Metacritic reviews

The movie has been both attacked and defended on feminist grounds, but I think it belongs somewhere outside ideology, maybe in the area of contemporary myth and romance.

Since women are usually such foreign creatures in Scorsese's work, he seemed an unlikely choice to direct Burstyn's feminist vehicle, but his aggressive style suits her uncompromising character.

Alice Doesn't Live Here Anymore is an American comedy of the sort of vitality that dazzles European film critics and we take for granted. It's full of attachments and associations to very particular times and places, even in the various regional accents of its characters. It's beautifully written (by Robert Getchell) and acted, but it's not especially neatly tailored. [29 Jan 1975]

Alternating gritty realism and red‑hued fantasy, this is one of those '70s films that wears well, universal in its heart while picking out specifics which are exactly of their time.

Bitter-sweet and very charming.

One of the rare films that genuinely deserve to be called controversial. I think people will really fight about it. It's the story of a woman who has a second chance thrust on her; she knows enough not to make the same mistake again, but she isn't sure of much else. Neither is the movie. Alice is thoroughly enjoyable: funny, absorbing, intelligent even when you don't believe in what's going on--when the issues it raises get all fouled up. [13 Jan 1975, p.74]

Not always successful, but packed with energy and a lively Oscar-winning performance by Burstyn.

[An] effective but uneven work, which chronicles a woman's search for self.

Alice Doesn’t Live Here Anymore takes a group of wellcast film players and largely wastes them on a smaller-than-life film – one of those ‘little people’ dramas that make one despise little people.

Scorsese tries to balance tries to balance irony and lyricism, but it has no internal truth, it means nothing in terms of wht we know of Alice or what Scorsese feels about her. [6 Jan 1975, p.71]