Zach Ralston’s review published on Letterboxd :
Yet another example of the '70s kicking ass. Even their typical/mediocre Hollywood output was solidly well above average on an absolute scale. This template for the buddy-cop comedy (which serves as the precursor to John Badham and Martin Brest movies like STAKEOUT and MIDNIGHT RUN) hums with a darkly comic tone, smooth camera movement, and a fair amount of grit. The second half drags a bit as the plot stalls around the hunt for a kingpin (I preferred the episodic first half when the two leads were going around arresting hookers and, in some bizarre homophobic relic of a scene, trannies at a gay bar) but the ending is 100% 1974: a freeze frame, an audio flash-forward, and drenched in cynicism.
Also, how awesome is Elliot Gould?
Thanks to @MattSinger for the tip that this thing was on Netflix Instant. Hadn't even heard of it. Does this mean I have to watch Hyams's OUTLAND now?