Most critics like it. The reviews lean warm, four positive out of seven, and the praise clusters on the musical numbers rather than the plot: the choreographed sequences, above all Goldie Hawn’s dance with Allen beside the Seine, which several critics single out as the high point. The decision to let untrained actors sing is taken as a charm by most, and the film is more than once called one of Allen’s stronger outings of the decade.
The reservations are about familiarity and control. Total Film finds it enjoyable but less original than Allen’s earlier work, and Radio Times notes that the cast’s limited singing can distract even while admiring the boldness of the departure. The spread is wide: Empire and Variety are close to raves, while The Independent stands alone in dismissing it, finding the many plotlines and performances out of step with one another and the songs unable to hide a film with nothing at its centre.