Aedonerre I gave this film a 9 out of 10, because it was exactly what I expected it to be.

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Tayloriona Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Don Gould Joe Bologna and Renee Taylor hit a homer with this one. Unfortunately, the critics must have been busy at the concession stands when they rounded the bases. Where is the DVD? You might not find a better acted script or one that seems so believable despite its over-the-top characters. Giggy and Pandora are unforgettable as evidenced by the resonance the film left with me even after these 35 years since its release, the first and last time I saw it. The scene in which Pandora meets Giggy's parents and relatives at dinner is a classic. Director Robert Bean allowed the top notch cast to relate as they would in a real life situation, and it worked wonderfully. Joe Bologna and Renee Taylor are under-appreciated national treasures!

Ron in LA Quirky, comic love story starring Joseph Bologna and Renee Taylor as neurotic misfits who meet at a group therapy encounter session and reluctantly fall in love. Over-the-top satire is used to needle the touchy-feely psychotherapy process, as well as the surrealistic dysfunctional families that created the intensely flawed central characters.Through angry encounters, the two lovers begin vomiting out uncomfortable truths, and then settle into a warm zone of mutual acceptance and intimacy. Near the end, Bologna blurts out that 'I love you, but I don't want to love you. I want to love someone prettier than you and smarter than you. But that person may never come along so I have to settle for you.' The real plot resolution does not come until the film's final frozen frame, when you see the two look at each other with an amused, knowing smile. The real happy ending is when you find out that Bologna and Taylor were married for six years at the time they both wrote and starred in the film, and that as of 2005 they have still been married for 40 years.Happy anniversary, congratulations, and thanks for a great film.

davidperry I've loved this movie ever since I saw it when it came out. I have a tape, which is deteriorating, copied off Encore. In general, the film translates well to tape--the biggest loss are car scenes where two-shots become alternating one-shots, and the squabble outside the diner, a three shot in the theater (inscrutable dude leaning against store shutters), now mostly a two-shot, which really removes a lot of the dry wit. I'm writing this because I see that the DVD has been released on September 28 for $4.95, but I haven't found any information on who released it, where I can get it, or anything else. Does someone out there know the answer? I'd like to buy a replacement for my old tape and copies for my friends. Letterbox would be great! But I won't hold my breath.

IRVIN8 Saw this film for the first time tonight, on Turner Movie Classics.Having missed the first few minutes, and altogether ignorant of the film, I didn't know that it was 30 years old. But the principal's bright orange, full-length coat of an unidentified material, brought on a rush of uncertainty. She is no beauty, this woman - yet she reminds me of (somebody) Derisher, of "Nanny", only rubber-faced and unpretty.There's a great deal in common and feel with Neil Simmon's plays - the pain and torment of love among the unloveable, e.g., the girl friend kicks her boy friend in the groin and asks, "How much do you love me now?"). The parental years of the principals are identical to "Torchlight Trilogy" - grotesque and self-parody. The principal's vulnerability is totally believable and rather marvelous.Thirty years on, there's a lot of elemental clinical psychologyto "Made for Each Other". And one wants to keep that in mind.The Neil Simmon-like crying scene at the end was highly effective and moving until a moment before the clench, when one realized that one was a voyeur to a dreadful, cathartic and eventually successful, if not somewhat mangled, love match.I agree that this is "Like real life" but it's also Felinni-esque and somewhat grotesque. Probably the most moving scene for me was the New Year's Eve dinner scene when the mother gets hysterical, and her son leaves the room to tell her to friggin' SHUT UP! Killing. --And yet highly poignant with the poor Jewish guest sitting there getting slayed.I didn't dislike the movie, and did laugh out loud at times. It was utterly professional at all times, never manipulative - but there is a sense of passe to it that goes beyond the orange lip stick and tomato-red bola. En fin, glad that I saw it.