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On her deathbed, mean-spirited millionairess Lily Tomlin has her will amended so that her soul will pass into the body of young, healthy Victoria Tennant. Thanks to a mix-up in transmutation, Tomlin winds up instead trapped in the body of upright (and uptight) attorney Steve Martin. The plot involves the fragility of male-female relationships, the importance of making commitments, and the antics of goofy guru Richard Libertini. As ridiculous as it sounds, All of Me is completely credible, thanks to Steve Martins remarkable body language when conveying the notion that hes two different people with two different sets of emotions and gestures. Though the circumstances of the plot wont allow Martin to connect with the lovely Tennant, in real life things were different: the two costars were married shortly after filming wrapped. Phil Alden Robinson and Henry Olek adapted the script from Ed Davis novel Me Too.
Henry OlekCarl ReinerPhil Alden Robinson
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Martin vaults to the top of the class with his brazen, precise performance. This one goes in the time capsule.
Patently ridiculous, but acceptable because of the charm of the characters.
Martin is his usual combination of flat cynicism and crazed childishness, indulging in some inspired Jerry Lewis-like clowning with his arms and legs hopelessly out of synch.
It scores a lot of points by speculating on the ways in which a man and a woman could learn to coexist in such close quarters. Against all the odds, a certain tenderness and sweetness develops by the end of the film.
Mr. Martins astonishing performance is the films most conspicuous asset, but the entire cast is good.
Martin has become a superb physical comic, and Tomlin brings some unexpected warmth to a cruelly written part. A manic fuzziness takes over in the last reel and spoils some of the pleasure, but its still a sympathetic effort.
All of Me shows a fine appreciation for the little weirdnesses of life, and with comedies in short supply, it may provide the best shenanigans of the season.
Its a ridiculous story, and the screenplay stuffs it with low jokes and bathroom humor. Yet a number of scenes are sly as well as silly, and director Carl Reiner knows when to inject a little pathos for a change of pace.
His manic thrashing actually hides a very measured and deliberate performance. We can see the twin halves of his body struggling to work in sync, turning a simple walk to the bathroom into a piece of comedic gold.
Timeless, indelible and irrefutable proof that Steve Martin is not just among the funniest men alive. Hes one of the most thoughtfully funny men alive. Plus, Carl Reiners devilishly deft touch makes this feel appropriately like 1984 by way of 1944.
Carl Reiners likeable and funny comedy about mind and body switching features a great performance from Steve Martin in one of his best roles.
A lewd, loveable comedy for teens and up.
The overall plot and sentiment in this film is wonderful, funny, and warm. It would have been a great film if it werent filled with bodily/bathroom/gross out humor. With that added in like cheese on a pizza, it feels just ridiculous and cliched and slightly annoying at times. I was disappointed.
Steve Martins teamed with Lily Tomlin in this enjoyable Carl Reiner comedy about a lawyer given a chance to prove his meddle by settling the affairs of a dying and bitter heiress. Altho Tomlins not given much to work with she does okay with what she gets, and then here is perhaps Martins finest performance in film.
Pretty cheesy at times, but it did make me laugh out loud at times. This is when Steve Martin actually meant something to me.
The fourth and final collaboration between Director Carl Reiner and Steve Martin might also be their funniest, second only to The Jerk. Martin play attorney Roger Cobb, who aspires to be made a partner in his law firm but cant give up his passions for playing jazz guitar, and therefore isnt taken seriously by his boss. Hes sent to deal with dying eccentric (i.e. rich and weird) client Edwina (lily Tomlin), whos figured out some way to put her soul into her stable hands daughters (Victoria Tennant) body when she dies, unfortunately, the guru drops the bowl containing her soul out the window and it hits Cobb on the head as hes walking out the door. All this is of course just an excuse to set Martin loose with some of the best physical comedy of his career, as Edwina controls half his body while he retains the other half. The movie itself may not be very clever (physical comedy and clever rarely go hand-in-hand), but compared to The Jerk, its downwright understated. The interchanges between Tomlin and Martin are pretty entertaining, and transition between their inner dialogue (in Cobbs head) and Martins outer manifestation of Edwinas personality is tightly choreographed. This is probably one of Steve Martins best comedic performances in what is a very enjoyable movie.
Tell the truth, I kind a miss the old girl.
Yeah. When you gave me that pitcher & told me to take care of it, I thought it was gin & drank some.
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