Debut writer-director Dylan Meyer delivers an absurdist stoner comedy that pushes the genre into new territory with “The Wrong Girls,” starring Kristen Stewart and Alia Shawkat. The film follows two burnout friends who gain psychic powers through experimental psychedelics derived from deep-sea squid. Meyer practically achieves liftoff with this wild California tale, which places her characters in situations that make Cheech and Chong look tame by comparison. The duo lives in an LA apartment they call Casa de Chill Zone, setting the stage for their chaotic adventure.

The film positions itself among stoner comedy classics while carving out its own niche. If Method Man and Red Man asked “How High” with their 2001 comedy, Meyer counters with a pair of pals who unlock telepathic abilities through pharmaceutical experimentation. While Dave Chappelle was “Half Baked” in 1998, put a fork in Frankie (Stewart) and Molly (Shawkat), because they’re fully done. The ensemble cast charms throughout, and the good humor oozing out of the entire project makes it hard to avoid a contact high.

Plot Threads Weave Together in Familiar Patterns

Meyer blends together almost a few too many familiar strains for the plot of “The Wrong Girls,” which takes a minute to gain coherence before almost immediately losing it again. In this crazy California yarn, Frankie and Molly scramble to come up with rent money by the next day, echoing F. Gary Gray’s 1995 LA stoner classic “Friday” as well as last year’s “One of Them Days.” This quest sends them on an odyssey fit for “Harold and Kumar Go to White Castle,” complete with mistaken identities and unexpected encounters.

A mistaken identity twist propels the action forward when a mercenary nicknamed Not Metal Head Dave (played by LaKeith Stanfield) and a team of Danish scientists and security contractors pursue the wrong women. The film throws squid brains, talking cats, and telepathy into the mix, creating a surreal landscape that keeps viewers off-balance. Stewart and Shawkat maintain a fun and amiable vibe together, even if their characters aren’t immediately in focus.

Characters Struggle with More Than Just Rent

Frankie is a Stanford engineering student who failed out of college and now works as a “Kwik Things” delivery driver, representing one half of this codependent friendship. Her bestie Molly is a weed-inspired aspiring chef whose utterly reasonable boyfriend Josh (played by Zack Fox) would really love for her to get her life together and move in with him. The film explores these relationships with surprising depth, balancing stoner comedy tropes with genuine emotional stakes.

Frankie discovers that her latest beau Mike Z. (played by Morgan Krantz) has replaced her with a straitlaced doppelgänger upgrade named Frances (Stewart wearing glasses). At a Mannequin Pussy show, she confronts the pair and runs into the aforementioned Not Metal Head Dave, who passes her a secretive briefcase. The mercenary mistakes Frankie for high-level researcher Frances, setting the entire chaotic plot in motion.

Experimental Psychedelics Drive the Story Forward

The briefcase contains seriously heady psychedelics derived from deep-sea squid testes, which Frankie and Molly discover in their possession. They make themselves unwitting test subjects for the experimental substance before attempting to sell the drugs, a decision that launches them deeper into trouble. The psychedelic element gives Meyer’s film its distinctive edge, separating it from standard stoner fare with supernatural consequences that add layers of absurdist humor.

Meyer’s film may be loosey-goosey in structure, but it’s far from a bad trip for audiences seeking unconventional comedy. The director manages to keep the narrative moving despite its sprawling ambitions, though the plot occasionally struggles to maintain focus. The ensemble cast especially shines, bringing warmth and chemistry to roles that could have fallen flat in less capable hands. Stewart and Shawkat’s dynamic carries the film through its more chaotic moments, grounding the surreal elements with their believable friendship.

A Debut Director Finds Her Voice

As a debut writer-director, Dylan Meyer demonstrates ambition and originality in tackling the well-worn stoner comedy genre. She infuses familiar elements with fresh twists, using the mistaken identity plot device to propel her characters into increasingly absurd situations. The film’s willingness to embrace chaos and surrealism sets it apart from more conventional entries in the genre, even when that ambition occasionally works against narrative coherence.

The supporting cast strengthens Meyer’s vision, with LaKeith Stanfield bringing his characteristic intensity to the role of Not Metal Head Dave. Zack Fox provides grounded comic relief as Josh, the patient boyfriend trying to coax Molly toward adulthood. Morgan Krantz plays Mike Z. with just enough obliviousness to make the doppelgänger subplot work, while Stewart doubles up in a dual role that showcases her versatility.

Balancing Absurdism with Heart

Meyer succeeds in creating a heartfelt stoner comedy that acknowledges the real struggles beneath the haze of marijuana smoke and psychedelic trips. The rent deadline gives the story urgency, while the relationship dynamics between Frankie and Molly provide emotional weight. The film explores themes of codependency, failure, and arrested development without becoming preachy or abandoning its comedic mission. This balance keeps “The Wrong Girls” from devolving into pure farce while maintaining its absurdist edge.

The telepathy element introduced through the squid-derived psychedelics adds a science-fiction twist that Meyer exploits for both laughs and character development. The film uses this supernatural ability to explore the unspoken tensions in Frankie and Molly’s friendship, forcing them to confront truths they’ve been avoiding. This creative choice elevates the material beyond standard stoner hijinks, giving the comedy a conceptual hook that justifies its wilder moments.

A Contact High Worth Catching

“The Wrong Girls” proves that the stoner comedy genre still has room for innovation when filmmakers bring fresh perspectives and genuine creativity to familiar formulas. Meyer’s debut may not achieve perfect coherence, but its willingness to embrace chaos and surrealism makes for an entertaining ride. The chemistry between Stewart and Shawkat anchors the film’s more outlandish elements, creating a believable friendship that viewers can root for despite the characters’ poor decisions.

The film positions itself within a lineage of stoner comedies while pushing the genre forward with its psychic twist and heartfelt character work. Meyer demonstrates promise as a filmmaker who understands both the appeal of absurdist humor and the importance of emotional authenticity. “The Wrong Girls” may lose its focus as quickly as it gains it, but the journey through Casa de Chill Zone and beyond delivers enough laughs and genuine moments to justify the trip. For fans of the genre and newcomers alike, this debut offers a charming contact high that lingers long after the credits roll.

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