P.S.

"P.S." continues the trend this year of movies and TV shows with aggressive older women attracted to geeky, barely post-adolescent boys.

While most of them come across as male fantasies, this one, based on a novel by Helen Schulman I haven't read yet for comparison, takes the viewpoint of the woman, to make her seem empowered. At least here we see how she herself is still mired in her own Glory Days (just as the male lead in writer/director Dylan Kidd's previous film "Roger Dodger" was), through her memories, her relationships with her brother and mother, and with her ex, whose student she was (though their relationship is talkily given additional problems of lack of urge control that seem unnecessarily complicated -- does Gabriel Byrne ever play a non-adulterous husband?).

Laura Linney is so good, however, that she portrays the character as stronger and making more sense than the situations or her continuing competition with her best friend, as played by Marcia Gay Hayden (and I couldn't figure out when the friend was in New York or California). Hayden's character even defensively says at one point "We're being just like the boys."

Linney is particularly effective with chilling monologues, as she dissects life's disappointments in comparison to adolescent hopes and dreams, that her character has faced not only in her life but daily as a college admissions director. I do challenge as a cultural bias and the character's hang-up the assumption that one is perfect at age 20, such that only the good die young.

While the plot is set in motion by a magic realism kind of coincidence that seems reminiscent of sci-fi-ish films like "Happy Accidents," "Sliding Doors," or "Me, Myself, I," let alone "Vertigo," even the characters agree by the end that they've had enough of this mystical stuff and that angle just gets dropped as they try to be real.

The film uses the Columbia University setting effectively and the soundtrack and scoring are full of New York City musicians, including Yo Le Tengo, Martha Wainwright, Citizen Cope and cellist Jane Scarpontoni.

I must admit, I was very surprised by this film. When you see the previews for P.S. it looks as if it is nothing more than a simple romantic comedy of sorts that hints more towards originality than refurbished Hollywood. While there are elements of humor and greatness in this film, the preview can be a bit dissecting. This is a tragedy of sorts. It is the story of a woman still searching for her true self and cannot do that because of tragedy that has constantly fallen upon her during her life. It reminds me of It's A Wonderful Life when George Bailey finally realizes that perhaps he isn't needed anymore in town and decides to end his life. This is where our story somewhat begins with Louise (Laura Linney). While it isn't as dramatic as Jimmy Stewart on a bridge, Linney does give off this aura of depression and pensiveness. Where is her life, why does she continue with this repetitive routine at work, and what is her relationship with others around her are simple questions that become much larger as the film progresses.

What really captured me with this film was the utterly beautiful chemistry between Topher Grace and Laura Linney. They really embraced this sense of adventure, comfortability, and fear of the unknown exceptionally well. From the moment that they shared screen time together until the rather poignant ending, I thought that the two of them made an award-winning pair. Topher is growing up quickly in Hollywood and this film should prove that he has the "chops" to play with the bigger boys. The same can be said for Linney that continues to prove that she can make movies that redefine the roles of both women in film and involved in film. While I think that her role in this film should have garnered her with an Oscar nomination over the over-hyped lackluster Kinsey. I am still honored to see her getting the praise that she deserves. Her emotions are so raw and real that you can literally get lost in her words and actions while forgetting that you are actually watching a film. I would be hard pressed to be able to name another actress that could do that with the material that she does.

The rest of the cast in this film supported our two characters with the greatest of ease. This film is the perfect example of small parts making a huge impact on a film. Gabriel Byrne is outstanding in a role that could have been very one-dimensional. He brings depth and almost a bit of "evil" to his character that he only helps give Linney that extra push into her climactic ending. The same can be said for Paul Rudd and Marcia Gay Harden whom may seem miscast or at least oddly cast in this film, but both prove with the greatest of ease why they continue to work in Hollywood. It was the strength of the cast that really brought this character study out of the ultimate fate of several others of the same nature. The characters/actors brought this story to life and gave it this unglazed vision of the real world where people struggle with past histories and long for the opportunity to see what life would be like if only one thing would have been different.

This leads me into my favorite part of the story which was the subtle themes and story that was happening behind the characters/actors. There was more than just one element happening to our characters which helped give so much depth to the story and people. It wasn't just Louise looking for love, but also the chance of a "what if" encounter that normally would never happen in your average person's life. I loved all the elements from Byrne's secret, to Harden's indiscretions, to Rudd's dual life that really built a strong point for this story. I felt as if these characters were real and that the elements that were facing them were not built by Hollywood, but instead crafted by the truth of another. That is what made this story work. There wasn't this all-powerful run to the airport at the end, but instead a somber moment that made you reflect back on the rest of the film, dreaming of another chance to watch.

Overall, I really liked this movie. I felt that director Dylan Kidd did a very wonderful and bold job with this film proving that he can handle everything from simple themes to multi-layered moments that will reign supreme in your mind. Linney and Grace's chemistry was outstanding. I watched this film with the words, "I didn't think it would go this far…" dripping from my mouth. It was different than the previews and overall better. I suggest it to all and hope that you will be able to see the vivid reality that Kidd has painted with his film, P.S.

Grade: ***** out of *****

At first glance the premise of the movie seemed a little like Nicole Kidman's Birth, where someone who's already dead gets reincarnated into a boy who seemed to know all her/their dirty little secrets. Anyway that was my first thought when I heard about the plot outline for P.S., but that said, this story couldn't be anywhere near Birth.

It's a story about second chances, and how you would choose to seize this chance to make up for what you didn't do the first time around. On a more personal note, it reminded me of what I did once, doing something which I didn't do initially, but here opportunity was presented with someone else, not as a substitute though, but it served as a catalyst to not allow things to not happen, but to take that leap of faith and give it a shot. Didn't turn out the way I wanted, but I guess I should be satisfied that I tried.

Louise Harrington (Laura Linney) is head of admissions for an art faculty, and in an admission letter, noticed someone who shared a similar name as a deceased old flame. Breaking protocol, she arranges for him to meet, and soon enough, more protocol gets broken as she initiates a sexual relationship with F. Scott Feinstadt (Topher Grace). Which of course should set tongues wagging given the power of her status, about keeping persona and business separate, about that lack of professionalism and danger of mixing business with pleasure.

But there are no lack of stories about a younger man falling for an older woman, and earlier this year, we've seen Uma Thuman in Prime in the same boat as well. Here though there is a distinct lack of humour and frills in storytelling, as the dry delivery befits the theme and character of Louise as she constantly, and perhaps unconsciously, pities herself and warrants the same pity from others. And it is the breaking out of this mould and mindset that keeps the narrative together in an exploration of how, despite Louise learning about how her marriage to her ex husband, Peter Harrington (Gabriel Byrne) broke down. Making matters worse is her best friend Missy's (Marcia Gay Harden) meddling into her personal business, with a revelation making you wonder why she hasn't turned into a fiend instead.

I've actually watched this movie not because of Laura Linney, even though she carries this movie on her shoulders, and that her Louise character is the central figure where things revolve, and characters interact around. Rather, it's more for Topher Grace, whose performance I enjoyed in In Good Company (his character there I could relate to), and keeping in mind that he did this movie first. Next up would probably be his biggest commercial challenge yet, as he takes on the role of Eddie Brock / Venom in Spiderman 3.

P.S. is actually a postscript, and here, the characters are afforded that little extra to add on to their past history, to be accorded that moment in the present, to make amends and salvage a past they are ashamed of. The pacing might be trying for some, but it still makes for satisfying viewing if you're in the same boat looking for your own P.S..

Writer-director Dylan Kidd's "P.S." is funny, sweet and moving and better than most romantic-comedies these days.

Laura Linney's magnificent. Then again, when is she not? Let's face it, she, and not Julia Roberts, should have won the Best Actress Oscar for 2000. Linney makes acting look so easy, a pleasure to watch.

In "P.S.," Linney's Louise Harrington, a Columbia University administrator who maintains a close relationship with her ex-husband, Peter (Gabriel Byrne). One day she's startled when she gets an application to the School of Visual Arts from a young artist named F. Scott Feinstadt. Her shock? Her late childhood sweetheart was an artist named Scott Feinstadt. Naturally, Louise wants to know more about the young applicant and what follows is a wonderful telling of the lengths to which we go sometimes to rekindle old passions.

As captivating as Linney is in this film, Topher Grace, best known for his playing Eric on TV's "That '70s Show," turns in a performance that's surprisingly good, filled with warmth, humor. This chap's got a promising career ahead of him. Grace's F. Scott has attitude to spare and Kidd uses him wisely. Our introduction to F. Scott is not what we'd normally expect - a meet-cute or the initial interview at Columbia. No, the first time we're aware of F. Scott is through a telephone, when Louise calls him up to ask for samples of his work. It's a deft touch by Kidd. It's a breezy, fun turn by Grace who imbues F. Scott with confidence and a cavalier attitude that immediately lets us know what kind of a person he is even before we see him.

Louise's transformation once she meets F. Scott showcases what a fine actress Linney is. There's this charming schoolgirlish giddiness about Louise. We watch as this mature woman feels the excitement of a new love and it's something with which we're all familiar.

The film runs into problems when we're introduced to Louise's best friend, Missy (Marcia Gay Harden), a flirt who played a key role in the Louise-Scott relationship years before. I never quite bought Harden's role and the Louise-Missy conflict isn't nearly as interesting as watching Louise blossom into a sprightly woman with a tremendous crush. Her love affair is more enticing and funnier than a disagreement that seems fabricated to give us some conflict.

Kidd doesn't fixate on whether F. Scott really is Louise's sweetheart reborn. It really doesn't matter. This film is about life's delightful coincidences. Sometimes, facts are stranger than fiction. So it's irrelevant whether Kidd solves that mystery.

Kidd's direction here seems more assured than his debut film, "Rodger Dodger" (2002). But his characters aren't as memorable and "P.S." might not have moments you recall years later - I still remember the park bench and party-crashing scenes from "Rodger Dodger." But "P.S." still is an awfully good film with a fine ensemble cast. It could be tightened; the film feels about five minutes too long. But that's a minor quibble.

This is yet another good film having difficulty getting released. "P.S." isn't one of the great films of the year. But it's infinitely better than most of the movies in wide release right now. It has two outstanding performances, plenty of genuinely good laughs and is an enchanting romantic-comedy that deserves to be seen by more people.

all the elements - casting, acting, lighting, sound, photography, costumes, locations, writing, you name it, really come together in this Dylan Kidd film.

the writing in particular and the story from the novel tell a nuanced, complex yet not overly layered movie. the acting is simply superb - laura linney wows again with her completely truthful and complete portrayal, and topher surprisingly handles drama as well as comedy and everything in between. Gabriel Byrne, Paul Rudd and the actress playing the mother (sorry, can't remember her name but she's perfectly cast!) all are excellent. Marcia gay harden's character draws you in - watching her abhorrent sad character is like not being able to turn away from the plastic surgery reality shows - awful but fascinating!

i really enjoyed this film - there are some confusing moments, but i surrendered myself to the story, trusting that it would unfold in time and it did. hopefully laura linney will get the Oscar nod that she deserves, instead of another star doing mediocre 'already seen that' work.