Garcy is a big contributor to np.com and is someone that can definitely be critical of Natalie’s films (we’ve butted heads plenty of times :-P). All of which makes THIS the most important review of the film so far. Enjoy.

Saw LAOIP at a screening yesterday filled with a responsive audience. I went in with low expectations. I knew the film wasn’t going to blow me away because the novel certainly didn’t. A friend of mine suffered a perinatal loss very recently so the subject matter carried some weight for me. The film could have easily been overwrought and weepy but Roos handled the heaviness of the circumstances with enough subtlety so as not to overwhelm the viewer. I only had one issue with a key scene involving Natalie and Scott Cohen’s character that could’ve used a bit more emotional punch.

Natalie does a fine job carrying the entire film on her petite shoulders. It’s a meaty role and she’s in almost every scene. There is no trace of girlishness from her, instead we see her play a real adult woman – and I bought it.

I was afraid I wouldn’t buy her chemistry with Cohen’s character, just like how I didn’t think she really kept up with Clive Owen in Closer (sorry). I didn’t really see this uneveness that critic James Berardinelli was referring to in a early review. I wasn’t distracted by her girlish voice or her flat delivery that plagues some of her other work. I think Natalie should be proud of her performance in this film, and I sincerely hope that it finds a distributor soon because this would be a real treat for Natalie fans.

Last but not least, I don’t think she’s EVER looked better onscreen. She just looks ravishing the whole time. She has a great screen presence and you can’t help but [girl]crush on her. Whoever her stylist was for this movie, major kudos to you.

Also, we see her in some tasteful love scenes – oy!