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88Ultimately, p.s. confirms Kidd's talent without expanding it or achieving the comic/dramatic heights of "Roger Dodger."
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80Even though the story ultimately doesn't match the intensity with which it began, the movie's extraordinary for its two main performances.
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75P.S., adapted from Helen Schulman's novel, is Linney's show, and she makes it hilarious and haunting.
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75Fascinating because it require us to see the younger character through two sets of eyes -- our own, which witness an attractive woman drawn to a younger male, and the women's, which see a lost love in a new container.
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75The offbeat screenplay turns even the corny bits in unpredictable directions, and it's rare indeed to see such consistently superb ensemble acting.
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75An intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.
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75Director Dylan Kidd sneaks some pretty profound observations about love and life by us.
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There is still plenty to like about p.s. , including its smart humor and its surprising ability to absorb.
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Once you get beyond the absurdity of the premise, it works.
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Somehow, wondrous acting holds things together.
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67Wanders off on story tangents that can't be called anything other than bizarre, but nevertheless oddly engages.
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63Linney remains a full-blooded character so memorable that she's worth watching - even in a less-than-memorable movie.
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60A meticulously rendered romantic drama, very well acted and featuring solid production values and location work that makes New York feel like one of the movie's characters. The only problem is the story is rather flat.
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60While not dwelling on plot eventually gets P.S. in trouble during the slack finale, it gives Linney and Grace plenty of room to maneuver.
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60The question of whether this is a movie about reincarnation or fate or middle-aged delusion remains unaddressed far beyond our capacity to care. Many of the admirably long conversational scenes are pointless; some, like Harden and Linney's climactic bitch-fest in a hotel room, are flat-out absurd.
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60The film is based on the novel by Helen Schulman, who co-wrote the script with Kidd, and it suffers from the same hobbling that bedevils so many literary adaptations; namely, that what strikes a reader as a conceit of some delicacy will strike a moviegoer as clunking whimsy.
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50Its premise had me worn out by the second reel.
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50All movies require suspension of disbelief to a certain degree, but p.s. really pushes the envelope.
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50Goes disappointingly soft despite two dynamite lead performances.
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50Contains more than its share of implausibilities and absurdities.
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P.S.'s ending, a cautiously happy conclusion, feels like an afterthought.
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50Grace fares better than Linney, and both escape with more dignity than Harden, whose blowsy, wanton Missy is a coarse, soap-opera caricature of a suburban hoyden.
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50The movie implodes, with each actor less vivid than he or she ought to be and each character less connected to the others than necessary for such an arbitrary plot.
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50This sappy stuff gets better direction by Kidd (who made the far superior Roger Dodger) than it deserves, and Linney gives a wonderfully wistful portrayal of urban loneliness.
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50Laura Linney’s beautiful performance is most of the story in p.s.
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40Maudlin.
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Even the always radiant Linney can't save this misbegotten film.
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20What's disheartening is that an actress as fine as Ms. Linney has to endure the indignity of such excremental nonsense.
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