For the absolute best possible experience, here is all you need to know: “Palm Springs” is an absolutely absurd and delightful romantic comedy that feels equal parts non-romantic and non-comedic. The characters are wonderfully endearing and excellently performed, and it belongs in a masterclass of high-concept rom-coms alongside “her,” “Eternal Sunshine of the Spotless Mind,” and “Paper Heart.”
That first statement is necessary because “Palm Springs” is best enjoyed knowing as little as humanly possible about it. While spoilers will be kept to an absolute minimum, only revealing the same plot elements mentioned in the film’s trailer, it really is better to go in blind.
Andy Samberg (“Celeste and Jesse Forever,” “Popstar: Never Stop Never Stopping”) gets to strut his most dramatic chops yet in a career best performance playing nihilistic loner aptly named Nyles. There are clear hallmarks here that Samberg’s past film roles have touched on, such as a gleefully silly sense of humor and copious amounts of reckless behavior, but this is the first time these actions feel as thought they’re coming from a real person, as opposed to a caricature. There’s dramatic weight to his actions throughout the film, and he becomes someone easy to root for and a bit too easy to identify with.
Equally as good is Cristin Milioti (“Sleepwalk with Me,” “How I Met Your Mother”) as Sarah. She’s an easy best actress contender for the sheer amount of emotional change her character is forced to go through. Like Nyles, her plights are understandable and easy to empathize with. Milioti and Samberg are the perfect comedic and dramatic foibles for each other, pushing their antics to the breaking points while never losing sight of the care that slowly develops given their situation.
It’s incredibly impressive that such a delightful and inventive film is coming from a first-time director, Max Barbakow. His direction, alongside a script from Andy Siara (“Lodge 49”) sees the sandy area of Palm Springs take on an otherworldly sheen. The cranked up, sunny contrast give the entire film a sun-bleached look of despair that matches the absurdity of the film’s events perfectly.
Like the previously mentioned high-concept rom-coms at the start, what makes “Palm Springs” such a delight is the extent that it takes its central concept. While there are clearly some signs of lower budget (anytime there is any sort of special effect or a brief moment of green screen, it shows), the wide open and empty landscapes, alongside some simplistic and effective cinematography from Queyn Tran (“Unbelievable,” “The Little Hours”) coat the entire film in a hazy glow of fantastical realism.
This extent doesn’t just mean the wild antics and crude situations that are common with other Lonely Island productions, but Siara and Barbakow are also extremely interested at the moral quandaries at play. There’s a lot of talk about the meaning of life and consequences of one’s actions. There’s also an ever-evolving discussion of guilt and whether it matters if the people we wrong remember the wrongdoing or if we’re the only ones who do. There’s a lot for audiences to sink their teeth into beneath the guise of a sunny California wedding.
Bottom line, “Palm Springs” is a bizarre and wonderfully charming film that confronts its most existential ideas with the same level of enthusiasm as its zany comedic moments. Lead by two top tier equally comedic and dramatic performances, the only negative might be that the film’s themes and subject material might not be for everyone. But even those who might be turned off by the concept should watch. “Palm Springs” easily contains some of the year’s best performances with some of the year’s best writing in what is one of the year’s best films. 5/5
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