Most critics like it, and the praise gathers in one place: the decision to treat the haunting as a story about family trauma rather than a run of frights. The reviews repeatedly find that the Crain siblings’ adult lives are where the dread sits, that the scares are patient and land harder for it, and that the cast holds two timelines together. Flanagan’s direction, his long takes in particular, is singled out, as is Carla Gugino.
The reservations are about length. Several reviews find ten episodes more than the story needs, with too much exposition; Vulture, the one mixed notice, calls the pace plodding and the episodes overlong, while allowing that the ghost story lingers. IndieWire agrees on the bloat but still comes down in favour. The spread is narrow, from warm to warmer: The Telegraph at the top calls it revolutionary, and most of the rest settle for calling it good, serious horror.
