There's nobody better at delivering overwritten and/or expository dialogue than Chris Eigeman. From the threenear-masterpieces he starred in for MIA indie auteur Whit Stillman in the 90s, to his twenty-episode arc as love-interest for Lorelai on that hallmark of overwritten genius, Gilmore Girls, there's no one out there as capable of making an artificially literate script seem natural. In Metropolitan, his 19-year-old preppie casually counsels a friend, "barbarism is cloaked with all sorts of self-righteousness and moral superiority" -- in the midst of a conversation that was ostensibly about detachable shirt collars. Such densely packed rejoinders flow out of Eigeman's mouth with perfect naturalism, to the point where one wonders why he isn't called in last-minute by big-money productions to deliver all of the rough, expository dialogue that Hollywood script doctors can't quite smoothe out. This guy could have made Crash seem witty and urbane.