Evan Eaton’s review published on Letterboxd:
About as pedestrian as Godard gets, which still isn’t saying much in terms of accessibility. Aside from a killer opening credits sequence, the first two acts feel largely like more of the same; wordy narration, rebellious romance, charming dance numbers and on-the-fly camerawork helping buoy the unfavourable, vaguely misogynistic male characters. The final thirty minutes is where it really kicks into gear, pulp parodies, western standoffs and criminal bodge-jobs eventually smashing down the fourth wall, all to give us that familiar ‘FIN’ with the narrative equivalent of an overly pleased, smarmy wink. Lose Michel Legrand’s music and Anna Karina, you lose the film.