The Monthly Film Bulletin wrote: It would be a remarkable feat of balancing that could support all the disparate elements of David Greene's third film without occasional signs of strain. Greene overcomes most of the difficulties with some sensitive performances and an artfully smooth style that stitches together the psychological thriller, the whodunnit trail of hints and red herrings, and the fantasies and memories of Wynne's Catholic girlhood into a coherent and accomplished piece of film-making. The style in fact so often seems to be leading the material (as in
The Shuttered Room [1967]) that it occasionally forces it into simplification or overemphasis. The demolition and reconstruction work within the town that is the physical background for Wynne's acting out of her juvenile fears is extended at the end into an over-neat symbol for their solution: hand in hand, Wynne and George watch the bulldozers finally reach the boundaries of the old, ghostly family property and reduce the place to rubble. But for the most part, the rawness of the setting is not simply a symbol but an alive and active presence, the precarious, half-completed air of the place perfectly expressed in the muddy chaos of building sites adjoining the glitteringly modern church where Wynne goes to confess some of her problems. Jenny Agutter's performance as Wynne is itself something of a remarkable balance, poised between naiveté and delicacy to suggest a perfectly natural innocent.
The Radio Times Guide to Films gave the film 2/5 stars, writing: "Director David Greene taxes the patience with this manipulative whodunnit. There are so many dead ends in this adaptation that it soon becomes a matter of indifference whether Bryan Marshall is responsible for the series of sex attacks near his home. Much more intriguing, however, is the effect the slayings have on his foster sister, Jenny Agutter, whose hero worship is both disturbing and potentially deadly."
Leslie Halliwell said: "Strained psychological suspenser with good moments between the longeurs." ==References==