In the new comedy “Y2K,” audiences are taken back to the brink of the new millennium with director Kyle Mooney’s unique throwback to December 31, 1999. The film combines nostalgia and satire in a way that resonates with both older audiences and millennials alike. Everything from the fashion to the technology is designed to evoke the virtually foreign landscape of the late ’90s – an era that now justifies its own category as a historical setting in movies.
“Y2K” starts off as the quintessential flick about teens on a mission to score before the clock hits midnight on New Year’s Eve. However, it takes an unexpected turn that aligns more with the apocalyptic fears surrounding the actual Y2K bug. The film’s journey from teen comedy to a cataclysmic shift in genre is a plotted surprise that was initially kept secret from audiences, offering an impactful reveal to those watching for the first time during its SXSW Film Festival premiere.
The A24-distributed film, with a script penned by Evan Winter, plays with teen movie clichés: a shy high schooler played by Jaeden Martell and his uninhibited best friend, embodied by Julian Dennison, decide to reinvent themselves for the biggest bash of 1999, where the alluring Rachel Zegler’s character is expected to be. The movie smoothly transitions into its R-rated shift post-midnight, escalating into an extreme version of the anticipated Y2K chaos.
As a filmmaker making his debut, Kyle Mooney’s “Saturday Night Live” experience is evident in “Y2K” with its focus on a boisterous and eclectic mix of humor. The film excels in using period-specific details like stop-motion animation and early CGI effects, reminiscent of cult tech horrors from the ’90s. Mooney shows his prowess in balancing the outrageous and the hilarious, while the film falters when it attempts to transcend its joke-laden foundation and develop its characters more deeply.
In Mooney’s world, Zegler, Dennison, and Martell aren’t much more than conduits for humor, not fully-rounded individuals. While “Y2K” may yearn to reach the heights of “Shaun of the Dead,” with its mix of humor and heart, it falls short, preferring to lean into its unique brand of irony rather than genuine sentimentality.
Mooney has created a film that speaks to a specific audience that can appreciate a deep dive into the peculiar past of the end of the millennium. Despite its various tones and genre-blending, “Y2K” remains a celebration of the peculiarities of the late ’90s, culminating in a surprise cameo that serves as a testament to the film’s central theme of embracing the era’s eccentricities – both its victories and its flops.
/Film Rating: 7 out of 10
FAQ Section
What is the main plot of “Y2K”?
The film follows two teenage boys as they reinvent themselves for a New Year’s Eve party in 1999. However, their adventure takes a wild turn post-midnight when an apocalyptic event alters their world.
Is “Y2K” a comedy or an apocalyptic movie?
“Y2K” begins as a teen comedy but transitions into an apocalyptic genre later in the film.
Who stars in “Y2K”?
Rachel Zegler, Jaeden Martell, and Julian Dennison are the main stars of “Y2K.”
What are the critical responses to “Y2K”?
Reviews highlight the film’s nostalgic charm and effective humor, though some critique its lack of character depth. It’s rated 7 out of 10 by /Film.
Will audiences who weren’t alive during the actual Y2K era understand the humor?
Director Kyle Mooney aims the humor at those who were alive during the period, but the film’s specific production design and cultural references might still entertain a wider audience.
Conclusion
In conclusion, “Y2K” is a vibrant, nostalgic journey back to the final moments of the 20th century, presented through a lens of humor and retro charm. It introduces the audience to a night filled with the quest for teenage romance, escalating into a wild apocalyptic twist. Remarkably, in Kyle Mooney’s first film, he showcases a unique voice, unafraid to dig deep into a particular moment in time, rejoicing in the absurdity of the past. A24’s “Y2K” ultimately succeeds as a historical satire that plays to its audience’s reminiscence, and despite its narrow resonance, it establishes itself as a film made for reveling in the nostalgic mirth of a bygone era. Audiences at SXSW 2024 were treated to a comedy that bravely bends genres and redefines the ’90s teen movie, for better or for worse, as one for the history books—albeit with its own gloriously inaccurate twist.