In one of the positive reviews posted in The Village Voice, Jim Hoberman deemed the movie to be a neo-noir. He explained that Passer had created “a thriller but also a critique, underscoring its surgical title by performing a deft and mordant postmortem on the remains of the 1960s counterculture.” Similarly, in his review of the movie, Jonathan Rosenbaum—the same critic who called it Passer's best American feature—also noted that the movie was making a "major statement about post-60s disillusionment."
In one of the positive reviews published in The Village Voice, Jim Hoberman labeled the film as a neo-noir. He explained that Passer crafted both a thriller and a critique, highlighting the title's surgical nature by performing a sharp and biting analysis of the remnants of the 1960s counterculture. Similarly, Jonathan Rosenbaum, who also considered this to be Passer's best American work, noted that the film made a significant statement about post-60s disillusionment.