Y2K dials up only fleeting moments of apocalyptic fun (Review)

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As a seasoned gamer who has survived countless virtual apocalypses, I can confidently say that Kyle Mooney’s directorial debut, Y2K, is a rollercoaster ride through the annals of yesteryear, albeit with a twist – the appliances are out to get you!

During the 2010s decade, Daniel H. Wilson’s novel “Robopocalypse” was planned for a film adaptation by director Steven Spielberg. This project would have featured Chris Hemsworth and Anne Hathaway as leads, with the storyline following humans evading machines that had turned against their human creators. I remember distinctly what seemed like leaked sketches showcasing people running from appliances such as iron curlers and CD players, but it may have been a dream. Regrettably, I haven’t found any evidence of this art. Despite Spielberg’s vision not being realized, the themes of human vs. robot battles have still been explored in various cinematic productions.

Kyle Mooney’s first directorial effort, titled “Y2K“, offers viewers a unique take that has no connection with the book “Robopocalypse“. Essentially, it depicts appliances turning against their human owners, which might be an entertaining twist for those who have ever wondered what would happen if “The Brave Little Toaster” took on a darker, more menacing role.

The theme of older pop culture persists in the work of Mooney, evident in his numerous skits on Saturday Night Live where he satirically mocks classic sitcoms. For instance, a sketch mimicking Tom Hanks’ alcoholic episode from Family Ties would end with Larry David stabbing Mooney, resulting in a gush of blood and subsequent drinking spree. Similarly, another parody modeled after 1980s inspirational sports movies was filled with amusing, nonsensical jokes, such as a comical guest appearance by a creature resembling Mac from Mac and Me. The unexpected nature of Mooney’s take on the past lends an unusual feel to the opening scenes of Y2K.

A weirdly cookie-cutter artistic endeavor from Mooney

In the movie Y2K, viewers are introduced to the 17-year-old protagonist Eli (played by Jaeden Martell) as he gets ready for New Year’s Eve in 1999. At first glance, Eli’s world seems surprisingly ordinary. However, the directorial approach by Mooney, featuring Tim Heidecker in a supporting role as Eli’s straight-laced father, lacks the usual edge or quirkiness associated with Mooney’s work. If you only watched the initial scenes of Eli cruising around his neighborhood or spending time with his best friend Danny (Julian Dennison), you might think it was just another typical teen comedy. This is a stark contrast to previous works by Mooney, where even the opening shots would challenge expectations. The movie’s commitment to being straightforward is both its strongest point and its biggest flaw.

In the end, Eli and Danny opt to attend a lively New Year’s Eve bash with the aim that the previous character may finally kiss his long-time crush Laura (played by Rachel Zegler). However, when the clock chimes midnight, all appliances in the house malfunction. As it turns out, the Y2K phenomenon – where technology would malfunction as the new millennium began – has become a reality in this world. People are brutally killed by household items such as remote-controlled cars, blenders, and microwaves (and other devices) suddenly activating and attacking people. Eventually, Eli and Laura manage to flee the house with a small group of survivors, which includes Ash (played by Lachlan Watson), an aggressive bully, and CJ (Daniel Zolghadri), who aspires to be a rapper. Now they must band together to navigate through this robot-induced apocalypse.

After escaping relentless robots, the script by Mooney and Evan Winter takes a pause for an extended conversation segment where each character shares their past and aspirations. Unfortunately, these Y2K-era scenes are painfully dull as the teen characters lack charm, and their emotional dialogue feels overly familiar and fails to captivate viewers. Conversations like Laura lamenting her popular girl status or CJ trying to convince Ash about the toxicity of their friends seem reminiscent of a school drama. Despite the absence of humorous touches in these intimate scenes, they fail to hold interest and do little to compensate for the lack of originality.

In this story, it’s unfortunate that Eli stands out as the least compelling character. When Danny asks Eli to “just be yourself,” it leaves me wondering who exactly Eli is. He lacks distinct characteristics and is mainly defined by his one-dimensional crush on Laura. This makes him an unideal centerpiece for a movie! The film’s adherence to convention results in less captivating, non-surrealist moments, which is a letdown considering the absence of Eli’s depth. Compared to the intriguing leads from films like Dope, The Edge of Seventeen, and The Perks of Being a Wallflower, Eli falls far short.

In the realm where Y2K is brought to life, it’s evident when machines start causing harm to people and in the realistic effects used to portray colossal robotic villains. The use of practical effects adds a sense of immediacy to the storyline that the characters themselves may not convey. The best part about Y2K, however, is Fred Durst making a cameo as himself. His readiness to make fun of himself, coupled with his portrayal of a weary apocalypse survivor, makes his appearance enjoyable. Additionally, his role has enough amusing standalone jokes that even those who aren’t ardent Limp Bizkit fans can chuckle at his screen time. Both this and I Saw the TV Glow lead me to embrace our new Durst-led cinema regime.

Among the notable performances, Lachlan Watson’s character stands out with a richly developed and hilarious persona. The gifted actors Zegler and Dennison add depth to their roles as well. Despite its flaws, Y2K is far from boring, thanks to these talented actors and some amusing deaths. Unfortunately, it falls short of its potential and feels like a predictable artistic effort by Mooney. It’s surprising that a film featuring a blender destroying a man’s private parts follows such traditional storytelling patterns! A bit more anarchy or toning down the overly sentimental moments could have made Y2K unique and a suitable alternative to Robopocalypse.

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2024-12-10 19:15