Frankie is an independent PR consultant who recently kicked out her womanizing politician boyfriend. She accepts a job with a company where Dr. Jeff Peters is developing a robot, Ulysses, made in his likeness, that he hopes to send up to space. Ulysses, however, is more interested in learning about Frankie and the wide world around him.
From the first few minutes of the film, we know who Frankie is. From kicking out her boyfriend to fussing over her makeup in the car, she is the epitome of the 80s career woman trying to “have it all.” There is a definite play on the battle of the sexes, but the film is less interested in pitting men and women against each other than in exploring what Frankie really wants from a partner. Dr. Peters is analytical and detached from people and emotions, while Ulysses wants to experience the world, understand emotions, and even learn about hugs. It is Ulysses’ openness and desire to learn and evolve that ultimately makes him the more appealing “man” to be with. While some of the tropes may be a bit dated, a woman dissatisfied with the available men out there and looking for an alternative in an artificial intelligence is 100% tailor-made for 2026.
Director Susan Seidelman has had an expansive career, and many probably know her better from Desperately Seeking Susan and She-Devil. While perhaps less remembered than some of Seidelman’s other films, Making Mr. Right is unmistakably hers. The 80s are strong in this film, full of bright colors and even brighter characters. One of Seidelman’s strengths as a filmmaker is her larger-than-life characters who still manage to be grounded and relatable. Those two things rarely go together. The broadness of the style keeps it light and fun, but the humanity of her characters keeps the films from being complete fluff. Credit must also be given to the screenplay, written by Floyd Byars and Laurie Frank, for not only crafting the characters but for some legitimately funny dialogue that holds its own even forty years later and still feels relevant. Yes, the film is still from the 80s and will have a few moments that will confuse the audience or even make them cringe. One bit with Ulysses trying to eat a diaphragm will no doubt baffle a younger crowd who does not recognize what that even is. None of this detracts much from enjoying the film as a whole.
Helping the movie land is some truly inspired casting across the board. As Frankie, Ann Magnuson is magnetic. Full of energy and spunk, she manages to handle fast-paced banter while staying relatable and so likeable. And let’s face it, not just anyone could shout: “You didn’t make love to my cousin; you just made it with my android!” in a manner that feels authentic. Pulling a dual role is John Malkovich as Dr. Peters and Ulysses. It feels like a strange choice yet makes complete sense. Malkovich is known for his eccentric roles and choices, so his swapping between a naïve and sexually curious android and a cold and emotionally constipated scientist feels absolutely correct. Honestly, the supporting characters are equally as fun, and many of them are interesting enough to support their own movie. Extra shoutouts to the always stunning Glenne Headly as her friend Trish, Laurie Metcalf as the suffering Sandy, and Polly Bergen as Frankie’s mother Estelle.
Making Mr. Right is a delightful deeper cut from the romantic comedies of the era. While it didn’t find much success when it was first released, it is prime for appreciation now. It’s not trying to reinvent the wheel or offer deep messages; it’s just a well-constructed and sweet film in a sea of more cynical and depressing fare. Full of life, color, and humor, Making Mr. Right is worth a watch for anyone who enjoys a good old-school romantic comedy.