I find every movie by the Pack, or any of their subset, other than Sinatra alone, to be a sad waste of film.

This is yet another, where Sammy Davis, Jr and Peter Lawford pilot this shameless, dopey vehicle at missile speed right through the middle of my IQ. Gosh, please make this stop, or at least, make Peter Lawford stop smoking cigarettes for one second and stop ashing his butt on the nightclub floor.

There's one funny scene where Sammy performs a song and dance number with some go-go girls. He pretends not very well to play the guitar.

I couldn't get through the entire movie. Its on a low par with the dreadful Ocean's 11.

This movie actually has a very witty script. Several people have complained they didn't laugh. It's SATIRE, the slapstick may be lowbrow humor, but the script has several witty moments - you really have to pay attention closely to the dialogue. A humorous take on the spy movies and tv shows that were barraging the airwaves and theaters of 1968. This was a classic form of camp humor films of the mid 60's through early 70s. Unfortunately, the humor is a bit dated for those who did not live through the insanity of the times. Two nightclub owners are sucked into a web of espionage in which they must save the entire country of Britain. A bit convoluted, the film could have been edited down by a good 20 minutes and been a better film. That said, it was still a fun romp. Vaudeville, meets burlesque, meets 007, meets Rocky and Bullwinkle. James Welch Henderson, Arkansas 3/30/2021.

This is just too goofy and corny to rate well. The editing and continuity are clunky, but that's not the worst of it. The goofy 50s sitcom musical cues are beyond cliche, the dialogue is fit only for 50s sitcoms, and the movie is so stupid that it can only be enjoyed by cultural deficients or hipsters who like their fare drenched in superficial ironies.

It has historical merit as an exaggerated view of fashions, looks and behaviors of London's famous swingin' 60s. This film was meant to be hip at the time, so it can be viewed by modern eyes as a window into what director Donner thought would sell as 'cool.'