Lily Collins can’t save bland two-hander
4 / 10
It isn’t just Wohl’s script that feels anodyne: the timing for tense arguments is off, meaning language sometimes crescendos unnaturally, making disagreements between the pair feel forced. There are also issues with the structure: when Lily Collins’ Irene runs for the door halfway through the show, Manuel begs her not to leave, but Irene is so irritating that you don’t believe him. When the script does finally start to heat up like a Barcelona morning, the twist is too gentle to rouse more than a cursory interest.
