The reviews lean towards qualified admiration, with praise centred on the performances and the film’s treatment of family life and social pressure. Gena Rowlands receives the strongest notices, while Peter Falk is also praised for giving the husband nuance and helping sustain the story. Several critics find the film powerful or moving despite its flaws, and its sympathetic depiction of recognisable family behaviour is another source of approval.
The divide concerns how much frustration accompanies that force: the ten assessments split evenly between positive and mixed, with none classed as negative. Empire finds the length sometimes frustrating, while the Los Angeles Times offers the clearest dissent on Rowlands, calling her performance overacting even as it finds the film moving and frightening. The available responses range from enthusiastic praise to substantial reservations about unevenness and a personal style that can leave viewers confounded.
