Y2K Review: Julian Dennison Is The Highlight Of A Messy Sci-Fi Horror Comedy That Loses Its Charm

If you were alive during Y2K, then you know the dreaded switch from 1999 to 2000 was a heavily talked about subject. What would happen to the computers (and us) when the clock struck midnight? Although everything turned out alright in reality, Y2K explores the what if of it all. The first half is wildly fun, especially as it puts characters in the uncomfortable position of being at a party that goes awry shortly after the countdown. But what starts off as a quirky teen comedy with hints of sci-fi catastrophe turns into a messy romp that loses its intrigue.

Y2K Has A Great Premise, But Shaky Execution

Written and directed by Kyle Mooney, Y2K is full of nostalgic moments from the turn of the century — from Tamagotchi to AIM chats and Sisqo’s “Thong Song,” the filmmaker clearly had a good time including such era-specific symbols, altering them to enhance the spectacle of the film. Y2K has several laugh-out-loud moments, many of which happen after the clock strikes 12, sending an array of technology — infected by a superbug that turns the machines against humans — after Eli (Jaeden Martell), best friend Danny (Julian Dennison), and Eli’s crush Laura (Rachel Zegler).

Unfortunately, most everything that happens after the party ends (with lots and lots of blood and violence) brings the fun to a stop. A scene introducing Fred Durst is fantastic, but the singer overstays his welcome beyond what’s comical. Another scene featuring the characters rolling down a hill inside a porta potty to the tune of Brian McKnight’s “Back At One” is hilarious, but such silly, entertaining moments in the second half don’t last very long. This is primarily due to Y2K killing off certain characters way too early in the story, losing its heart in the process.

Certain jokes can only go on for so long before they become repetitive, with no emotional anchor to hold down the film when it gets too rambunctious. Martell’s Eli certainly has a personal journey to go on, but the narrative choices don’t justify the payoff. Y2K is definitely creative, and even charming, with touches from a bygone era that still resonate. But the film is perhaps more concerned with the aesthetic of the turn of the millennium than it is with the message it’s trying to send. It’s fun, but empty, especially with the superbug computer takeover threatening humanity.

With so many discussions surrounding AI, Y2K is a lot more prescient than it seems. And while the horror comedy doesn’t have to take itself seriously with regard to its man vs. machine premise, the fact that it barely engages with it at all is disappointing, opting for visual gags that run out of steam long before it’s over. Character development largely goes out the window as well. After the party, Eli doesn’t have anyone to really play off of, and Zegler’s Laura starts off with mean-girl vibes, though her arc doesn’t feel entirely earned by the end.

Julian Dennison Is The True Star Of Y2K

All that said, Dennison’s Danny is the highlight of Y2K. The actor is a bright spot in a film that feels too long despite its 93-minute runtime. Dennison is able to imbue his character with a vivacious energy that keeps the story afloat. He’s the can-do best friend who supports Eli, but who has a big personality that people (audience included) gravitate towards. Dennison is a riot and the film is frankly lost without his character to hold things together. The humor and heartfelt moments that happen in the second half of the film also feel hollow in his absence.

Zegler makes the most of what she gets, which isn’t a lot. Her character’s arc is underbaked at best and by the time she’s firing on all cylinders in an attempt to stop the machine attacks through hacking, it’s too little too late for any meaningful development. Martell, who also starred in another SXSW film with Arcadian, portrays Eli with a lack of confidence that slowly builds over the course of the film. But without Dennison’s character, Eli doesn’t have a lot going for him, and he struggles to rally people.

Y2K has its fun moments, to be sure, and the film can be zany and nostalgic and full of ruckus energy. The downside is that it doesn’t sustain it, losing momentum in the second half and sliding into a messy chaos it never quite recovers from. The hilarious moments are cut down by the horror comedy’s waning heart, which was needed to carry it to the finish line. Y2K will surely find an audience, but the nostalgia and a solid premise aren’t enough to make this a memorable watch.