Most critics are not persuaded. The reviews agree the seven-figure offer at the film’s centre is a strong hook, and most think it is wasted. Where praise lands, it lands on the leads: several reviews find Robert Redford the main reason to keep watching, while Variety instead credits Demi Moore with the only emotional truth on screen. John Barry’s score also earns a mention.
The spread is wide. The harsher notices outnumber the kind ones two to one and find the drama solemn where it should be sharp, with an ending more than one critic calls absurd. The New Yorker objects to the film’s awed treatment of wealth, the classroom scene with the Rolls-Royce in particular. The Los Angeles Times breaks ranks on Redford, finding him listless. The two positive reviews take the premise as a talking point rather than a failing: Radio Times reads the film as a portrait of early-1990s emptiness, and Eye for Film finds it engaging and romantic.
