Hello, My Name Is Doris

"She's definitely weird, but like a good weird." Doris Miller (Field) has just lost her mother and reason for living. She isn't sure what to do now, stuck in a job and spending her nights with her friend Roz and Vivian. One day while heading to work she sees John (Greenfield) and everything changes. She falls in love with him and wants to find the courage to talk to him. Little by little Doris opens up and finds her confidence, and begins to find herself again. This is a movie that flips the norm on its head. This movie deals with an older woman trying to pursue a younger man. Sally Field gives one of her best performances to date and really plays this character perfectly. You feel sorry for her but not to the point of pity, and really root for her but also cringe a few times at her actions. This is at its core a funny and moving romantic comedy, but it deals more with self discovery than the pursuit of love itself. That is refreshing to see and because of that it actually felt fresh. Overall, just a really nice movie with a great performance by Sally Field. I give this a B.

I want to write a fair, balanced, impartial and pertinent review of this film... but it's difficult.

The problem is... it's near perfect. It is clever and inventive in it's conception, beautifully constructed and crafted in it's form, musically enchanting... and importantly... not infested with formulaic Hollywood nonsense.

The actors do everything that is expected of them, (and more in the cases of Sally Field and Tyne Daily), there is zero CGI... and the swearing is limited (and confined) to the sort of swearing real people engage in. Healthy, gutsy, robust 'effing' and blinding. Also... no swords, elves, planets or vampires intrude on the fun.

We all have our own preferences when it comes to entertainment I like my music intricate and embracing, I like my novels to be difficult to define... and I like my films to be addictive... (at least for the duration of the film). I like to know I will definitely watch it again...and that I will laugh and care the same way I did the first time around.

A truly pleasing film. I'm in my sixties too... Sally Field is 'effing' gorgeous.

Doris Miller (Sally Field) has cared for her mother until her recent death. Her brother Todd (Stephen Root) and his wife Cynthia (Wendi McLendon-Covey) want her to clean out and sell her Staten Island house. Dr. Edwards (Elizabeth Reaser) is treating her hording. She falls for the much younger new co-worker John Fremont (Max Greenfield). Her best friend Roz (Tyne Daly) takes care of granddaughter Vivian (Isabella Acres) who helps Doris set up a fake Facebook profile to friend John. This leads Doris to John's favorite band as they get close. Then she discovers he has girlfriend Brooklyn Henderson (Beth Behrs).

This is a quirky indie with an unusual point of view. The light fun tone is odd at first with the premise. I kept thinking of an odd geezer hound dogging a young girl. It wouldn't work as a light comedy. However, Sally Field makes this infinitely better. She oozes charm and is full of fun. It takes a powerful sadder side trip with her hording. There are quirky turns that don't completely work for me but Sally Field is undeniable here. She is the shining star that energizes this movie.

This is a romantic comedy in the sense that someone is madly in love with another and they play all these fantasies in their head and it changes their lives. The catch is that the love bird is a 70 year old woman and the object of her infatuation is a twenty something guy that works in her office.

Sally Field plays the role great and you can understand that when you watch the movie and you feel weird, when you are both rooting for her and feel a little grossed out. You totally buy her acting in the role.

I am not a fan of romcoms and, frankly, I won't recommend this movie, but it had some good moments and it is one romantic comedy that feels real, not those prefabricated guy meets girl, hits a snag and then they get together. If I absolutely had to watch a romcom, this would be in the top of my list.

This is a great example of ultrafine filmmaking that simultaneously courts convention, and then proceeds to transcend it.

It starts up as straight-up storytelling bolstered by a focus on character/scenario development, and winds up being quite close to mythic. Doris starts out as a "character", but ends up as a goddess. That's a laudable achievement for film.

This flick, more than many, gets my inner wheels turning, pondering the production process that brought together so many fine talents to produce such a fine film product. After watching so many hi-tech, meticulous productions that skimp on narrative/mythic depth, it's nice to see a mid-tech product that really does deliver the goods.

Check it out.