Hello, My Name Is Doris

Sally Fields was wonderful in this quirky little movie about an older woman with designs on a younger man. She is always a pleasure to watch. Max Greenfield was somewhat satisfying. It was entertaining to see her dancing to industrial music & becoming the center of attention. Some of the daydream segments were quite amusing. Thanks to Sally this is elevated to something fun & worth watching. By the end we are rooting for her to succeed, but we get another open ended non-ending.

A cute comedy that kind of understands it's own characters and still likes them. Avoids a lot of the trappings of this kind of comedy via this and you get a growth to accompany some actually funny moments.

Field delivers a great comedic performance in a decent film populated by television actors. A lot of cringeworthy moments, but a lot of funny ones too. The film almost feels like a comment on modern RomComs with the daydreaming fantasies, though overall fails to be completely memorable.

Beautifully drawn comedy-drama is a by turns poignant and hilarious portrait of loneliness. The entire cast is flawless, but the film's success rests largely on Field's shoulders, who delivers a perfect mix of fragility and steeliness; ditto to Daly as her tart best friend. An unusually sympathetic portrait of Greenfield's John (and Doris' designs on him) means that Field is never made to look (too) foolish, and the film is strengthened by its buried theme of grief and familial dysfunction.

Viewed March 11, 2016. Maybe not as immediately subversive or hilarious as one would expect from Michael Showalter, but it's refreshingly realistic in ways that this genre rarely allows. Sally Field and Max Greenfield are both remarkable, and the loaded supporting cast are responsible for most of the film's biggest laughs (The "Jennifer?" scene, especially).

Doris' willingness to risk embarrassment in an attempt to try to better her life is the kind of trait that's not only admirable but hard not to like. She'd be the kind of underdog that's incredibly easy to root for & only laugh at, but the left turn the film takes midway through gives her a dimension you don't see coming & makes her journey far more sympathetic. It's unfortunate that the film feels the need to end things as neatly as it does - it works, but still feels like something's missing.

In the end, it's just a standard rom-com really. There was one scene that had me really feeling for the character, but I left the theatre thinking there must be 100 of these made every year. Its biggest sin for me was that the comedy bits overall fell flat. Sally Field did as much as one could, but the script didn't really give anyone much to do.

"I found a pair of her jeans and I got so depressed I tried them on. They fit me perfectly. I'm wearing them now."

This is an utterly predictable and forgettable indie comedy. Field is always a fine actress and the only quality of interest in this whole boring mess where I didn't laugh once.

Those sorts of questions push this idiosyncratic indie pic beyond the standard-issue romcom boundaries into something deeper and more meaningful. Inspiring, even, when you look at it with your head cocked a bit. It's just too bad Hello, My Name Is Doris didn't say good-bye to more of the genre's other standard trappings--the profanity and sexual stuff. (pluggedin.com)

Sally FIeld is spectacular as Doris. Unfortunately, the film around her is not. Field allows the film to flourish, especially when it struggles against the typical indie dramedy trappings.

Cute flick, great fashion. I love the sense of community and found family.

There are no people who are witty and interesting and yet unable to form coherent speech when talking to people outside their social circles. Doris is painted as such. Clever verbose who freezes around people. No. I’ve known my share of wallflowers. They are simply insipid people. It’s only by Doris’ unreliable narration that she’s supposedly charming and fascinating around her friends. She isn’t. They are simply just as awkward as she is. Fantasy-fulfillment movie for boring people.

Rather sweet, and Sally Field is really pretty good. Tyne Daly is fantastic.

A well handled balance of comedy, drama, and quirkiness. It is surprising, breezy, and heartfelt.

This is an appealingly light romantic comedy elevated by a great performance by Field. Her character does a series of pretty awful things, but she manages to keep you with her.

It's a cute picture, with some funny moments and good vibe around it, nothing unique or really memorable, but passes the time

If you see the trailer and hope for sally field being a quirky funny old lady you get what you paid (or invested your time) for. It works as a comedy, i laughed my ass off and i don't have a sense of humor. Heartfelt moments came as genuine, the story flowed in a realistic enough way. Daly plays the cranky but loyal steadfast best friend well. It ends ambiguosly as if it had something deep to say when it doesnt so that was just dumb but whatever

Michael Showalter 2.

cute, really funny, surprisingly good

Does the best it can with a premise that was doomed from inception to fail. Paints an utterly vain and unlikeable picture of contemporary New York millennials and contains one of the worst-developed supporting characters I have ever seen. Cringe inducing, and deliberately so, from start to end.

Sally Field absolutely knocks it out of the park

The film didn't need the fantasy scenes of Doris macking on a shirtless John. All it really needs is Field. And when she's allowed to hold the screen without gimmicks and detours into curdled whimsy, Hello, My Name is Doris is a movie well met.

I ended up enjoying this not so typical coming of age movie. Field was charming and Greenfield was believable. It worked. I wasn't too fond of the open ending. *Good

Sally Field gives false hope to weird old ladies. Not highbrow cinema, but delightfully in it's predictable way.

Entertainment 4/4: endearing with plenty of LOL moments. Spirit: 1.5/3 People finding growth through the impulses of Life. Sustainability: 1/3 Reconsidering ageism.