“But for the most part, a flash in Porter or Hayon’s eyes, or a slyly telegraphed change of expression, brilliantly conveys how a stray word or emotion sets off each flashback, and what it means. Fears of commitment come in every possible shade. Recurrent fraught moments on a Ferris wheel, preparing to sky dive and in stuck elevators — the locations indicated as much by the actors’ bodies as by sound effects — bring home the leaps of faith each lover must make. But perhaps none more so than Porter’s hilariously inept, and deeply moving, half-direct, half-roundabout attempts at marriage proposals. If you think you’re losing track of where you are in the story, wait a moment and it should become clear. In the hands of Porter and Hayon, the spare, incisive poetry of Barfield’s writing exerts a pretty strong pull.”
