Louise is unnerved when she receives an application from F. Scott Feinstadt, the same name of her high school sweetheart who was killed in a car crash, and calls the student to arrange an interview as he hadn't included the slides of his work.

Also complicating Louise's life is her relationship with Peter, who over dinner that night confesses he is learning to cope with a sex addiction that, unknown to her, plagued their marriage.

[2] He opted to remove a scene depicting F. Scott living at home with his mother because he felt it bestowed upon him a lack of maturity he didn't want him to display.

In that same scene, however, Louise confessed to being only an administrative assistant responsible for mailing catalogues and arranging campus tours rather than the director of admissions she had led the young man to believe she was.

On the DVD, Kidd also includes a deleted scene set in a cafe where Louise and F. Scott became better acquainted following their initial meeting and preceding their first sexual encounter in her apartment.

[5] Manohla Dargis of The New York Times wrote the film shows a "contempt for its central character in specific and for women of a certain age in general" and that it lacks "the energy of Mr. Kidd's first feature.

"[6] While Dargis noted Linney "easily negotiates the story's emotional and narrative switchbacks, sliding from fury to hurt like rain on a window, she can't fashion a living, breathing, believable human being from such a shabbily patched-together conceit.

"[6] Carla Meyer of the San Francisco Chronicle said, "Filmmaker Dylan Kidd assayed male-arrested development quite brilliantly in 2002's Roger Dodger, and at some moments, his follow-up film hints at a scabrous female reinterpretation.

Topher Grace won the National Board of Review of Motion Pictures Award for Best Breakthrough Performance by an Actor for this film and In Good Company.