Metacritic-Rezensionen

An erratic but compelling film that lingers long after the fade-out.

The film is filled with unintentional laughs and with other moments that are simply jaw-droppingly absurd, either for the histrionic acting, the dated style of writing, the pseudo-science or just the spectacle of evil in pigtails. One could easily make the case that the movie is simply awful. Yet everything dated and peculiar about it is fascinating and does not detract -- it may even enhance -- the fun of the central premise. [05 Sep 2004, p.28]

The Bad Seed might not have the lurid veneer of Oedipal conflict that turned The Good Son into a supreme guilty pleasure, but it’s got more false-façade performances than you could ever hope for.

The Bad Seed was a successful novel and Broadway play before it was made into a movie, and the melodramatic quality of much of the writing and acting betray these roots. But the movie's artful black-and-white cinematography still contributes much to making this a remarkably gripping chiller. [05 Apr 1987, p.Y6]

Taken from Maxwell Anderson's stage play, adapted from William March's novel, the film remains more of the theatre than of the motion picture field. Nonetheless, it is well done within that qualification.

Director LeRoy has been overly faithful to the play script. Actors march on and off the screen just as if they were making stage entrances and exits.

So you have here a film version of a chilling novel and interestingly repellent stage play that defeats its own purpose with a static recording of the stage business and some of the most elaborate eye-popping and facial mugging since the last effort by the Three Stooges. [12 Dec 1956, p.5]

Overlong, stiff, and about as suspenseful as a detergent commercial, The Bad Seed has one small asset, Patty McCormack as the child, but that's about it.

Mervyn LeRoy, who produced and directed, has lost a great deal of the bite of the play. He has done it in a style of presentation that is ostentatious and often insincere.

1956 was way too soon for an unfettered treatment of the central premise: an 8-year-old serial killer. On the other hand it was too late in Mervyn LeRoy's career for him still to command enough speed and style to overcome the staginess of it all.