[Take the Money and Run] is a festival of [Woody Allen's] peculiar and prolific wit, a meld of ruthless satire, surrealism, and blatant absurdity…. The episodic nature of the movie is intrinsic and entirely suited to Allen's rapid-fire humor; the sight gags are numerous, unself-conscious, and are never allowed to perform as mere specula of the spoken jokes—an index of Allen's talent and promise as a director of comedy. Indeed, many of the most memorable scenes are purely visual…. The prevailing prison atmosphere in Take the Money and Run is effective, although a bit too benign and glossy…. Allen's comedy style, which is situational and considerably more sarcastic than slapstick, is a reflection of his favorite comedy films, "Seduced and Abandoned, and all of the Marx Brothers," and his highly regarded and influential stand-up colleague Mort Sahl…. [It] is altogether possible that Woody Allen will become the funniest filmmaker alive. (pp. 63-4)
Michael Shedlin, "Short Notices: 'Take the Money and Run'," in Film Quarterly (copyright 1969 by The Regents of the University of California; reprinted by permission of the University of California Press), Vol. XXIII, No. 2, Winter, 1969–70, pp. 63-4.
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