Pauline Kael of "The New Yorker" was generally negative, writing, "It's not what I want not because it fails (it doesn't fail), but because of what it is. It is, I think, what we once feared mass entertainment might become: jolts for jocks. There's nothing in the movie that you enjoy thinking about afterward—nothing especially clever except the timing of the subway-door-and-umbrella sequence. Every other effect of the movie—even the climactic car-versus-runaway-elevated-train chase—is achieved by noise, speed, and brutality." David Pirie of "The Monthly Film Bulletin" called the film "consistently exciting" and Gene Hackman "extremely convincing as Doyle, trailing his suspects with a shambling determination; but there are times when the film (or at any rate the script) seems to be applauding aspects of his character which are more repulsive than sympathetic. Whereas in "The Detective" or "Bullitt" the hero's attention was directed unmistakably towards liberal ends (crooked businessmen, corrupt local officials, etc.) Doyle spends a fair part of his time beating up sullen blacks in alleys and bars. These violent sequences are almost all presented racily and amusingly, stressing Doyle's 'lovable' toughness as he manhandles and arrests petty criminals, usually adding a quip like 'Lock them up and throw away the key.'" On review aggregator Rotten Tomatoes, the film has an approval rating of 98% based on 56 reviews, with an average rating of 8.74/10. The website's critical consensus reads, "Realistic, fast-paced and uncommonly smart, "The French Connection" is bolstered by stellar performances by Gene Hackman and Roy Scheider, not to mention William Friedkin's thrilling production." In 2014, "Time Out" listed "The French Connection" as the 31st best action film of all time, according to a poll of several film critics, directors, actors and stunt actors. "The French Connection" has been described as a neo-noir film by some authors. The American Film Institute recognizes "The French Connection" on several of its lists:  In 2012, the Motion Picture Editors Guild listed the film as the tenth best-edited film of all time based on a survey of its membership. The film has been issued in a number of home video formats. For a 2009 reissue on Blu-ray Disc, William Friedkin controversially altered the film's color timing to give it a "colder" look.