P.S. Your Cat Is Dead

2002 Comedy

Jimmy Zoole (Steve Guttenberg, also making his directing debut) has been having bad, bad day. Not only has his one-man version of Hamlet (performed with hand puppets) just tanked, his girlfriend has left him, his cat is gravely ill, and his unfinished novel has been stolen. Plus, it's New Year's Eve. So when Jimmy finds Eddie (Lombardo Boyar), a gay burglar, lurking in his apartment, he isn't exactly thrilled. On the verge of a major breakdown, he ties up Eddie and uses him as an outlet for his multitude of frustrations. Eddie, it turns out, has a few of his own, including an ex-wife who won't let him see his child. What follows is a New Year's celebration replete with party hats, rope, and some very, very deep emotional issues. Based on James Kirkwood's cult novel (Kirkwood also won a Pulitzer as the author of A Chorus Line), P.S. Your Cat is Dead was screened at the 2002 Philadelaphia Gay and Lesbian International Film Festival. more..

Director: Steve Guttenberg

Starring: Steve Guttenberg, Lombardo Boyar, Cynthia Watros, Shirley Knight,Tom Wright

 18 Reviews

Reviews

  • The performances are solid, but as a screenwriter, Guttenberg can't make the situation seem like more than a theatrical construct in a contemporary setting.

    Lou Lumenick - New York Post

    26 April 2013

  • Intermittently engaging and moving, P.S. has gathered a bit of dust over the years. Still, it's nicely acted by the small cast.

    - Village Voice

    26 April 2013

  • If the movie wasn't about an actor but instead about an insurance salesman or a plumber who looked like James Gandolfini, it might come off better. But then, who says a plumber would care either?

    Kim Morgan - Portland Oregonian

    26 April 2013

  • Mr. Guttenberg's direction of "Cat," is competent and unadorned, bringing out whatever qualities the text possesses -- mainly good-naturedness.

    Dave Kehr - The New York Times

    26 April 2013

  • Despite 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.

    Kevin Thomas - Los Angeles Times

    26 April 2013

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