[Carlos Saura's "Honeycomb" is] the latest and the least of those movies that mean to unlock the secrets of middle-class matrimony by means of a willful indulgence in everyday unreality. Such films … seem invariably to follow a process of elegant dissolution—never inelegant dissolution—until all is laid bare in the destructive psychodrama of life. But in "Honeycomb" nothing is laid bare except the dullest of make-believe constructions covering for the lack of insight that would be necessary to sustain the most ordinary unhappy domestic drama.

Mr. Saura, normally a director of forceful personality, whether you like him or not …, hardly exists except at the very beginning and end of the movie. And if there is any reason for "Honeycomb," it is to display the talents of what is virtually two-person cast….

Roger Greenspun, "'Honeycomb'," in The New York Times (© 1972 by The New York Times Company; reprinted by...