Romantic comedies have become something of a rarity on the big screen these days, which is why each new entry in the genre tends to attract outsized attention—especially when it comes with a premise as audacious as that of One Night Only. Directed by Will Gluck, best known for revitalizing the genre with films like Easy A and Anyone But You, this frisky and original rom-com is set in a near-future America where the government has taken the extraordinary step of banning premarital sex. The catch? For one 12-hour stretch each year, singles are allowed—indeed, encouraged—to indulge their pent-up desires in what some critics have dubbed "The Purge" of romantic comedies.
It’s a bizarre setup, and even the film’s most ardent supporters admit the premise is, well, preposterous. As The Mercury News puts it, "The reason it works is that it is a refreshingly different—if ridiculous—plot for a rom-com and has two sensational leads." Those leads are Monica Barbaro, a Mill Valley native recently Oscar-nominated for her portrayal of Joan Baez, and the ever-versatile Callum Turner, who’s been whispered about as a potential next James Bond. The chemistry between Barbaro and Turner is the engine that keeps One Night Only humming, and their performances elevate the material far beyond its sitcom trappings.
The story unfolds primarily in New York City, with Turner playing Owen, a by-the-book Manhattan pizza shop owner, and Barbaro as Allie, an aspiring singer whose day job involves crooning pharmaceutical jingles to the tune of pop hits. As the sanctioned night of passion approaches, Owen’s romantic plans with his girlfriend (Maya Hawke) are derailed when she admits she’d rather spend the evening with their attractive neighbor. Allie, meanwhile, reluctantly dons a shimmering green dress and sets out with her friend (King Princess), only to find herself alone when her wingman quickly pairs off. Through a series of comic misadventures—one of the film’s funniest running gags involves the difficulty of finding a condom—the two keep bumping into each other, leading them to suspect that fate might have a hand in their repeated encounters.
Supporting roles are filled by a lively cast, including Julia Fox, Andrew Burnap, Charlie Gillespie, Molly Ringwald (as Owen’s sexually liberated mother), and LeVar Burton as her enthusiastic partner. Pete Davidson and Bobby Cannavale also make memorable cameo appearances. The Mercury News praised the "terrific" supporting cast, noting that "the singles that Allie and Owen meet are suitable love connections, or at least they seem that way." The film is rated R for sexual material, language, and brief nudity, and clocks in at a brisk 1 hour and 42 minutes.
Behind the camera, Gluck’s direction is as quick-witted as ever, and the screenplay by Travis Braun is packed with ribald humor and contemporary references. The soundtrack—scored by Este Haim and Christopher Stracey—adds a fresh, modern gloss, with nods to HAIM and Mazzy Star scattered throughout Allie’s apartment. As Slant Magazine observes, Gluck’s films are "au courant—fresh and zeitgeist-y—in the moment but age poorly," and One Night Only is no exception, flashing an early title card that reads, "It’s been…a lot," a phrase already feeling a bit dated.
Yet, for all its contemporary style, One Night Only isn’t afraid to poke fun at the world it creates. The film draws a clever parallel between the manufactured holiday and the way private industry co-opts and markets even the most personal aspects of life. Allie’s job singing jingles for pharmaceutical companies becomes a running theme, and the city is plastered with ads and slogans promoting the annual free-for-all. As Slant Magazine points out, "the film parallels marketing saturation with the casual fascism that would produce a mandate like the one animating the narrative." The idea that such a law could pass, and that people would so readily accept it, is left unexplored—perhaps intentionally, as the script seems more interested in the comedic and romantic possibilities than in political satire.
Still, the film doesn’t entirely escape criticism. Slant Magazine notes that the characterizations can be thin, and that some of the diversity on display feels more like a gesture than a genuine attempt at representation. When Allie’s Black queer roommate (played by Quintessa Swindell) finally appears, it "scans as a gesture of appeasement," the review argues, rather than an organic part of the story. This superficial approach to diversity is a recurring critique of Gluck’s work, with Slant drawing a straight line from One Night Only to earlier films like Anyone But You and Friends with Benefits.
Despite these shortcomings, both reviews agree that the central relationship works. The Mercury News highlights the "goofy and lovable" dynamic between Barbaro and Turner, while Slant concedes that "when the film...sticks to its bland but likable leads, it finds an unforced chemistry and sweetness amid the raunch and lightly zany physical comedy." The camera, handled by Yaron Orbach, is described as "ogling the snug fit of Owen’s polo shirt and the plunging V-line of Allie’s sequined dress with appreciably equal-opportunity relish."
The film’s structure, confined to a single night, draws comparisons to Martin Scorsese’s underrated After Hours, with Owen and Allie scurrying around New York in pursuit of connection, only to find that love—predictably and unpredictably—finds them instead. The Mercury News sums it up: "‘One Night Only’ gets the most laughs when depicting sexual blunders but ultimately it celebrates unexpected love connections that sometimes take their own sweet time to blossom. Love can happen like that."
One Night Only opens in theaters on August 7, 2026, and has already generated buzz for its bold premise and strong performances. While it may not reinvent the rom-com, it offers a playful, sometimes racy, and ultimately sweet take on the age-old question of whether love is a matter of fate, timing, or simply being in the right place at the right time. For audiences yearning for something a little different—and willing to suspend disbelief—it’s a night worth experiencing.