Rye Lane.

Most meet-cute films are little more than cute, and often they’re just cutesy to the point of being saccharine. They’re date movies, or “date movies,” assuming you care more about the mood you’re setting than the caliber of the movie itself. It’s just not a genre associated with quality, which is why Rye Lane, streaming now on Hulu, was such an incredible surprise: It’s a genuinely great movie on its own merits, even though you know from the start that the protagonists are going to get together, in part because they’re both so realistically drawn and well acted. (Thanks to Chris Crawford, who ranked this among his top 5 films of 2023, for telling me about it.)

As the film opens, we see Dom (David Jonsson) crying in a stall in the all-genders bathroom at an art exhibition, when Yas (Vivian Oparah) comes in to use the neighboring stall, leading to an awkward conversation where Dom reveals that his long-term girlfriend left him for his best mate. The two reconnect outside of the loo and end up walking through Rye Lane Market for a few hours, bonding over their recent breakups, eating at a taco stand for the film’s best cameo, encountering both of their exes, and engaging in more hijinks. The love connection hits a few snags, eventually breaking when it becomes clear that one of them lied to the other about something significant, setting up the finish where, of course, they get together for real.

The actual plot of Rye Lane follows the typical story arc of the meet-cute or any rom-com, naturally limiting its upside. For a formula movie to avoid being just formulaic, the characters have to be credible and the actors in the two lead roles have to excel. Jonsson and Oparah are both superb and have clear chemistry, with Oparah especially strong playing the harder-edged and slightly more complex character, as Yas has the longer back story and her character starts with the blank canvas. The script, by first-time film writers Nathan Bryon and Tom Melia, keeps the two characters believable mostly by avoiding unnecessary details – they’re not idealized, they’re not living high on the hog, they don’t have ridiculous lives or impossibly perfect traits. If anything, they’re both appropriately screwed up given what’s come before.

And on top of that, Rye Lane is very, very funny. It’s a screwball comedy wrapped up in a date movie, calling back to classic comedies of the so-called Golden Age of Hollywood, throwing its two protagonists into a series of misadventures, some of which push the edges of credibility but all of which lead to hilarious results. The visit to Yas’s ex’s mums’ house, where the two women are having a cookout, is especially ridiculous and had me cringing in a good way from start to finish. The connecting thread is that one of them has a bad idea, and the other goes along with it (or is roped into it unwittingly), and then hijinks ensue. It’s hard to pull this off without turning the movie into a joke or just ending up with a bunch of unfunny situations. The script pushes the envelope without breaking it, and the two actors are so credible in their characters that the film never once goes off the rails.

A superb feature debut by director Raine Allen-Miller, Rye Lane really does the meet-cute as well as any recent movie I can remember. It’s a wonderful ride, even though you know the shape of the story arc, and where it ends is exactly right for its story and its characters. And in a year where best-of lists are dominated by some heavy dramas, Rye Lane is the perfect palate cleanser before your next three-hour watch.