Universal’s glossy late summer offering, One Night Only, has taken the romcom genre into uncharted territory. The film, the first wide-releasing romantic comedy since April, imagines a bizarre legal framework where premarital sex is only permitted for 12 hours on one night of the year. According to The Guardian, introductory text in the film states that this law was enacted as a result of an “ideological grenade” thrown by Congress. The setting has been likened to a grim, Handmaid’s Tale-adjacent horror scenario, but the film instead opts for a lighthearted approach, complete with a zippy Top 40 soundtrack.

A Premise Filled with Questions

Going into the film, audiences are left with more than the usual romcom questions; the Guardian notes that viewers also wonder how the government would enforce such a law and what punishments might exist for those who break it. The film’s concept appears to be the product of an “elevator pitch after four cocktails,” according to The Guardian, resulting in a setting where “it’s now a badge of honour to be an incel.” Despite the intriguing premise, the film has been described as an “overstuffed yet undercooked soufflé” that struggles to rise to the occasion.

A Surprisingly Delightful Romcom Twist

Contrary to the skepticism expressed by some viewers, SlashFilm reports that One Night Only turned out to be a pleasant surprise. The reviewer, who initially approached the film with a “bad attitude,” found it to be an “absolute delight.” The film follows Allie and Owen (played by Monica Barbaro and Callum Turner) as they handle New York City on the one night when premarital sex is legal. The film includes “a ton of cheeky cameos,” jokes about pharmaceutical marketing in the soundtrack, and “thorough world-building” that invites repeat viewings to uncover hidden details.

A Bizarre but Engaging Concept

According to SlashFilm, the film is the work of director Will Gluck, who has proven his ability to craft a “sharp, sweet, genuinely funny romantic comedy” despite the bizarre premise. The reviewer admits they should have known better, comparing Gluck to other directors who can turn low expectations into enjoyable films. The film’s unusual setting,where the government dictates when people can “get freaky with each other”—could have been a gimmick, but instead, it became the foundation for a surprisingly engaging story. The Guardian notes that audiences at one screening responded with “baffled laughter” to the film’s premise, adding to its unpredictable charm.