Fred Durst and The Kid LAROI battle killer machines in A24’s ‘Y2K’ trailer
A24 has released the trailer for its upcoming horror-comedy film, Y2K, featuring Limp Bizkit‘s Fred Durst and The Kid LAROI – watch the trailer below.
The film, due for release in December, stars Rachel Zegler and IT‘s Jaeden Martell in lead roles as a couple of teenagers who attempt to connect with one another at a New Year’s Eve party on December 31, 1999. As the party counts down to 2000, Y2K takes full effect, and machines all around the world rise up to end the human race.
The trailer – aptly soundtracked by Chumbawamba’s ‘Tubthumping’ – also features appearances from Fred Durst and The Kid LAROI among other actors.
Watch the trailer for Y2K below.
Y2K is helmed by Saturday Night Live veteran Kyle Mooney, in what will be his directorial debut. Mooney co-wrote with Evan Winter, while Jonah Hill is billed as a producer on the film. The film is due for release in December.
Other cast members include Lachlan Watson, Daniel Zolghadri, Eduardo Franco, Mason Gooding, Lauren Balone, Tim Heidecker and Alicia Silverstone – the last of whom most recently had her own brush with horror earlier this week when she unknowingly ate a potentially poisonous berry while in London.
The Kid LAROI wrote on an Instagram story when the trailer was released: “Had so much filming this! Best group of people & the movie is hilariousssss”.
Fred Durst plays the 1999 version of himself in Y2K, and is later seen sporting his red cap and performing. The Kid LAROI seems to be playing a jock-like character who throws the aforementioned New Year’s party.
This will mark Durst’s second credit in an A24 film this year – he previously featured in I Saw The TV Glow.
I Saw The TV Glow scored a favourable four-star review from James Mottram, who wrote for NME: “With its neon aesthetic, TV Glow’s final third is increasingly trippy, as Owen (Justice Smith) also starts to merge into the fictional world of The Pink Opaque. It’s here where the Cronenberg references loom large (and indeed Tobe Hooper’s Poltergeist), but Jane Schoenbrun’s film never feels derivative; instead, there’s something fresh and exciting about it, despite the almost deliberate slow-burn feel to its pacing.”
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Surej Singh
NME
