By Bella Whitmore | Intern
What happens when you mix Y2K hysteria, campy death scenes and a cameo from The Kid Laroi? You get “Y2K,” a time capsule of chaotic fun that doesn’t take itself too seriously. This movie blends nostalgia, humor and a dash of absurdity into an unforgettable cinematic experience.
This movie truly operates solely on vibes. The ’90s and early 2000s aesthetics detail everything from chunky flip phones to the fashion choices — a love letter to an era when people were on AOL Instant Messenger and were convinced their electronics would turn on them as soon as it hit midnight on Jan. 1st. The production design drips with authenticity, immersing you in the wild, glittery chaos of the late ’90s without feeling forced.
Music also plays a major role in setting the tone. While much of the soundtrack is undeniably iconic, the use of “Thong Song” and “Tubthumping” maintains balance between cringe and fun. It’s so on-the-nose that you can’t help but enjoy it.
At the heart of the film are two strong performances from its lead actors, Jaeden Martell and Julian Dennison, who managed to anchor craziness with humor and sincerity. Garrett (Kyle Mooney) in particular, the junkie video store owner, steals the show. He is so obviously the comic relief character which I do not usually tend to enjoy or gravitate towards, but his deliveries and one-liners truly made the movie for me.
“Y2K” leans heavily into its campy tone, especially during the death scenes. They’re over-the-top in the best way—like ketchup bottle levels of fake blood. While these moments are fun, the early death of Danny feels like a missed opportunity. The character wasn’t given enough time to develop, making his death way less impactful than it could have been.
And then there are the cameos. Limp Bizkit’s Fred Durst and The Kid Laroi pop up in the most unexpected ways, adding to the movie’s irreverent, unserious vibe. The Kid Laroi is a pleasant surpise — proving he’s not just musically inclined but also a talented actor. The randomness of these appearances mirror the film’s central message: life is about embracing differences, unpredictability and even clichés.
At its core, “Y2K” doesn’t aim to reinvent the wheel. Instead, it lovingly pokes fun at familiar tropes like mismatched groups coming together to save the day. It’s self-aware without being pretentious, which is a tricky balance to pull off. By the time the finale rolls around, with Limp Bizkit’s rendition of “Faith” by George Michael, you’ll be thoroughly entertained by the sheer audacity of it all.
In short, “Y2K” is a blast from the past that embraces its quirks, flaws and campy charm. Whether you’re here for the nostalgia or the humor, it’s definitely worth the ride.
