Set against the backdrop of rainy Portland, Oregon, a young man finds himself falling in love for the first time – only to receive a letter from his future self, warning him of impending heartbreak.

From a woman's point of view, as a conceptual story idea, I think if you sharpen it up as all of the above suggest, it's got legs for a good romance film - I would want to watch it! ;-)

Some of my points will echo what's already been said above. But, to be properly analtyical ...

In essence I believe this story has the potential to have depth and wide universal connection with audiences, depending on how well the script fleshes out the two lovers and how deftly it treats the knowledge from the future angle. If there is a fresh, thought-provoking, life philosophy or theme underpinning this story, then this film could be a real winner - both artistically and commercially.

The logline hints at this potential, but does not capitalise on it. This is its first (and most important) failing. Particularly in the case of an underpinning theme, the logline could better intrigue the reader by teasing more about what big life-lesson the letter from the future provides for the young man. For example, "warning him of the need to truly know himself before he gives her his soul." (That is, hints at it, but does not tell everything.)

Secondly, the whole "Set against the backdrop of rainy Portland, Oregon" phrase should be deleted as its completely unimportant and uninteresting compared to the great connection potential of the love and life-lesson journey.

While some may be inclined to argue that films about having a second time to right a regret have been done too many times already, I would disagree. Essentially because everyone has had the ambivalence of wondering if they could have made a past major decision better. The only proviso I have on this point is that the life-lesson being suggested is NOT one that we've all heard before, such as 'be grateful for just being alive'.

In terms of improving the dramatic tension in the story, there should be something to oppose the young man from simply adopting the wisdom from his future self. The most obvious (and, in fact, the most compelling) form of opposition should come from within the young man himself. For example, if the logline initially described the young man as stubborn or obsessive or completely down-to-earth, then it would neatly set up the conflict of whether the young man is willing to believe the 'magical' gift of the letter from the future.

On the whole, the logline needs sharpening. But the story has great potential, so long as there is not anything trite in the script.

Steven Fernandez (Judge).

Yeah, that is a problem: what would make you believe that a message was from the future? Not insuperable, I should think, but...

As was noted, time travel is tricky. It requires a considerable suspension of disbelief. To enjoy "Looper" (2012), the most recent movie I've seen with that plot gimmick, I just went along for the ride and didn't think about it.