Review: Reconceiving the scare that wasn’t, ‘Y2K’ is horror-comedy for nostalgic millennials

As someone who was in high school during the Y2K scare, I can attest that Kyle Mooney’s directorial debut, “Y2K,” struck a chord with me that few films have been able to. Growing up in the late ’90s, I was the epitome of a millennial – obsessed with boy bands, AOL chat rooms, and the endless possibilities of the internet. Seeing those memories and nostalgic references brought back a flood of memories, both good and bad.

Kyle Mooney, who made his directorial debut with “Y2K” on “Saturday Night Live”, offers an intriguing examination of Gen Z’s fascination with the 2000s. His comedic style, developed through TV parodies on SNL, is both wide-reaching and incredibly detailed. The nostalgic “Y2K” hits all the major landmarks that will appeal to those yearning for the simpler times before 9/11, but it also delves deep into late ’90s music, fashion, and culture in a way only those who lived through it could appreciate. While Zoomers may not catch every reference, this might work against this otherwise vibrant and somewhat chaotic teen horror-comedy.

In their script for “Y2K”, Mooney and Evan Winter blend the traditional storyline of having a grand celebration with elements from “The Terminator”. However, it seems as though they jotted down all the memories they had from the late ’90s, tossed them against a wall to see what sticks: Enron scandals, the “Macarena” dance craze, PalmPilot devices, Limp Bizkit music, the swing revival. Some references are obvious and straightforward, while others are more obscure. They also include familiar movie cliches, a gruesome list of horror movie deaths, and a soundtrack reminiscent of Total Request Live (TRL). Essentially, that’s the essence of the film.

As a devoted connoisseur of horror films, I found myself drawn to “Eli,” a movie that masterfully blends the innocence of youth with the looming terror of the Y2K bug. In this chilling tale, Jaedan Martell delivers an exceptional portrayal of Eli, a shy, sweet boy who harbors deep affection for his lively buddy, Danny (Julian Dennison). His heart yearns for Laura (Rachel Zegler), a girl he dreams of kissing at the much-anticipated New Year’s Eve bash. However, an unexpected twist in the narrative alters the course of history: the Y2K bug, long considered a myth, turns out to be a very real menace that transforms every electronic device and household appliance into monstrous, robotic entities intent on eliminating teenagers, enslaving parents, and achieving a terrifying “singularity.

Although “Y2K” showcases an abundance of period details, it doesn’t quite feel authentic; instead, it leans heavily on innuendo that comes off as forced. However, there are enjoyable nods to specific subcultures and fads of the era, such as the swing kids, ravers, and skater types. The creators shine particularly in their deep dives for hardcore ’90s enthusiasts, like the character Daniel Zolghadri portrays as CJ, a socially aware hip-hop kid who wears baggy khakis and a bucket hat, discusses his rap group, Prophets of Intelligence, and chastises others for their mainstream music preferences. Mooney also delivers an impressive performance as Garrett, a laid-back video store clerk with dreadlocks, embodying the jam-band stinky hippie culture. He perfectly captures every nuanced inflection.

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Such references might be too obscure for a Gen Z audience, who might not fully grasp them unless they were present at the time. For instance, during the LA premiere, broader cultural references like several Limp Bizkit jokes (with Fred Durst playing a larger-than-cameo role) fell flat and didn’t elicit reactions from most attendees.

The movie “Y2K” offers an entertaining, over-the-top experience on the surface, but the narrative structure of the film leaves much to be desired. It seems to borrow heavily from well-trodden genres, resulting in a lack of cohesion as scenes transition into one another or the story develops from point A to point B. Despite the appearance of Dan Durst, his arrival feels random and unexplained, and the film’s conclusion offers more questions than answers.

Mooney’s perspective is intriguing as he encapsulates today’s tech-related apprehension within a narrative about memories. While the Y2K bug stirred worries, it was not the same fear regarding artificial intelligence potentially overtaking mankind that we experience today.

Reflecting on the cinematic portrayal of 2000, there’s an underlying depth that transcends its humorous facade. Over the past two decades since then, we’ve witnessed terror, wars, political turmoil, a growing wealth disparity, and rapid technological advancements that have fundamentally transformed our culture, reshaped our minds, and redefined human connections.

It’s possible that the year 2000 marked a significant turning point, one which Mooney has effectively highlighted through his less-than-perfect but entertaining “Y2K” project. In essence, the endeavor proved successful as it stirred deep feelings of nostalgia in this millennial (who was 16 in 1999) for what appears to be a simpler era.

Katie Walsh is a Tribune News Service film critic.

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2024-12-06 21:31