Cinema is an art form; a means to express creativity and resonate with an audience united by place and time. Though rarely thought of as high-brow or particularly consequential, the teen comedy is undoubtedly one of the most influential interpretations of the medium. Ranging from the ‘90s classic “Clueless” to 2000s heavyweights “Mean Girls” and “Superbad,” the genre consistently showcases its generation-defining power.
Now that we’re comfortably into the decade, the 2020s has finally welcomed its teen comedy darling. “Bottoms” is a deliciously raunchy and distinctly modern sophomore feature from writer/director Emma Seligman. Its gutsy comedic identity and ardent queer representation deliver an instant classic.
Beginning her career with the exquisitely tense “Shiva Baby,” Seligman returns to the big screen with money to spend and complete creative control. “Bottoms” follows lesbian teens PJ and Josie (Rachel Sennott and Ayo Edebiri) in their ambitious quest to lose their virginities to their long-time crushes, cheerleaders Isabel and Brittany (Havana Rose Liu and Kaia Gerber). In the guise of self-defense, they start a fight club, gathering other high school girls eager to protect themselves while secretly attempting to hook up with them. Amid the lies and deceit, the club evolves into a genuine, chosen family, placing PJ and Josie in a complicated position.
In a movie so impressively dense and teeming with charm, Sennott and Edebiri prove their leading ability with two perfectly captured performances. Their personalities are glaringly different yet mesh with each other effortlessly. Sennott’s over-dramatic delivery and unabashed vulgarity once again solidify her as a leading comedic voice of the future. Her culturally in-tune acting style is a necessary breath of fresh air in a modern high school setting. Edebiri, continuing her remarkable breakout-summer hot streak, is endlessly charismatic. Her awkward allure is as magnetic as ever, and her limitless range is on full display.
Liu and Gerber play excellently off the leads, providing another sharp contrast in personality and effect. Seligman allows their characters to evolve as the film progresses, slowly introducing the audience to new aspects of their originally one-note characters. Liu starts cold and submissive before growing warm and hilariously chaotic — my favorite supporting performance in the film. In comparison, Gerber is classically careless, channeling an archetypal popular-girl attitude.
The school football team, helmed by the self-obsessed Jeff (Nicholas Galitzine) and his loyal right-hand man, Tim (Miles Fowler), poses a significant threat to the club and its relationships. Though these jocks are unsurprisingly aloof and manipulative, their utter delusion and obsession with each other is ridiculously entertaining. Galitzine is dramatic, sassy and confident in this role; he brings Jeff a refreshing comedic energy with a character that so easily could have come off as stale.
In a casting choice entirely out of left field, club supervisor and generally unhinged teacher Mr. G is brought to life by former Seattle Seahawks superstar running back Marshawn Lynch. Improvising the bulk of his lines, Lynch had my theater in shambles with his consistently funny delivery. His character is completely ludicrous in the most amusing way possible.
I have to shout out the production design team led by Nate Jones. The school is plastered in visual gags via posters and paintings in the background that serve as a cherry on top for the film’s constant jokes.
“Bottoms” succeeds because it is paced so perfectly. Seligman doesn’t waste any time establishing our characters and placing them inside a plot that builds to the grand finale: a rivalry football game that is constantly referenced. The film starts fast and earns its slow, dramatic and even steamy moments that occur later down the line. The ending is such a satisfying payoff and rocked me to my core.
Led by Sennott and Edebiri’s excellent performances and Seligman’s growing expertise, “Bottoms” is the bold and bloody teen comedy we’ve been waiting for — and it’s about time.
