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Sunday in New York Review:
Sunday in New York is a rather routine early '60s sex comedy, albeit one that's a bit more frank than others of the period. Norman Krasna's screenplay deals quite openly with the issue of sex among singles: the double standard with the issue where men and women are concerned and the pressures that a young woman faced at the time. The openness is refreshing, even if many of the ideas are dated. Had Krasna provided sharper and funnier dialogue, Sunday might have ended up as a rather superior example of the genre, but here the writer lets the viewer down. Yes, there are amusing moments, but they tend to generate chuckles rather than real laughs. Peter Tewksbury's direction doesn't help; it's genial and professional, when what is needed is real imagination to kick things into high gear. This becomes especially clear in the last third of the screenplay, when the machinations that are part and parcel of the genre have set up a mistaken identity plot that should be much more amusing than it is. Don't blame the cast, for they give it their all. Rod Taylor is a bit stiff in places but fine, and Jane Fonda is quite good throughout. Cliff Robertson does very well, and in what could be described as the "Gig Young" role, Robert Culp boosts the energy level considerably. None of this -- nor Peter Nero's cool, jazzy score -- raises Sunday above the ordinary, but it does make it an enjoyable piece of fluff. Craig Butler, All Movie Guide