This was one of those Hugo noms where I just didn't understand how it got nominated in the first place. I think Resnick has been nominated pretty much every year for a good long time now, and when I like a story by him I REALLY like it. But some years it seems like his story is nominated because a Resnick story is always nominated, not because they're any better than hundreds of other stories that year.
It was an okay love story. Resnick's good at pulling out emotions, but this time the puppetmaster was just way too visible for me. I could tell exactly where I was SUPPOSED to feel each reaction. And because it was a Hugo nom, my expectations were higher.
It didn't make sense to me that the old and young versions dressed the same and liked the same movies. All the hints were that they were essentially the same people in every meaningful way, but the context of the young man loving the old movies is very different from an old man loving old movies. that didn't make any sense to me.
I usually love this readers voice, but in this story he could've dialed it down a few notches. He's good at conveying emotions, but the emotions were laid on so thick this time that every word dripped with angst. If there's no contrast between one part of the story and another then it conveys no change of emotion, and the constant thick emotion becomes distracting. For me, it was so strong and so sustained that it went right past believable and into satirical exaggeration. If he'd used that voice only at a select passage or two when he's feeling particularly strongly, then it could've been a real benefit to the reading.