Saint Maud (2020)

O'Sullivan gives the film an emphatically positive verdict, calling it hauntingly perfect and worthy of success. She singles out Morfydd Clark’s performance for conveying Maud’s inner softness and pain.

Kermode praises the film as an electrifying, shape-shifting psychological horror and a striking debut. He singles out Morfydd Clark and Jennifer Ehle’s performances, along with the film’s fluid visual style and carefully orchestrated scares.

The review calls the film the best British horror film since Under the Skin. It praises its startling seaside atmosphere.

Lodge calls the film a formidable, compassionate debut that balances horror with a searching character study. He especially praises Morfydd Clark’s blood-freezing performance as Maud.

Macnab calls the film an exceptional, stylish and bone-chilling debut. He particularly praises Rose Glass’s blend of traditional horror with mordant social observation, and Morfydd Clark’s measured performance.

Freer finds the film original, unsettling and surprisingly moving, praising Rose Glass’s ambitious, compassionate portrait of a troubled soul. He especially singles out Morfydd Clark’s vulnerable, powerful lead performance, while noting that the more poetic ending feels out of place.

Walsh praises the film as a revelatory, compassionate portrait of faith entwined with mental illness. She especially commends Rose Glass’s efficient writing and nonjudgmental treatment of Maud’s complexity.

The critic finds the film a powerful, deftly ambiguous psychological horror story. They single out Clark and Ehle’s performances and the close framing that locks viewers into Maud’s distorted perspective.

Ehrlich finds the film an unsettling and satisfying debut that commits to its ambiguous vision of faith and delusion. He praises its physical, suspenseful body horror and the performances of Morfydd Clark and Jennifer Ehle, while noting that its didactic turns can make it feel small.

Bitel finds the film arresting and gripping, building queasily tense psychological drama around Maud’s crisis of faith. He praises the expertly performed opposition between Maud’s faith and Amanda’s secular outlook.

The review finds the film’s mix of religious fervour and mental instability provocative and discomfiting. It singles out the tense relationship between Maud and her patient as a central strength.

Felperin finds the film a smart, sinister, arresting debut, though its unresolved ambiguity may frustrate some viewers. She praises Rose Glass’s layered storytelling and the film’s distinctive atmosphere.

Glasby calls the film an assured, oppressive horror debut and one of the boldest in recent years. He praises Morfydd Clark’s performance and the film’s atmosphere, while noting that its ambitious coda is let down by the budget.

Romney’s standfirst presents the film as a powerfully individual debut. It singles out the film’s distinctive individuality for praise.

The review’s verdict and specific praise or criticism cannot be verified from the available page. The article body was unavailable, so its assessment is not summarized.

Bowen finds the film a vague, monotonous dirge that preaches to the choir. He praises the early setup and one joltingly funny confrontation, but criticizes its shallow portrayal of religious fanaticism.

Brody finds the film conceptually powerful but ultimately underdeveloped, with horror conventions undermining its psychological drama. He praises the contrast between Maud’s delusions and her surroundings, while faulting the film for skimming over the details that would give her inner life depth.

Dunn praises Saint Maud as an intense, highly confident debut likely to rank among the year’s greats. He singles out Glass’s claustrophobic, subjective filmmaking and the way Maud’s visions blur reality and delusion.

The critic calls it one of the year’s best films and praises its unforgettable, haunting finale. Morfydd Clark’s grounded central performance is singled out as a major strength.

The critic calls the film a stunning debut and a triumphant arrival for Rose Glass. He especially praises Glass’s unsettling sound design and her ability to place viewers inside Maud’s perceptions.

Foutch praises the film as an alluring, steadily tightening horror story with a devastating finale. She particularly singles out the compelling performances by Morfydd Clark and Jennifer Ehle.

The critic calls Saint Maud a gripping, wholly unnerving debut and a standout in contemporary horror. They especially praise Rose Glass’s controlled direction and Morfydd Clark’s compelling, physically expressive performance.

The review calls the film a remarkable debut and an essential big-screen experience. It singles out Morfydd Clark’s performance and the steadily mounting dread for praise.

Fletcher praises the film as an original, intensely disturbing horror debut. She particularly singles out Morfydd Clark’s performance and the inventive cinematography that reflects Maud’s mental state.

Borders praises the film as a distinctive, unsettling horror debut that is both funny and emotionally affecting. She singles out the performances of Morfydd Clark and Jennifer Ehle, along with the film’s startling final moments.

The review finds Saint Maud an exceptionally scary, unsettling film, despite a rushed relationship at its center. It singles out Morfydd Clark’s unnerving, convincing performance as Maud for particular praise.

Crump finds the film disappointing overall, despite its atmosphere and flashes of terror. He praises Morfydd Clark’s performance and Glass’s eerie cinematography, but faults the one-dimensional character and underwritten screenplay.

The critic finds Saint Maud effective in the moment but ultimately too familiar and stiff to leave a lasting impression. He praises the performances and Rose Glass’s visual work, especially the scenes confronting Amanda’s impending death.