Y2K. The screenplay by writer/director Kyle Mooney and co-writer Evan Winter has an interesting concept that sounds like it could be a fun horror satire, but, unfortunately, it leaves a lot to be desired in its lazy execution. The dialogue lacks wit, laughs and anything else that would make it sparkle, so most of the attempts at dark comedy fall flat. There's more than a fair share of references to the 90's, like a video rental store and 90's music, that provide some nostalgia, but nothing more than that. If only Y2K were bolder, zanier, funnier and campier, it could've been a mindless guilty pleasure. Jaeden Martell, Julian Dennison and Rachel Zegler deserve better material. Alicia Silverstone is wasted in a small role as Eli's mother. At a thankfully brief running time of 1 hour and 31 minutes, Y2K is a mildly engaging and harmless, but lackluster, witless and unfunny horror comedy. It opens in theaters nationwide via A24.
Number of times I checked my watch: 3
      Aitana (Roser Tapias) and her wife, Gabi (Yapoena Silva), get more than they bargained for when they visit the home of their parents, Dori (Pilar Almería), Justo (Alfred Picó) and brother, Saúl (Jorge Motos), for Christmas in You Are Not Me. The less you know about the plot beforehand, the better because co-writers/directors Marisa Crespo and Moisés Romera have woven a taut, unnerving and provocative psychological thriller with plenty of surprises. Are Aitana's suspicions justified regarding Nadia (Anna Kurikka), a mysterious woman who somehow convinced her parents to move into her room and treat her as though she were their daughter? How well can the audience trust Nadia? How well can the audience trust Aitana for that matter? The first hour of the film plays around with the audience's imagination and leaves some ambiguity, especially given key information about Aitana's past and why she left her parents a few years earlier. The filmmakers have a great handle on exposition because they gradually inform the audience of important information at just the right time while keeping them at the edge of their seats without resorting to flashbacks. Moreover, they're not afraid to confuse the audience, either. What's wrong with being confused?
      The last thirty minutes is when You Are Not Me veers into a different direction that won't be spoiled here, but it's worth noting that it doesn't go too far over-the-top into bonkers territory nor does the narrative derail. There are some shades of Polanski and Argento along with interesting uses of visual metaphors. The pace moves slowly at first before gradually moving faster until the shocking ending that leaves just enough room for interpretation. At a running time of 1 hour and 39 minutes, You Are Not Me opens at Alamo Drafthouse Manhattan and on VOD via Doppelgänger Releasing.
Number of times I checked my watch: 1