A sold out Bank of America Pavilion hosted Boston’s final big gig of the summer on Sunday night. Indie Ivy League tour de force, Vampire Weekend, brought two albums worth of polished live material to the impressive venue and threw in some extra treats especially tailored for their Massachusetts audience.

From the top of the set the Columbia University alums, turned internationally renowned hit makers, made their intentions clear. Kicking things off with the exuberant "Holiday" (the latest single from the number one album, "Contra"), allowed the crowd to begin to put the fairly brisk temperature of the waterfront to the back of their minds. "Its still summer, you know," front man, Ezra Koenig, reminded the audience after the afro-beat ridden, Caped-inspired number, "Cape Cod Kwassa Kwassa."

Despite possibly having to compete with a lack of weather more befitting of the summery hits of their first LP, a mid-September show in Boston is in many ways the ideal setting for these collegiate favorites. With a fresh crop of boat shoe-wearing undergrads once again occupying dormitories all over the city, there seems no better way to kick off the semester than with a live show from the band that have defined the college sound since their breakthrough in 2006. Though Vampire Weekend themselves may have moved away from the sound of the quad with their most recent material, they are still able to appreciate the importance of their freshman fans. Before drummer Christopher Tomson began to drop his foot on the quick, muffled bass intro of "Campus" (a song of unrequited love for a professor of Romantic lit, from the self-titled first album), Koenig dedicated the song to "all the students" and the ensuing cheer made clear just what a big percentage of the crowd would be attending classes the following day.

While the sing-a-long moments of tracks like "M79" and "One (Blake’s Got a New Face)" from their first album pleased the crowd on a mass scale, the newer material provided a showcase of the band’s musical skill and the clever ways in which they have evolved over two full-length releases. Koenig’s use of auto-tune on "California English" worked better live than expected, thanks to the lovely, crisp sound that venue provides; bassist Chris Baio showed off his musical prowess on "Taxi Cab" by switching to the cello, and the samples and beats created by Rostam Batmanglij (keys) and Christopher Tomson on "Diplomat’s Son," somewhat miraculously, inspired much of the preppy crowd to attempt a hip-hop style two-step.

Whether in attendance to help sing the hits of the first album or appreciate the intricacies of the second, there were moments on Sunday at which Vampire Weekend managed to get everyone’s feet moving and mouths grinning. A surprising cover of Bruce Springsteen’s "I’m Going Down" may have been performed on the festival circuit this summer, but nonetheless, was so well accompanied by the breeze of the near by water that it felt like a gift to the Bean Town audience. Whether or not covering The Boss is something Vampire Weekend has been doing all over the world this summer, during the encore they provided an explicit ode to Boston. "You can’t play this song in Cincinnati" Koenig explained before leaping into the little known, cult EP track, "Boston (Ladies of Cambridge)." The song galvanized the crowd better than any other of the night and, as if they needed it, won them even more respect amongst their Boston based fans.

Michael Cera is at that point in his career where everything he touches turns to gold.

That’s the main reason why “Nick and Norah’s Infinite Playlist,” the film adaptation of the popular young adult novel, which settles at being a mediocre rom-com, will make money from the teenage demographic.

Michael Cera plays Nick, the only straight member of Queercore band The Jerk-Offs (tentatively titled). He is busy writhing in heartache after his too-hot-for-him girlfriend Tris (Alexis Dziena) tragically breaks his heart.

Norah, played by “The House Bunny” star Kat Dennings, is a friend but not a fan of Tris, but is the lucky recipient of Nick’s mopey mixed tapes after Tris throws them away. In fact, not only does she enjoy the music on the tapes, but she is halfway in love with Nick before she even meets him.

Therefore, by lucky coincidence, Norah picks Nick to masquerade as her “boyfriend” for the night to get back at Tris for implying that she had no chance to land a guy. Of course, Norah has no idea that this cute guy she has been eying all night and subsequently makes out with is Tris’s ex, but soon finds out when Tris, new boy in tow, jealously walks up and demands how the two know each other.

Ah, a night to never forget.

The whole story is supposed to take place over the course of one night, starting during the school day and ending at somewhere between six and eight a.m. the next day. Nick and Norah bond over a love for the band “Where’s Fluffy?” and spend a good portion of the night trying to find the band as well as her very drunk best friend (Ari Graynor).

The music in the movie which includes tracks from up-and-coming indie artists like Vampire Weekend and We Are Scientists, plays such an important role that it almost becomes ia character unto itself, perfectly matching the feel of the film.

“Nick and Norah’s Infinite Playlist” is cute, no doubt. Cera and Dennings have an awkwardly comfortable and honest chemistry that reflects how normal teenagers would respond to the film’s outrageous situations.Their characters don’t fall in love at first sight. Nick is still getting over Tris, and Norah is dealing with an ex-with-benefits (Jay Baruchel) that she can’t quite get rid of. In fact, the two of them don’t get along most of the night; Norah is angry and jealous that Nick can’t seem to direct his focus away from Tris when it so clear that it is Norah that he should be with, and Nick is annoyed that Norah keeps making irritated comments about how bad Tris was for him.

Comedic relief comes in the form of Nick’s gay bandmates (who know a lot more about how to handle a heterosexual relationship than either Nick or Nora) and Norah’s quickly and extremely intoxicated best friend Caroline (Graynor) who they chase around New York City for the large portion of the film.

Cera is not as funny here as he was in previous ones like “Superbad” and “Juno,” which is a bit disappointing. He still manages to channel the awkward, nerd charm that has put him at the tops of teen heartthrob lists nationwide, but his performance felt a bit lacking.

Similarly, Jay Baruchel let his brief role fall flat as he was only a huge jerk. Baruchel, who did great in the recent comedy hit “Tropic Thunder,” could have created more of an interesting and funny character instead of cashing in on the stereotypical romantic comedy “bad guy.”

“Nick and Norah’s Infinite Playlist” is nowhere near being this year’s “Juno,” but it offers a cute and healthy alternative to a generation that thrives off the delicious smut of “Gossip Girl” and the teenage pop that is Miley Cyrus and the Jonas Brothers.

The biggest problem with “Nick and Norah’s Infinite Playlist” is that it stays well within the bounds of a normal teen rom-com. It doesn’t go above and beyond, nor does it fail in creating a cutesy teen movie. The movie has the potential to be really great, even original, but settled with just being all right.