Glenn Weldon

But this is the Bill and Ted guy.

This is the now you see me guy.

He started out writing for Laverne and Shirley.

And what we have here, I don't want to oversell it for people who haven't seen it, but like this isn't Stopper.

This isn't Albie.

I think the subject matter can kind of like convince you that it's

working at a different level than it might be.

But he is very clearly a student of those writers.

He nails the contours and the rhythms in a way that I think is going to reward successive viewings.

I mean, I keep going back to things like Arcadia and Rosencrantz and Guildenstern and Virginia Woolf and Three Tall Women, not because the dialogue is so dense and it's hard to unpack, but because it's so pleasurable to listen to and to watch and to read.

And I think I'm going to be coming back to this film a lot.

Yeah.

And as the relationship shifts over the course of the film, it does change the tension of the film.

And so just on the first watch, I will just say in a movie this talky, it's weird to talk about pacing.

There is a certain lassitude that kind of creeps into the movie around, I had in my notes, it's around the 80-minute mark.

It makes a show of kind of starting to wind down, but it takes its time doing so.

I don't think that's going to be an issue when I see this film again because I'll know where the contours, you know, where it's headed.

So I'll be along for the ride there.

It's also not long.

It's basically an hour and a half or so, yeah.