Metacritic reviews

All of Me shares with a lot of great screwball comedies a very simple approach: Use absolute logic in dealing with the absurd. Begin with a nutty situation, establish the rules, and follow them. The laughs happen when ordinary human nature comes into conflict with ridiculous developments.

If this, the best American comedy since Tootsie, doesn't have you in stitches, check your vital signs: you may be in as much trouble as Edwina Cutwater, the dying dowager Miss Tomlin plays.

All in all, an unusually amiable and well-made comedy.

The essence of the movie, and the key to its success, lies in the innocent rhythms of old-fashioned screwball comedy. [21 Sep 1984, p.D1]

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.

For all its clowning, All of Me makes some good points about taking chances and doing what you want in life. Tomlin undergoes a transformation from a crabby sheltered poor little rich girl to a compassionate woman. It’s a measure of her performance that even as a sourpuss she’s irressistible.

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 it's still a sympathetic effort.

It's a ridiculous story, and the screenplay (by Phil Alden Robinson) 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. He also uses touches of jazz that lend a gentle rhythm the movie would otherwise lack. [25 Sep 1984, p.23]

Basically, it's Tootsie reincarnated, an off-the- wall comedy for everybody who still doesn't know what to make of Boy George. [21 Sep 1984, p.23]

If you're a Martin fan, you'll love All of Me; if you aren't, there's still enough fun in spots to make it worth your time.