In the uproarious comedy “Bottoms,” directed by Emma Seligman, high school seniors Josie and PJ find themselves grappling with a pressing dilemma. “Do you really want to enter Sarah Lawrence as the only virgin?” PJ poses the question to Josie. This ignites a madcap adventure that takes the audience along for a wild ride.
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Josie and PJ are not your typical popular students. They identify as the “unattractive and unskilled gays,” setting them apart from their more glamorous counterparts. This lack of social standing doesn’t deter them from aiming high in the romance department. They both harbor crushes on two nearly unreachable cheerleaders. They know that achieving their romantic ambitions requires more than a little chicanery.
Seizing upon a school rumor that suggests they’re juvenile delinquents, Josie and PJ cultivate a reputation as the resident ‘tough girls.’ This newfound notoriety helps them secure approval for an on-campus self-defense club, remarkably allowed to engage in intense physical fights. This stunt starts to turn heads, especially for Isabel, Josie’s dream girl. Isabel is particularly intrigued after discovering her quarterback boyfriend’s infidelity.
“Bottoms” is a considerable departure from Seligman’s previous work with co-writer Rachel Sennott, which includes “Shiva Baby,” a narrative wrapped in nuanced, discomforting humor. This time around, they explore a different thematic avenue. They infuse classic teenage sex comedies like “Superbad” and “American Pie” with a queer sensibility. The result is an endearing amalgam that, while it may lose some steam towards the end, serves as a testament to Seligman and Sennott’s rising significance in the realm of American comedy.
The movie’s sparkle isn’t solely attributable to its main characters. It boasts strong supporting performances that contribute to its overall comedic value. Most notable are Marshawn Lynch, the former NFL running back. He plays an eccentric faculty advisor. Then there is Ruby Cruz, who portrays Hazel, a seemingly cool yet overlooked classmate. The script also delivers zingers, like when a character named Annie chastises Josie and PJ, complaining that their self-centered actions are a throwback to the pitfalls of second-wave feminism.
Yet, some elements in “Bottoms” remain underdeveloped. For instance, the film doesn’t delve into the complexities of PJ’s character. This character is a masterful manipulator of social narratives and arguably one of the story’s biggest bullies. Additionally, despite setting the story in a hyperbolic universe—where football players never take off their uniforms and teachers browse through salacious magazines—the movie is oddly reserved when it comes to candidly exploring themes of sexuality.
While “Bottoms” keeps audiences laughing for much of its duration, it stops just short of delivering a powerful punch. It has all the ingredients to challenge the rigid social hierarchies that are integral to American high schools. However, it ultimately plays too safe. Despite these minor drawbacks, Seligman and Sennott prove themselves as formidable new talents in American comedy, making “Bottoms” a worthwhile watch.
