Bottoms

Bottoms is as delicate as a hammer and isn’t afraid to ship its message. Woven collectively as an absurdist buddy comedy, Director Emma Seligman makes the unattainable attainable and delivers a gem. From scene to scene, Bottoms will get a bit extra ridiculous, whereas someway protecting the forged grounded and relatable, making for a uncommon cinematic expertise. One may very well be forgiven for pondering that is some type of highschool spin-off model of “Wet Hot American Summer,” because the movie noticeably attracts inspiration from the cult traditional. But in the long run, Seligman’s comedic tackle the “late ‘90s coming-of-age story” looks to cement itself as a classic in its own right.

PJ (Rachel Sennott) and Josie (Ayo Edebiri) are heading into their senior year of high school with one mission – to lose their virginity. As social outcasts, the best friends are used to being looked over, living with low self-esteem and a drive to just be noticed. When they get tired of being at the bottom of the social hierarchy, they decide to form a female self-defense “fight club” to impress a couple of particular girls. The group slowly gains a following, and for the first time, PJ and Josie feel like they are being noticed.

The plot of Bottoms is your everyday basic coming-of-age love story, but the film manages to reach extreme boundaries. Seligman’s comedy is hilarious, bizarre, and typically utterly nonsensical, however she manages to weave every part collectively flawlessly. The complete stereotypical panorama of a late ‘90s high school is present, equipped with jocks, goths, cheerleaders, and outcasts. Seligman and co-writer Sennotti do their best to not mince words, making every message as clear as day. It’s refreshing to see an idea that’s seemingly so complicated be executed at this stage, making your entire movie look easy.

Another large spotlight of the movie is its unbelievable soundtrack, produced by Charli XCX and Leo Birenberg. The music captures the movie’s temper fully; one may plausibly watch your entire factor with muted dialog and never miss a beat.

Of course, Bottoms wouldn’t work if it weren’t so humorous. A nugget of humor may be present in each scene, producing real laughs that come out of nowhere. It is surprising however real, ramping up the craziness because the present goes on. When it involves its feminist message, Bottoms is unapologetically in your face, however sincere on the identical time. This entry by Seligman is a real achievement, one which shouldn’t be missed by followers of eccentric comedy.