REVIEW – “Blockers”: A Bit Too Raunchy For its Sweetly Sentimental Center

by Joe Hammerschmidt

As we approach the second quarter of this surprising, satisfying moviegoing year, it gets a little easier to spot out the simpler guilty pleasure pics which you don’t expect to enjoy based on preconceptions. When one gets older, films that tend to focus on the thrills of youthful innocence and naivety lose a smidgeon of their novelty. Blockers, the formal directorial debut of Pitch Perfect scribe Kay Cannon, seeks to reclaim innocence lost, and perhaps humor thought lost, all at its most unapologetic. There’s sex, alcohol, smutty language, and plenty of corny action comedy cliches to help spice up the activity, much of it warranted by the standards of a chick flick that could appeal also as a common-variety date night movie. Its greatest surprise element is what keeps things fun: its soulful family ties. Barely staying tied down, this balloon of pure R-rated time wasting can indeed pose a little realism; the dream prom night for many, shared on screen for all, and it feels very natural.

The film’s fun falls comfortably within the three leads: a trio of parents whom as their daughters grew up, they only grew further apart, each bringing all their A-game to the comedic table. Go-getting mom Lisa (Leslie Mann), overprotective muscle Mitchell (John Cena), and slacker dad Hunter (Ike Barinholtz) are facing Empty Nest syndrome with their kids, the emotion bubbling up too high on prom night. Any one of the three will deal with the scenario in their own quirky manner, but they can all agree it’s not easy, the offspring only making matters worse by agreeing to a ritual sex pact, commonly a fair add-on to the thrill of prom night, reaching full adulthood and losing one’s virginity just before graduation. Fear of parental loss drives the elder trio, when they eventually find out.

Much of the film’s comic weight, carried in great stride through up-and-comers Brian and Jim Kehoe’s exhaustingly timed script, falls within beauty of the chase itself, attempts to “block” any sexual congress from being achieved. Of course, Angelica (Ramona Young), Julie (Kathryn Newton), and Kayla (Geraldine Viswanathan) don’t catch on to the hints immediately, unaware their watchful parents get sidetracked, while they don’t instantly spot all theit kids’ quirks. That is, aside from a subplot involving Kayla’s own identity, accompanied by an infatuation with cosplayer Sam (Gideon Adlon), which Mitchell is personally questioning. That kind of subplot reminds us of that distinct realism familial relationships can still invoke; one may wonder whether that has a place in a film like this, but I’m certainly not complaining towards its inclusion, especially when it works most appropriately.

The same can’t quite be said with the film’s more shock and awe type moments, one of note involving a rather cringe-worthy drinking game that should never be approved of under any circumstances; the kind of scene that shouldn’t be spoiled in a review, you may find it funny, but it could’ve been conducted with a little
more dignity toward Cena’s behalf. Still, the WWE superstar-turned-actor has once again proved his range can expand all the further, even when most of his fighting skills speak louder than his tender heart. The keyword is still “improvement”, yet he may not be ready for first-name leading man material.

At the same time, Mann and Barinholtz are in those cushy spots as firm but flexible mediums who could
learn to be more supportive, without leaning onto every waking moment
of their children’s lives. One’s in more denial over the other, simply in trying not to disconnect, the other just trying to reconnect. A tale of two common dualities wrapped up in an intense run for the roses, their back and forth while Cena charges around, still holding onto that supposed method acting from Ferdinand, aides to sustain the momentum while the sisterly besties, and their dragged-on dates party forth.

Blockers, at its face value, acts like two different films, what it must be to an audience, and what it wants to be for the spirit. Miss Cannon dives deep to extract every ounce of humor, leaving no stone unturned in the dramatics department. Like her approach to youthful energy with the Pitch Perfect trilogy, and a snapshot of strong female roles forged througj her time in the 30 Rock writers’ room, Miss Cannon is just as comfortable working from someone else’s script, injecting much-needed personality, and humanist realism, amid the gross-out gags. The character development may move too slow, and the balances between your standard mature debauchery adventure and the intended family comedy don’t always clash, but cut past the inadequacies and it’s a little easier to get wrapped up in that innocence again, and a fair amount of bonding. Make no mistake, Mann and Newton’s relationship does make the best final selling point. The spirit of prom night, condensed to a Superbad-esque trip worth its limo charges, but not so much the hefty tip. (B-)

Blockers is in most area theaters this weekend; rated R for crude and sexual content, and language throughout, drug content, teen partying, and some graphic nudity; 102 minutes.