P.P.S. Take Tissues to This Weepy About a Romance Tested by Death
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âP.S. I Love Youâ looks squeaky clean and utterly straight. Yet as directed by Richard LaGravenese, it has a curious morbid quality.
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A note of caution, though. Be prepared for a bit of melodrama and the ghost of Balachander.
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Don't be surprised if you shed a tear or two toward the end of tomorrow night's premiere of the film &quot;HU$TLE&quot; (ESPN, 9).
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In the midst of tragedy, a wife asks if it is possible to retrieve and store some of her husband's sperm after his death.
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I guess I'm the bad boy of heart attack survivors. Mine played like low comedy from the start. It felt not like shearing pain; I had no revelations of mortality and sense of endtimes and lost opportunities. Actually, it seemed Bill Clinton was sitting on my chest playing the saxophone.
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Many among the mourners chanted for justice and blamed the government for their heroine's death. Others jostled to get a last glimpse of the flag-draped coffin. Some simply wept and hugged each other.
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Â· Grieving pair in emotional plea to culprit's family Â· Liverpool police hint that death linked to gang war
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And stilted love scenes make us yawn Comments Bad things have been happening to the male anatomy this week, with torchings and glueings being sustained. Well-known extensions (cars and guns) get a fair mention too. We begin with a sticky situation.â¦
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No more tears, my friend. We're talking about J&J now.
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Watch Pori if you want to pass time.
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For some, Valentine's Day can be heavenly. For others, it's just plain hell.
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Desperate to propel a plot when chemistry doesn&#39;t work, this sequel puts its heroine through the wringer. Female viewers may feel similarly abused.
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Here's the painful story of someone who did.
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Got a terminal illness? Hooray. In the movies, looming death means last-minute adventures and loads of uplifting life lessons
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The New York Observerâs new tabloid format is still pinkish, and still plays host to some terrific writing. But reading the new Observer also provides a palpable feeling of loss.
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There is joy and elation, and there is emotional torture and bitter disappointment in this torrid relationship that changes with the seasons in New England.
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Takeshi Kitano's melancholy allegory is a meditation on the heavy ties that bind, of which love is merely one and not necessarily the strongest.