Any notion of Megan's depth - be that in insecurity, empowerment, or both - is lost beneath shrill characterisation and Tipton's flailing limbs. They're presumably expected to provide visual contrast to Teller's stillness, but are overwhelming rather than complementary. For his part, Teller imbues Alec with similarly awkward emotional hostility to that of his standout turn in the recent Whiplash, but there's none of that film's empathy or poignancy to undercut it. That said, he gets much of the screenplay's funniest lines in sarcasm, even if those that hit home are few and far between. What is far more prevalent is smart-ass philosophising that might be included to betray its characters' naivety but actually suggests that of the screenwriter. There are some moments that work well - the initial exchanging of bitter and defensive barbs before they comprehend their incarceration, for instance - but as time wears on the narrative becomes ever more trite. This is particularly problematic in a heavily manufactured third act conflict that stretches credulity and patience. It's a shame because Tipton and Teller both seem capable of more, but Two Night Stand is less of a good time than the kind of night that makes you wish you'd just stayed in.
Ben Nicholson | @BRNicholson