Most critics respond warmly to Breathless, with praise centred on Godard’s restless filmmaking and the energy of its young leads. The jump cuts, handheld camerawork and jazz score draw repeated admiration, as does the film’s freedom with American gangster conventions. The reviews tend to treat its formal experiments as a continuing source of pleasure rather than merely a historical achievement. Belmondo and Seberg also earn praise for making the lovers’ intimacy and disconnection compelling.
The differences concern how well that freshness lasts and how welcoming the film is. The Financial Times finds that it looks a little dated, while still feeling its impact. Variety admires both leads but notes Seberg’s limited emotional range. Elsewhere, the wilful style and abrasive characters are largely treated as strengths rather than obstacles. The spread is broadly enthusiastic: reservations qualify the praise without becoming a sustained case against the film.