Critical Variety called it "a fairly conventional crime chase yarn" which "has some exciting moments but lacks much of the tension that more astute and experienced directors than John Hough might have given it. Nevertheless, it makes a good programmer."
The Monthly Film Bulletin wrote: "A crime thriller with no pretensions to credibility. After shooting the wrong man by mistake, the Mafia-affiliated villains chase round the island leaving a trail of bodies and providing an excuse for a lot of spectacular motorcycling and car-driving. Many of the shots are of action reflected in motorbike or car mirrors, or taken at assorted odd camera angles; devices like the Colonel seen through his own spectacles as they lie on a table are common; and the director's passion for distortion is evident in scenes like the one where a waiter is murdered with a jewelled hatpin. The continual cross-cutting between the different strands keeps the action moving, and effective use is made of the Maltese location, with its narrow, winding, cobbled streets, long flights of steps, cliff-tops and catacombs. The script is a poverty-stricken variant on the boy who cried 'wolf!', but considering the banality of most of his lines, Lionel Jeffries makes quite a character out of the old-world grandfather who puts on dress uniform for dinner, and Peter Vaughan is a suitably sinister villain." Paul Moody, in his history on EMI Films, called
Eyewitness "an excellent and neglected thriller, intelligently directed and with strong performances, especially from Jeffries. Thankfully for Forbes, this was his first critical success, with most reviews commenting on the performances of Jeffries and Peter Vaughan as the villainous policeman."
The Guardian said "it is not a bad evening out." The
Evening Standard called it "quite suspenseful... but tricked up with so many distorting lenses, zoom focuses and calculated camera set ups that it looks as if director John Hough were heped by an astigmatic computer."
The New York Times called the film an "exasperating model of how not to film the fable of the boy who cried wolf... What ever happened to British restraint? The tone of the film is even more hysterical than the boy... Under John Hough's direction, the picture raucously careens after the sprinting lad, with the nervous color camera all but doing a back flip, plus a blaring score of eerie sounds and spookier rock 'n' roll. Worst of all, the screenplay continually cuts from the boy and his plight to some singularly dull adults." The
Los Angeles Times called it "thoroughly satisfying".
Filmink argued the main fault of the film was it had four different heroes.
Box office According to
EMI Records, the film performed "outstandingly" in Japan. However, overall it was a box-office disappointment. == Adaptations ==