Metacritic reviews

More than anything else, Hello, My Name is Doris effectively conveys the cruel ambivalence of an ageist society, and despite its formulaic ingredients, the movie responds to that setback with Field's exuberant, virtuoso turn providing the ultimate critical response.

Despite some compelling performances, this R-rated but genial dramedy is a lot like its protagonist: unconventional, yet playing it safe.

Despite some bumpy tonal shifts and inconsistencies of characterization, Hello, My Name Is Doris impresses as a humanely amusing and occasionally poignant dramedy.

Indirection can be a beautiful tool in comedy and so it is in “Hello, My Name Is Doris,” which uses this funny, outwardly ridiculous character to tell a simple story about a love that rarely speaks its name, including in movies: that of an older woman for a much younger man.

Field, as usual, goes all-out; the film may be a comedy, but she attains a few moments of real heartbreak.

It’s a late-life coming-of-age story, and it’s not great. But she gives it all she’s got, and she’s never been sunnier or funnier.

It's not nearly funny enough to call a comedy, but its seriousness about her lonely life is undercut by its depiction of her frankly ridiculous behavior.

Field can't make it all make sense, but she does make it diverting, even pleasurable.

Michael Showalter is content to trade They Came Together's mischievous genre deconstructionism for cheap-shot indie quirk.

Luckily for Hello, My Name Is Doris, Sally Field is still so likable, really likable.