Critic Reviews

Exceptionally well-crafted, Made in America is the kind of picture Hollywood often aspires to but rarely succeeds in bringing off -- smart and sophisticated with a wide appeal. [28 May 1993, p.F1]

This isn't a great movie, but it sure is a nice one.

Seeming warmer and more comfortable in this antic comedy than she has before, Ms. Goldberg is helped not only by the right co-star but also by the right role.

A farce founded on a mix-up at a sperm bank, Made in America is a simplistic but amiable dip in the nation's multicultural fondue pot.

Made in America is at its best when the one-liners are thick and fast, and when comedy rules. There's a lot of staring into space that substitutes for acting when the going gets tougher, and while the ending milks all possible emotion out of an audience, there still is something heartwarming about it. [28 May 1993, p.3E]

This comedy holds few surprises, bar the realisation that Hal is Zora's father. After that it's dysfunctional family comedy all the way. But this proves to be no bad thing. Goldberg and Danson handle the material with their usual panache, while a young Smith gives a steady post-Fresh Prince supporting role.

Made in America, from 1993, is essentially an extended episode of a lame, cheesy US sitcom from the late 80s/early 90s – more My Two Dads or Perfect Strangers than Frasier or Seinfeld. It's awesome.

The humor is spotty, character development is so- so, and there are number of significant plot problems. There's no overriding reason why anyone would want to see Made in America unless they're a fan of Danson or Goldberg.

After the first half sets up intriguing racial/political/biological conundrums, the second simply lets them go hang. Energetically directed with a fair smattering of funny lines.

Made in America has the distinction of being better than the last movie involving a sperm bank, Frozen Assets, though at times the humor - overplayed to nearly shrill levels - seems to come from the same test tube.