Critical response Joe Baltake of the
Philadelphia Daily News wrote that the film was "convoluted, contemporary, and evil... This is a
Freudian slip-of-a-horror-film, far more complex than truly frightening."
The Baltimore Evening Suns Lou Cedrone wrote that the film was "not so gory as most of the slice-and-dice genre," comparing it to
Friday the 13th (1980) and
Sleepaway Camp (1983), but added: "
The Initiation may be a little better than similar features, if only because it is a little less bloody." In a subsequent review, Cedrone characterized the film as a "
Friday the 13th clone," and added: "Vera Miles and Clu Gulager are performers caught in this hapless mess." Candice Russell of the
South Florida Sun Sentinel awarded the film one-and-a-half out of four stars, referring to it as "an uncomfortable pastiche of scenes we've seen before," and likened elements of it to
Brian De Palma's
Sisters (1973). Sharon Johnson of
The Patriot-News praised the film for offering "a reasonable amount of suspense, a surprise ending that doesn't cheat and a complex plot that will never bore you," concluding that, "the movie as a whole holds together rather well." Writing for the
Manchester Evening News, Rodger Clark deemed the film "a fairly standard shock horror movie" and recommended it "only for avid horror fans." Eric Snider, writing for
Film.com in 2012, gave the film a negative review, calling it "a bad movie with bad ideas that are badly executed," while
TV Guide summarized the film as "boring slasher stuff," noting that "Top-billed [Vera] Miles and [Clu] Gulager barely appear in the film, which would make a terrifically dreadful double bill with the similar
The Dorm That Dripped Blood (1983), also featuring Zuniga." Film critic
John Kenneth Muir writes in his book
Horror Films of the 1980s, Volume 2 (2010) that "the popular 1980s slasher paradigm gets another muscular work-out in
The Initiation, a film loaded with formula ingredients," deeming it a "competent but derivative slasher," but notes that the film's "hoped-for momentum never kicks in." Brian Collins, writing for the
Alamo Drafthouse's film journal,
Birth.Movies.Death., noted that the film "might be worth a look for slasher aficionados—it's far from a perfect film, but there are some unusual elements to it that give it enough personality to overcome its somewhat sluggish pace and TV movie-esque production."
Dread Centrals Anthony Arrigo observed in a 2016 review "a surprising amount of character depth on display here, more so than similar pictures of the era." In
Legacy of Blood: A Comprehensive Guide to Slasher Movie, writer Jim Harper called the film a "lackluster effort that never quite lives up to the abilities of its cast," further noting: "Even with the soap opera ending, the film isn't entirely successful, mostly because of the terrible script. There's a wealth of unnecessary jargon and cheap dialogue, not to mention some notable inconsistencies. Zuniga does her best to rise above the bad material and turns in a great performance, but Gulager and Miles sleepwalk through their parts." Horror film scholar Adam Rockoff alternately notes in his book
Going to Pieces: The Rise and Fall of the Slasher Film, that, "despite its proclivity for laughable dialogue and silly plot twists, [
The Initiation] manages to be a fairly entertaining and occasionally frightening film."
Edge Media Networks Ken Tasho, when reviewing the film's 2016 Blu-ray release, praised it, noting: "
The Initiation, while hardly original, takes elements from soap operas and dramas in its writing approach; it's a unique spin on the tried-and-true 1980's slasher formula." Max Deacon of
Scream magazine wrote that the film may divide audiences, noting: "Director Larry Stewart does have some visual flair, filing the shots with typical
Freudian images—mirrors are ubiquitous throughout—to reflect Kelly’s ever-fluctuating mindset. But where this film is won or lost is in the twist at the very end of the film, which will either be seen as shockingly innovative or entirely ridiculous depending on the viewer." Irrespective of the film's critical reception, it has garnered a contemporary
cult following. ==Notes==