“Godard unleashes a host of frenzies! Slapdash spontaneity and cartoonish Cold War skullduggery…With a color scheme of agitprop Mondrian, a background of blankly suffocating spaces, a barroom lesson in semiology featuring the young Marianne Faithfull’s a-cappella rendition of “As Tears Go By,” and a deluge of political rhetoric, Godard evokes a chaotic new world of deadly abstractions, artistic impasses, and insoluble conflicts. His luminous, longing closeups of Karina show who really was desperately seeking whom.”
– Richard Brody, The New Yorker

“Imagine that Bob Dylan recorded an album in between Highway 61 Revisited and Blonde on Blonde... Now pretend that this Dylan project never got a proper release here; other than the occasional playing of a mono recording, you weren’t able to hear it. Then, for two weeks, listeners could experience the work in all its high-fidelity glory. There would be dancing in the streets. Whether Jean Luc-Godard’s fans will start doing the froog in front of Film Forum remains to be seen, but they damn well should. [Made in U.S.A.], the director’s 1966 Molotov cocktail of American pulp and Parisian paranoia finally gets a proper theatrical run…ESSENTIAL for those interested in watching the filmmaker take cinema to new levels of allusion and modernist game playing.”
– David Fear, Time Out New York

“The movie references and cartoon violence suggest the meta comic strip that is Alphaville, even as the wide-screen Pop Art look and percussive sound editing evoke that of Two or Three Things I Know About Her…And even more than the half-dozen previous films in which Godard directed Karina, Made in U.S.A. is a portrait of the filmmaker's soon-to-be ex-wife—here cast as a private investigator, wrapped in a trench coat and packing a gat…The camera contemplates Karina, pondering her private smiles, her Cleopatra mane, her changing outfits, and her uncanny power to transform any given shot into a fashion spread…Made in U.S.A. is anti-capitalist and anti-consumerist, decrying miniskirts and rock 'n' roll as mind control, but it's also more devoted to the vulgar modernism of mid-20th-century pop culture than any movie Godard made before or would make after. MAY NOT BE THE HOLY GRAIL, BUT CLOSE TO IT!”
– J. Hoberman, Village Voice

“A BRIGHT AND JAGGED PIECE OF THE GODARD PUZZLE!”
– A.O. Scott, The New York Times

“Endless Inventiveness and Daring!”
– Kevin Thomas, Los Angeles Times

“The chance to see Made in U.S.A. on the big screen again provides an opportunity to rescue movie art and revive film enthusiasm.”
– Armond White, New York Press
Click here to hear Armond White’s discussion on Made in U.S.A. with Cine Green Daily’s Aaron Hillis

“DENSE, POIGNANT AND SURPRISINGLY PLAYFUL!”
– Jason Jude Chan, Flavorwire

“BUOYANT!”
– Benjamin Strong, The L Magazine

“Godard continually cuts the ground from under our feet…every narrative element is analyzed into tiny movements, and then recomposed, somewhat in the manner of classical Cubism. There are sequences like mosaics gone mad.”
– Richard Roud

“HARDBOILED, STYLISH FUN!!!”
– Anne Thompson, Variety

“BEAUTIFUL, GOOFY AND EXPLOSIVE! Anna Karina was never lovelier in dazzling color and scope and Godard’s ultimate statement about his love/hate for the aesthetics/politics of American movies/life is an event to be savored and celebrated…HAS ALL THE ELECTRIC THRILL OF A RAUSCHENBERG PAINTING IN MOTION!””
– Jonathan Rosenbaum