The reviews are unanimous, which is rare. Every critic we have read counts the film a success, and most of them count it among the most durable comedies of its decade. The praise clusters around the mock-documentary form, which several reviewers credit with starting a genre, and around the largely improvised dialogue and the band’s own songs. Nearly everyone notes that the joke is affectionate rather than cruel: the band are fragile and deluded, and the film likes them anyway. The Stonehenge number and the lyrics come up repeatedly.
The spread is narrow. Nothing sits below the positive line, and the differences are of degree. The nearest thing to a reservation is Variety’s early notice, which treats it as a satire pitched chiefly at music-business insiders. Sight and Sound is unusual in dwelling on the American cast’s handling of British accents and pub-musician manners. Several later reviews are of re-releases, and all of them say it has not dated.
