In the realm of teen sex comedies, there are no limits to the wild and implausible scenarios. High schoolers engage in activities like stealing alcohol, embarking on cross-country journeys, lying about their age, falling for vampires, and even getting intimate with baked goods. However, the film “Bottoms” takes a unique approach to this genre by adding a queer perspective. Directed by Emma Seligman, the film follows PJ and Josie, two high school girls who are infatuated with their hot cheerleader crushes. When rumors spread about their troubled past, they use it to start a fight club, claiming to teach self-defense but really hoping to get closer to their crushes. This leads to a series of hilarious and chaotic events, combining the raucousness of typical teen comedies with a sharp satire.
Seligman’s previous film, “Shiva Baby,” also explored the experiences of young queer women. “Bottoms” continues this examination of social expectations and coming-of-age, infusing it with a cerebral sensibility that adds depth to the film. The sharp humor, evident from witty lines like “Do you wanna be the only girl virgin at Sarah Lawrence?!” showcases Seligman and Sennott’s talent for clever writing. Ayo Edebiri’s portrayal of a skeptical character adds another layer of comedy to the film. Despite the abundance of themes and references to other films, the chemistry between the two leads keeps “Bottoms” engaging and fast-paced.
However, the film’s attempts to juggle multiple genres and experiments can sometimes make it feel disjointed. It lacks a cohesive identity, veering from a sex comedy to a high school satire to a slasher, and more. Despite this, the film includes nods to contemporary queer culture, like the involvement of pop star Charli XCX in the score and the characters’ fashion choices. These elements add charm to the film but also contrast with some perplexing choices, such as off-target eating disorder jokes and a blasé approach to sexual assault among teenage girls.
While the film satirizes the selfishness and insincerity of some people who claim solidarity, it misses an opportunity to deepen the connections between the characters. Instead, it prioritizes edgy humor. However, “Bottoms” shines when it focuses on quieter storylines, like the character Hazel’s struggle as a child of divorce. The film also handles a teen girl’s attraction to another club member without unnecessary fanfare or over-dramatization. This nonchalant approach to fluidity and acceptance can be empowering for young viewers navigating their own identities.
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