For this generation of hip young Millenials- whose philosophic outlook on life stems from an ever-non-bothered, life-is-good mentality, it certainly sucks when events outside of their control force them to acknowledge worldly inconveniences, and god forbid- awkwardness, with their contemporary counterparts.
This cultural awareness of today’s internet generation, in story, tone, and sex-driven humor, is nailed down exactly and casually, in the new soft-“R” rated romantic comedy, Two Night Stand. Starring fresh-faced up-and-comers Miles Teller (The Spectacular Now) and Analeigh Tipton (Crazy, Stupid, Love), Two Night Stand tells the story of Megan (Tipton) and Alec (Teller), who, after a night’s hook-up (initiated by a determined Megan by way of an online dating website looking for a night of meaningless sex- you know, to clear the head), find that an overnight snow storm has blocked the apartment’s front door exit, forcing them to spend an unplanned second day together.
There is quite a lot to like in this movie- it being manageably made with a finger on the pulse of this new turn of the century adult-kid culture, addressing how these new young adults are meeting existential crises and trying to make sense of new found larger-world consequences- but first, a bong toke (you know, to clear the head). At least that’s Alec’s decision-making, as he and Megan, having started the next morning off on the wrong foot, are forced to lazily pass the time. There’s also a dance party, ping-pong, and an elaborate snow storm-braving rescue mission to retrieve a neighbor’s plunger. And in a bigger series of events, Megan and Alec, with their detached-intelligence professed to override their emotional viewpoints, land on the idea that, since they obviously will never see each other again after this terrible time together, to use the forced shut-in to give some “pointers” to the other, so that they’ll at least improve their “skills” for their next partners. Of course, casual sex never lends itself to a clean break, which leads to further unexpected consequences.
There is quite a lot to like in this movie- it being manage-ably made with a finger on the pulse of this new turn of the century adult-kid culture, addressing how these new young adults are meeting existential crises and trying to make sense of new found larger-world consequences- but first, a bong-toke (you know, to clear the head).
On the whole, the film works, getting by on good consistent fun from the mix of all its parts. Screenwriter Mark Hammer writes a fresh story here that this 23-year-old found entirely non-cringeworthy (a high compliment), even if it felt a bit more mechanical than an episode of Girls might. First-time feature-film director Max Nichols, who, in our exclusive interview, said to “worship at the alter of John Hughes,” balances the characters’ headstrong confidence with their deeper and more guarded insecurities, as the Breakfast Club auteur so magically did (as well as his father Mike Nichols with The Graduate). And of course, the presence of Tipton and Teller, who, at this point have already accumulated impressive and sizable projects under their belts, are so naturally and effortlessly charming. Teller, with his cool-guy quippiness, and Tipton, with her truly unique brand of comic delivery (think a few points bubblier than Aubrey Plaza) are fun-to-watch actors, whose shared chemistry alone is enough to drive the movie forward.
While the film has its detractors, with its messy third act, and even in the finer particulars of the characters themselves (It’s hard to believe Megan was engaged for four years throughout Medical school but really only wanted to be a homemaker for her fiancé, and Alec being a simple dude who just “works at a bank,”) stand out as mental hang-ups that seem to peskily linger in the back of our minds. There are some further plot-driven events that move the story along at the exception of a few eye-rolls, and a bit more chaos ensuing in the prison-by-apartment scenario would have been fun to watch. But this is not that movie. This movie is a non-offending, charming, young-adult romantic comedy, that qualifies much more as serviceable date movie than generation-defining film. An of-the-moment soundtrack, led by hits from psychedelic electronica band STRFCKR (pronounced with its missing vowels) provides an upbeat and trendy backdrop for the New York love story to take place in.
