To its credit score, it does not take any time in any respect to determine what wavelength “At Midnight” is working on.

In stark distinction to the evocative title and the refreshingly old style opening credit sequence that quickly follows (bear in mind when films used to have these?), the movie begins with Monica Barbaro’s Sophie Wilder all however reenacting a sequence out of “Avengers: Endgame” in an deliberately cringe-worthy spoof of our present superhero craze, the in-universe movie manufacturing cheekily titled “Tremendous Society.” Handily channeling all of the display presence she delivered to her minimal display time in “High Gun: Maverick,” Barbaro takes the well-worn thought of a pigeonholed blockbuster actor in search of extra out of life than a profession in unforgiving spandex and brings a lived-in sense of authenticity to Sophie, who’s reeling from the infidelity of her boyfriend and “Tremendous Society” co-star Adam Clark (a suitably slimy Anders Holm).

The frenetic first 5 minutes of the movie will get the compulsory desk setting out of the best way and rapidly strikes the motion to Mexico, the place Sophie and Adam should full the final six uncomfortable weeks of taking pictures … and the place overworked lodge supervisor Alejandro (Boneta) awaits.

Written by Giovanni Porta, Maria Hinojos, and director Jonah Feingold, “At Midnight” hardly makes an attempt to keep away from the tropes and conventions of the style. That is clear sufficient after we meet the doe-eyed Alejandro, whom the surprisingly nimble Boneta provides much more layers than exists on paper. The commitment-averse native retains his decidedly unromantic pursuits targeted on departing vacationers as a result of, as he places it early on, “It is simpler that method.” However with little greater than a wistful look right here, an impressed line studying there, and that always dreaming (and, sure, dreamy) twinkle in his eyes, Boneta subtly conveys the thought of somebody determined for connection however frightened of reaching out to seize it. In any other case, nonetheless, clichés embrace the same old homosexual greatest buddy or two (Fernando Carsa as Tachi and Casey Thomas Brown as Chris, each of whom are tragically underused), an impending meet-cute stuffed with sexual rigidity, and the same old mixture of grand romantic gestures and unlucky misunderstandings that style followers would acknowledge of their sleep.

In different phrases, viewers could be forgiven for pondering they might immediately dimension up all the pieces “At Midnight” has going for it. However, as with probably the most worthwhile romances, maybe there’s greater than meets the attention.