Albie Hay’s review published on Letterboxd:
A whole load of not that much. Norman Jewison isn't interested in telling a taut, exciting story (which is probably just as well, because writer Alan Trustman - no, I'd never heard of him either - hasn't provided one); what he is interested in, however, is split-screens, slow motion, frenetic editing, and all sorts of other dated gimmicks. I can't for the life of me figure out why, since none of the other three films of his I've seen - In the Heat of the Night, Fiddler on the Roof and Moonstruck - have remotely the same level of obsession with style for style's sake. As far as I'm concerned, the Henry Mancini sound wasn't really Michel Legrand's strong suit, and his modal score sets off the rest of the film's obsession with '60s chic to unaccountably chilly and alienating effect.