In Tonight You're Mine, the party is real but the premise isn't

This entry in the "hot young opposites attract over the course of one long night" genre takes place at Scotland's muddy summer counterpart to Coachella, T in the Park. Adam (Luke Treadaway), the skinny-jeans'd frontman of a famous Brooklyn electro duo, gets in a squabble with Morello (Natalia Tena), a...

By Karina Longworth

May 22, 2012

Audio By Carbonatix

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This entry in the "hot young opposites attract over the course of one long night" genre takes place at Scotland's muddy summer counterpart to Coachella, T in the Park. Adam (Luke Treadaway), the skinny-jeans'd frontman of a famous Brooklyn electro duo, gets in a squabble with Morello (Natalia Tena), a British sprite who plays keyboards in an upstart girl band. Out of nowhere, a mysterious black man shows up and handcuffs Adam and Morello together and then disappears with the key, forcing the pair to spend the entire festival together. That Adam is attending the fest with a supermodel superbitch girlfriend and Morello with a moneybags doormat boyfriend merely delays the inevitable. Still, the ease with which Adam and Morello let vacation attraction trump their established relationships calls their basic character composition — as believable fictional entities and as ostensibly sympathetic human beings — into question, which is not something Tonight You're Mine cares to explore. Shooting at the actual T in the Park in July 2010, director David Mackenzie and his crew pull off the feat of staging a drama against the backdrop of an unfolding event: The richly saturated, largely low-light cinematography looks gorgeous and successfully captures the texture of an all-night, life-changing party. But the authenticity baked into the production doesn't redeem the absurdly improbable premise, the attractive actors don't do anything to make the caricatures they're playing feel real, and the aggressive hipness of the film is queasily dated — the cinematic equivalent of the clearance corner at Urban Outfitters.

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