The expectations surrounding romantic comedies often revolve around several key questions. Will there be authentic chemistry between the leads? Will the romantic and comedic elements be balanced? And for the last decade, will this film succeed in revitalizing a genre that has seen better days? Universal’s latest release, “One Night Only,” notably the first major romcom since April, raises even more intriguing questions. The film presents a peculiar premise, envisioning a society where singles are permitted to engage in sexual activity only on a designated night each year, leading to its nickname, “Sex Purge.”
While this premise could easily lend itself to a bleak narrative reminiscent of “The Handmaid’s Tale,” the film opts for a lighter tone, setting the stage for a charming encounter amid a vibrant soundtrack. Viewers are left wondering not only if the male lead will end up with the female lead but also how such a government-sanctioned restriction could be enforced and what dire consequences await those who choose personal freedom over enforced celibacy. It becomes evident that these themes may be too heavy for what is intended to be a light-hearted summer film, resulting in an overstuffed narrative that struggles to find its footing.
The film begins with a humorous introduction that claims, to the audience’s bewilderment, that “premarital sex has been outlawed in the US,” with a legal loophole allowing it for just 12 hours once a year. This “government-mandated sexual climate” has turned being an involuntary celibate into a societal badge of honor, a consequence of an “ideological grenade” launched by Congress. Citizens are equipped with biosensors that change color to indicate when they are married or when the designated night of debauchery begins, prompting a frenzied search for partners (one may wonder why individuals wouldn’t spend the other 364 days preparing for this night). Mandatory protection is enforced, with prices soaring up to $2,000 per condom, and the penalties for breaking the law are severe, as illustrated by the arrest of an older man for simply being sexually frustrated.
The film unfolds in New York City, a fitting backdrop for a story focused on dating and desire, following the adventures of Owen (Callum Turner) and Allie (Monica Barbaro, an Oscar nominee) as they race against time to find sexual partners. Owen’s plans with his girlfriend (Maya Hawke) unravel when she decides to hook up with a neighbor instead, while Allie’s queer roommate encourages her to wear a daring outfit and seek out a connection. Their paths cross, yet for reasons that are never fully articulated, they choose not to engage with each other sexually, opting instead to assist one another in their quest across the city.
In contrast to the lackluster depiction of Glasgow posing as New York in a recent superhero film, one of the significant strengths of “One Night Only” lies in its vibrant on-location filming. Director Will Gluck, known for his commercial success, infuses the film with a lively and polished aesthetic, particularly when compared to Netflix’s often flat romantic comedies. However, despite a marked improvement in casting compared to his previous film, “Anyone But You,” the dialogue penned by Travis Braun lacks the sharpness needed to justify the characters’ choices, leaving viewers questioning why they wouldn’t simply pursue intimacy at first sight.
The film leans more towards a raunchy caper than a traditional romantic comedy, filled with awkward encounters and uninspiring cameos from celebrities like Julia Fox and Pete Davidson. The film’s erratic pacing and numerous cultural references appear aimed at a Gen Z audience, but while these elements showcase the production’s attention to detail, they also detract from a coherent narrative. The characters lack a well-defined journey, and despite the chemistry between Turner and Barbaro, their dialogues often feel superficial, failing to engage the audience’s investment in their outcomes.
Predictably, the trajectory of the story may not surprise viewers, yet it is disheartening to see the film adopt a progressively negative view of sexuality, either mocking those who seek it or elevating those who abstain with a sense of moral superiority.
There exists a paradox of excessive yet insufficient world-building; the film answers some questions while presenting ten more. Audiences may wonder why masturbation is never mentioned, considering its implications for the biosensors. The grim premise, particularly in these politically charged times, makes it challenging to root for characters who aren’t actively opposing such a draconian system. Instead, “One Night Only” oddly resembles government propaganda, presenting a narrative about a sexual purge that suggests perhaps such a concept isn’t as bad as it seems.
“One Night Only” ultimately…
