33
Metascore
11 reviews · Provided by Metacritic.com
- 60L.A. WeeklyHazel-Dawn DumpertL.A. WeeklyHazel-Dawn DumpertIt's Boyar who’s the find here, though, a gently magnetic presence who's all the more impressive for being thoroughly riveting despite spending most of the movie face-down on a counter.
- 50New York PostLou LumenickNew York PostLou LumenickThe performances are solid, but as a screenwriter, Guttenberg can't make the situation seem like more than a theatrical construct in a contemporary setting.
- 50Village VoiceVillage VoiceIntermittently engaging and moving, P.S. has gathered a bit of dust over the years. Still, it's nicely acted by the small cast.
- 40VarietyDennis HarveyVarietyDennis HarveyLacking the knockout lead perfs or more whimsical tone that might have transcended script's dubious logic, pic comes off as a so-so theatrical stunt delivered via the wrong medium.
- 40Los Angeles TimesKevin ThomasLos Angeles TimesKevin ThomasDespite strong portrayals by Guttenberg and his co-star, Lombardo Boyar, and sequences that attempt to open the play up, it remains too much a filmed play, and worse, one that has not been effectively paced. As a result, it doesn't come alive until it's drawing to a close that's unexpectedly touching, if more than a little sentimental, but too late to redeem the preceding tedium.
- 38New York Daily NewsJack MathewsNew York Daily NewsJack MathewsDoesn't play on the screen. P.S. Your Cat is Dead is a stage-locked, two-character play on a static set, and though Guttenberg takes it outside for a couple of scenes, it remains that on film.
- 30TV Guide MagazineMaitland McDonaghTV Guide MagazineMaitland McDonaghBoyar's best efforts -- which are quite good -- can't begin to compensate for Guttenberg's grotesque excesses or make the weirdly warm relationship that develops between them convincing, let alone appealing.
- 25San Francisco ChronicleEdward GuthmannSan Francisco ChronicleEdward GuthmannFeels so moldy and out of date.
- 10The A.V. ClubNoel MurrayThe A.V. ClubNoel MurrayGuttenberg adapts James Kirkwood Jr.'s humanist black comedy -- and drains all the recognizable humanity out of it, turning it into a morose, unlikable reflection of its sad-sack lead character.