Kristen Stewart stars in Dylan Meyer’s “The Wrong Girls,” with critics citing genre clichés in first-time director’s stoner comedy

A new review of “The Wrong Girls” in The Guardian characterizes the film as a misfire in the stoner-comedy category, despite its cast-led approach and the novelty of a female-led twist on the genre. The review, published August 12, focuses on the performance and comic premise, arguing that the movie’s jokes frequently land poorly and that its reliance on stereotypes undercuts the intended energy of the plot.

The film is directed by Dylan Meyer, whose role as a first-time director is part of the review’s framing. The Guardian describes the movie as disappointing relative to what audiences might expect from a genre that has historically relied on fast improvisational rhythm and character chemistry, not just a set of stoner tropes.

Kristen Stewart is highlighted as a central presence, with the review saying Stewart “fumbles” through the material. The critique is less about technical filmmaking than about the fit between character work and the screenplay’s comedic choices, with the reviewer suggesting that the humor style does not develop into something consistently involving.

The review also situates “The Wrong Girls” in a broader context of stoner comedy’s changing mainstream presence. It notes that the genre has not controlled box office attention in decades and adds that recent standouts have not necessarily depended on weed-related content to deliver the buddy-movie feel associated with the tradition.

In that context, the reviewer points to “One of Them Days,” described as a recent theatrically released buddy movie that, according to the review, delivered humor without featuring weed smoking. The comparison is used to underscore the review’s view that “The Wrong Girls” leans on expectations that are no longer enough to carry a comedy.

Because the only supplied record is a critical review, the story cannot confirm additional details such as plot specifics beyond the genre premise, release distribution, box-office performance, audience reception, or any production background not included in the item. What can be reported from the record is that The Guardian’s assessment centers on comic execution, stereotypes, and joke timing, and it frames the film’s arrival as part of a continuing cultural conversation about what stoner comedy looks like in the current era.