While not one of Godard's best films, Made in U.S.A. does have its moments, many of them comic, such as the absurd dialogue in the bar scenes.
Made in U.S.A. (1966)
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Reviews Counted:15
Fresh:14
Rotten:1
Average Rating:7.6/10
Theatrical Release:Jan 9, 2009 Limited
Starring: Anna Karina, Yves Alfonso, Jean-Pierre Léaud
Starring: Anna Karina, Yves Alfonso, Jean-Pierre Léaud
Director: Jean-Luc Godard
Director: Jean-Luc Godard
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Release:
Jul 21, 2009
DVD Features:
- Region [unknown]
- Keep Case
- Widescreen - 2.35
Audio:
- Dolby Digital 1.0 Mono - French
Additional Release Material:
Interviews:
- 1. Anna Karina, Actor; Laszlo Szabo, Actor
Featurette:
- 1. Personal / Political Made In U.S.A Video Piece
- 2. 2 or 3 Things I Know About Her
Trailers:
- 1. Re-release Theatrical Trailers
Text/Photo Galleries:
Essay:
- 1. Visual Essay
- 2. J. Hoberman, Film Critic
Reviews for Made in U.S.A.
If Made in U.S.A doesn't merit a place, with Weekend and Band of Outsiders, on the Godard's Greatest Hits compilation, it is still a great lost B side.
Made in U.S.A. is a tonic experience; its style is both vibrant and severe like Godard’s 1985 Detective. But it’s also Godard’s most soulful movie.
The fresh bombast of U.S.A.'s abnormal groove may not measure up to the other elaborate, beautiful contraptions that were made in Godard's peak years, but it makes many current films look stagnant, if not outright dated.
A celebration of cinephilia and a blueprint of the writer/director´s obsessions, personal and political.
It’s still essential for those interested in watching the filmmaker take cinema to new levels of allusion and modernist game playing.
Godard's films are records (documentaries, even) of personal interests, ecstasies, and agonies at a particular time in the artist's life.
Jean-Luc Godard's Made in U.S.A. is not the celluloid holy grail, but it's close enough.
Godard fires dozens of ideas at the audience, and switches weapons in mid-stream, but if you only pick up a few ideas along the way, then Made in U.S.A. has succeeded.
The foreground drama ends on a query, while the Gallic hills and highways stretch to eternity. FIN.
In terms of Godard's body of work, the 1966 film is as challenging as it is important.
Few filmmakers can match Godard's abilities with color, composition and movement.
In a time of severe economic uncertainty, it's questionable whether even the most esoteric of New Wave adherents will want to wallow in this kind of Godardian excess -- though it's also quite possible that the film has never been more timely.
While in theory it all sounds very interesting and intriguing and, well, Godardian, the whole never really comes together
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 90% 90% | District 9 |
| 86% 86% | 500 Days of Summer |
| 63% 63% | Extract |
| 06% 06% | All About Steve |
| 78% 78% | It Might Get Loud |
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