Two New Yorkers search for love on the one night of the year when sex is legal.
Chuck says:
Your ability to compartmentalize will determine whether you like Will Gluck’s odd new rom-com One Night Only. If you can accept an oppressive dystopian society pitched in a kinda light-hearted tone and forget about a key part of the premise, you’ll likely be charmed. But if, like me, you can’t quite let go of the numerous incongruous elements at play, this will likely be a frustrating experience.
One part The Purge, one part When Harry Met Sally, (imagine the elevator pitch), the film takes place in modern-day New York City with a twist. Seems three years earlier, the government outlawed premarital sex. However, for one 12-hour period per year, singles are allowed to indulge, albeit with protection. (A tracking chip makes sure everyone toes the celibacy-line the other 364 days a year, in case you’re wondering.)
Not much time is spent delving into the whys and wherefores of this policy. We’re simply supposed to accept this “clever” fly in the narrative ointment and get on with things. However, this was something I couldn’t quite get past, tripped up again and again with questions regarding the implications of all this.
A much more intriguing story would have dealt with how this all came to be and what the reaction to this draconian measure was. Did the youth of America take this lying down or was there an uprising? What were the political ramifications of this? Did it lead to a mass-exodus to a more sex-friendly country like Canada? How many prophylactic companies shut their doors? And just how did this affect the country’s rate of marriages and divorces?
Obviously, screenwriter Travis Braun is not aware of the acronym KISS (Keep It Simple, Stupid). A gimmick such as this isn’t necessary to create a convincing modern love story. It only serves as a distraction, a shoot-yourself-in-the-foot move that dooms things from the start.
Fortunately, the winning chemistry between the film’s two leads is almost enough to help the viewer overlook this flaw. Callum Turner is Owen, a hunky, rather goofy pizzeria owner who has been dealt a setback. At a romantic dinner where he planned to propose, his girlfriend Malinka (Maya Hawke) informs him she’d like their relationship to be open so they (she) can take advantage of the 12-hour hall pass. Needless to say, this leaves him a bit despondent.
Meanwhile, Allie (Monica Barbaro), a would-be singer who makes it by recording advertising jingles based on pop tunes, finds herself flying solo as well. Her wing-person, Jacinta (King Princess) hooks up early in the evening and leaves her to fend for herself. Intent on just staying in, her roommate concocts a dressed-to-kill ensemble for her to wear and sends her out to get lucky.
Owen and Allie’s meet cute is acceptable but takes a rather disgusting turn. This sets off a series of events that find the two separating but crossing paths again and again, as they traipse through the hedonistic night. Gluck does a fine job keeping things upbeat and light, various scenes involving Allie’s bad luck finding potential partners generating comic gold again and again.
Yet, this tone clashes with the premise of oppression that keeps sneaking in. Confusing matters even more is when the notion of romance between the two leads is introduced. Of course, we know Owen and Allie will eventually cast off their blinders and realize who they’ve been looking for has been in front of them all along. Yet, these romantic notions can’t help but add to the tonal confusion of the entire film.
Am I thinking too much about what is supposed to be a frivolous piece of entertainment? Perhaps. Night will likely satisfy those with a rom-com itch that needs to be scratched. As for me, I couldn’t help thinking a far more interesting story could have been told.
2 Stars
