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All of Me

All of Me

Comedy · Fantasy · Romance · 1984

Just before stubborn millionaire Edwina Cutwater dies, she asks her uptight lawyer, Roger Cobb, to amend her will so that her soul will pass to the young, vibrant Terry Hoskins – but the spiritual transference goes awry. Edwina enters Roger's body instead, forcing him to battle Edwina for control of his own being.

Movie details

All of Me

“They say that behind every great man there's a woman. But in this case it's ridiculous.”

1984 Comedy · Fantasy · Romance 1h 33m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Just before stubborn millionaire Edwina Cutwater dies, she asks her uptight lawyer, Roger Cobb, to amend her will so that her soul will pass to the young, vibrant Terry Hoskins – but the spiritual transference goes awry. Edwina enters Roger's body instead, forcing him to battle Edwina for control of his own being.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over All of Me?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Carl Reiner

Written by

Phil Alden Robinson

Steve Martin

Steve Martin

Roger Cobb

Lily Tomlin

Lily Tomlin

Edwina Cutwater

Victoria Tennant

Victoria Tennant

Terry Hoskins

Madolyn Smith Osborne

Madolyn Smith Osborne

Peggy Schuyler

Richard Libertini

Richard Libertini

Prahka Lasa

Dana Elcar

Dana Elcar

Burton Schuyler

Jason Bernard

Jason Bernard

Tyrone Wattell

Court is in session

Put All of Me on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.