I’m not entirely sure what sparked the resurgence of the raunchy summer comedy blockbuster, but 2023 seems to be a renaissance year for the genre. With plenty of offerings so far, “Bottoms” enters as a top of the line contender, blending its absurdity and biting satirical wit with its horny, teen comedy themes. The something borrowed approach is purposeful instead of derivative, owning every bit of its puzzle pieces to deliver a laugh a minute, raucous comedy that never lets up. “Bottoms” comes right to the line of spoof, stopping just short of falling into the “Not Another Teen Movie” territory while also keeping its satire of high school setting films at the forefront of its narrative. There’s no point in burying the lead here; “Bottoms” is a gut busting comedy and instant cult classic, a sort of Bat Signal to the genre that hard R comedies are not dead, they just need to be done better and like this to resonate with audiences.
Written and Directed by Emma Seligman with co-writer and star Rachel Sennott, “Bottoms” serves as Seligman’s follow up to her critically acclaimed debut in 2020’s “Shiva Baby” which also sees Sennott in the titular role. The film follows two friends PJ (Sennott) and Josie (Ayo Edebiri of “The Bear“)) who are at the tail end of their senior year and are still at the bottom of the social ladder. They both have crushes on cheerleaders, but have not been able to manifest any kind of actual contact or relationship with any girl at their school. After an exaggerated run in with the school’s quarterback Jeff (an absolute unhinged Nicholas Galitzine) they avoid suspension by starting a Self Defense Club for Girls, or as it is more aptly name, a Gay Fight Club. The goal? Teach their hot, popular, cheerleader crushes to defend themselves in hopes that it will lead to some sexy time. Of course, things spiral out of control and things get more and more absurd as their idea and the lies with which it was founded on begin to get away from them both and challenge their friendship in the process.
Nothing can really prepare you for where “Bottoms” ends up going. It’s part “Not Another Teen Movie,” part “Scott Pilgrim vs The World,” part “Mean Girls” and yes, part “Fight Club.” Seligman demonstrates a mastery of her controlled chaos, bringing all of these pieces together to create a wild, hilarious, boundary pushing comedy. Sennott seems to be a muse for Seligman, not just in their complimentary work as screenwriting duo but also as director/actor combo. Seligman has an intimate knowledge of all that Sennott is capable of, and lets her run amok completely unencumbered. She does this with all of her cast, but it’s clear that after two films together, this is another example of the pairing’s immense talent and capabilities. What is most unique about the film is how acutely aware it is of its own tropes. It is willing to draw attention to the absurdity of high school comedies, things like how short classes always seem, the overvalue of sports, that lack of adult supervision, and on and on. “Bottoms” doesn’t hold back from highlighting the things that could never actually happen while also intentionally building a world that couldn’t possibly exist.
The intelligence of the writing and filmmaking is only furthered by the incredible performances from its cast. It’s not just Sennott who shines and is allowed to experiment with her impeccable comedic timing, Seligman draws this out from everyone. The pairing of Senott and Edebiri is a match made in heaven, a longstanding comedic duo that have clearly been doing this together for years and only now get the opportunity to show the world what comedy magic they can make together. This is the year of Edebiri, who simply can’t go wrong with her project choices and her performances. She currently has 3 critically acclaimed films in theaters (“Theater Camp,” “Bottoms,” and “Teenage Mutant Ninja Turtlers: Mutant Mayhem“) and is also in the Emmy award winning television series “The Bear.” It shouldn’t really be all that surprising either; she’s incredible and is only scratching the surface of her comedic capabilities. “Bottoms” highlights her timing like no other film, and surrounding her with familiar faces and longtime sketch comedy partners only elevates her work and abilities.
Of course, the secret sauce MVPs of “Bottoms” lie with the supporting cast, particularly Marshan Lynch who perfectly commits the bizarre wavelength of the film’s comedic essence. There is simply no weak link, but Lynch is perhaps the most surprising in both his delivery and improve capabilities. “Bottoms” should tell you that Lynch has a career in film comedy, and honestly would be a solid addition to “Saturday Night Live.” I am not kidding or being overly hyperbolic; Lynch has a knack for this, and he steals every single scene he’s in, in a film packed with standout comedic performances. Nicholas Galitzine completely disappears from his previous role “Red, White, and Royal Blue” and demonstrates a range of ability from that to “Bottoms.” He’s so funny and over the top, and its matches the energy of the film beautifully and you can tell he was given free reign to just be as ridiculous as he wanted to be in every single scene.
“Bottoms” is wild, outrageous, unbelievable, and downright absurd, but under the stellar direction of Seligman and the commitment of the cast, it all somehow works. There is never a dull moment, and you’ll want to watch it more than once because you probably laughed over memorable lines because they’re so rapid fire in their delivery. this is a comedy where the comedy ALWAYS lands if you’re willing to go where the film wants you to, and is best served seeing with a crowd people united in uncontrollable laughter. “Bottoms” is an instant cult classic comedy, right up there with things like “Mean Girls” and “Legally Blonde.” Sure, it’s not as accessible or family friendly, but the comedy and cultural impact are on the same level and hold the same amount of longevity in quotable lines and unforgettable scenes. It is unrelentingly funny, masterfully directed, delightfully performed, and occasionally over the top violent. These are a few of my favorite things, and “Bottoms” has them all.
I honestly want more from everyone involved in “Bottoms.” Every single aspect of this film is on my radar as one to watch; Seligman as a filmmaker, Senott and Edebiri as rising stars, Lynch as an improvisational wonder, violent and horny teen comedies, and queer centric stories that no longer feel fringe but belonged and timely. I need to dance around “Bottoms” because it works best when you know as little about it as possible. So much about what works is how blindsided you are when you experience it without any preconceived notions or plot points. There is joy in just letting it unfold without knowing the journey before hand, and “Bottoms” does so much right I would consider it a must see comedy of the year. It exist in a fantastical world with its roots firmly planted in the genre it is satirizing, yet still manages to feel wholly unique and original.
It also sports two of the best needle drops of 2023, and has one of the best ‘blink and you miss it” lines of any film I’ve seen this year.
Don’t miss “Bottoms.” It’s gonna be a classic.
Rating: 4.5 out of 5 Stars
“Bottoms” is now playing in select theaters. You can watch the trailer below.
