"Yes, the opening does remind us of Bergman: The static shots, held for a moment's contemplation, of the rooms and possessions of a family. But then people enter the rooms, and their lives and voices have a particularly American animation; Woody Allen is right to say that his drama, "Interiors", belongs more in the tradition of Eugene O'Neill than of Ingmar Bergman. But what's this? Here we have a Woody Allen film, and we're talking about O'Neill and Bergman and traditions and influences? Yes, and correctly. Allen, whose comedies have been among the cheerful tonics of recent years, is astonishingly assured in his first drama.
He gives us a time of crisis in a family, and develops it in counterpoint with the countless smaller joys and crises that are a family. He is very spare: every scene counts, and the dialogue has the precision of a J. D. Salinger short story. There's nothing thrown in for effect unless the effect contributes specifically to the direction of the complete film."