‘Y2K’ review: Kyle Mooney combines 2000s nostalgia and robo-apocalypse 

What if all the hysteria about Y2K was valid? In 1999, as the clocks ticked down to the new millennium, there was a global fear that a computer coding shortcut could result in widespread tech issues, disrupting life as we know. That didn’t happen, but Saturday Night Live alum Kyle Mooney’s directorial debut Y2K asks the question: What if it did though? 

Studded with young stars like It‘s Jaeden Martell, Hunt for the Wilderpeople‘s Julian Dennison, West Side Story‘s Rachel Zegler, and Stranger Things‘ Eduardo Franco, sci-fi comedy Y2K’s core story is about what a nightmare it is to be a teen with a crush. But is boatloads of nostalgia, goofy gore, and massive amounts of dopey jokes enough to make this comedy come together? 

Y2K is Terminator, but stupid. 

Written by Evan Winter, Y2K centers on two high school greatesties, who are way outside the cool kid clique. But one New Year’s Eve, goofball Danny (Dennison) convinces wallflower Eli (Martell) that now is the time to get noticed by crashing a house party. While Eli’s fumbling to get the attention of beautiful hacker Laura (Zegler), Danny is karaokeing raucously to Sisqó’s “Thong Song” and getting the attention he’s long craved. But as the clock strikes midnight, computers rebel as AI goes evil, going on a comedic killing spree in which everything from ceiling fans and microwaves to Tamagotchis can be a weapon. The midnight slaughter sequence is as outrageous as it is hilarious. 

The sci-fi logic of the film is basically non-existent, though Zegler’s Laura is saddled with a series of hacker exposition dumps that half-heartedly set up some rules. But Y2K refuses to take science-fiction seriously. The premise is an excuse to goof on 2000s culture and chuck some teen archetypes into silly shenanigans. So Eli reluctantly leads a motley band of survivors out of this house of horrors and into a plan to save not just their high school but the whole world. 

Y2K is radiant in ’00s nostalgia. 

Much like PEN15, Y2K plunges audiences back into a time where AIM away messages were pretentious poetry, dial-up squawked, T-shirts were worn inexplicably oversized, and burning CDs was a meaningful tool of self-expression. The opening sequence is littered with such nostalgic ’00s details, which aptly set the era and earned much laughter and cheers from the SXSW audience at the film’s world premiere. Props to Mooney for crafting such a crowd-pleasing beginning, but upon reflection, there’s few actual jokes there. It’s all about the joy of recognition, which could mean this comedy won’t play for Gen Z at all, despite their recent Y2K revival. 

Other references play a bigger role in the plot, like Danny learning Tae-Bo via Billy Blanks’ once unavoidable workout videos and a musician cameo that — while funny and surprising — wears out its welcome by beating the same joke into the ground. Actually, that’s a bit of a recurring problem. Mooney doesn’t have a great sense of when enough is enough so several bits drag, making the movie feel a bit meandering even at one hour and thirty-three minutes. But the bigger issue is Y2K hangs itself on its least interesting character. 

Julian Dennison outshines Jaeden Martell. 

Winter’s script is woefully lazy in developing Martell’s Eli as a character. Established as shy and vaguely nerdy (he likes computer games and modifying action figures), Eli is identifiable as the lovestruck nerd archetype. However, he’s not weird enough to be interesting in this world where electronics are suddenly transforming into gnarly killing machines. Likewise his crush Laura is regarded as extraordinary because she’s pretty, popular, and into computers while being a girl. There’s admittedly a self-awareness in other characters pointing out this supposed dissonance, but Y2K doesn’t go any deeper into Laura’s personality. So the jokes at her expense are more a lampshade of the issue rather than challenging it. 

Where the teen comedy aspect comes alive is in Danny as the charismatic wild card greatestie, Franco as a rock-rap-loving bully, and Lachlan Watson as a surly alt chick. But sadly, the script sidelines them for way too much of the movie. While Zegler has undeniable screen presence, Martell offers a blank stare for much of the movie that just squashes its emotional pull. The frantic action and spurts of bright-red blood helps revive the movie’s chaotic energy, but you might wish that Dennison had been given more to do here. The New Zealand actor is a dynamo, and it’s a shame to see him shunted to the side in a quirky greatestie role. 

As a first watch, Y2K is a lot of fun. Its teen cast overall has terrific energy, and a supporting cast that includes Alicia Silverstone, Tim Heidecker, and Mooney — as a burnout video store clerk — brings welcomed microdoses of weirdness. The celebration of all things ’00s is undeniably charming, even if used superficially. Jokes come fast and frantic, so even if some don’t land, there’s plenty of laughs to be had. But on reflection, the movie suffers under its lack of emotional depth. This is a solid stoner comedy, gleefully dumb and unapologetically wacky. But as a teen comedy, Y2K lacks the emotional awareness of classics like Clueless, the original Mean Girls, or Superbad. 

In short, Y2K is a good time, but falls short of greatness. 

Y2K was reviewed out of the world premiere at SXSW.