Critic Reviews



Based on 10 critic reviews provided by
Warren Beatty's Heaven Can Wait is the most delightful movie the year has offered. Funny, fantastical, fast on its feet, this romantic fantasy comes closer than any film of the past decade to capturing the ingenious, madcap spirit of '30s comedies. [03 July 1978, p.90]
From beginning to end, for kids and adults, Heaven Can Wait is nonstop —and blissfully uncomplicated—pleasure.
Heaven Can Wait is an outstanding film. Harry Segall's fantasy comedy-drama play, made in 1941 by Columbia as Here Comes Mr Jordan, returns in an updated, slightly more macabre treatment.
The Globe and Mail (Toronto)
Paul Sylbert's production design is handsome, William A. Fraker's cinematography is beautiful and Dave Grusin's music winning. All in all, Heaven Can Wait is a fantastic fantasy. [28 June 1978]
Washington Post
It manages to preserve much of the charm and romantic fantasy that worked for its predecessor, the 1941 crowd-pleaser Here Comes Mr. Jordan, while freshening up some of the settings and details and tailoring the roles to a different cast. [28 June 1978, p.E1]
Somehow manages to combine the sweetness and innocence of the original with a satirical bite all its own.
Washington Post
This is a very sweet movie to watch, the pleasant cinematic equivalent of light summer reading.
There is something eerily disconnected about Heaven Can Wait. It may be because in a time of comparative peace, immortality — at least in its life-after-death form — doesn't hold the fascination for us that it does when there's a war going on, as there was in 1941 when Here Comes Mr. Jordan was released and became such a hit. Or perhaps we are somewhat more sophisticated today (though I doubt it) and comedies about heavenly messengers and what is, in effect, a very casual kind of transubstantiation seem essentially silly.
Time Out
Beatty ambles nicely enough through the hero's part (remodeled as a quarterback), and Charles Grodin turns up trumps playing another of his chinless, spineless wonders. But Christie's comedy gifts are as minuscule as ever, and the film drags its feet uncertainly from beginning to end.
There are a few laughs from Grodin and Cannon, but Beatty and Christie are like 400-pound gorillas chasing a milkweed seed. The more Beatty concentrates, the more glazed and distracted he looks.

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