about, the narrative starts to devolve, and the more the film circles back to the mythology of “Ouija,” the sillier it gets. Much like the characters at its center, this prequel can’t outrun the ghosts of its past.