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The Teen Sex Comedy genre is tough. For the most part, they nearly all play the same, with a few occasionally rising above the status quo to deliver a few good laughs. I think it is safe to say that American Pie probably stands out within the genre, with Porky’s not far behind. But, will Blockers be the next in that lineage?

To say the least, the films normally always play the same. Geeky, loser-type boys vow to have sex by prom, graduation, or enter whatever deadline you like. These loveable losers then bumble around hoping to eventually fulfil their sexual conquest so they can feel more fulfilled and normalized. It has always been a genre that largely caters to hetero male audiences, setting sexual conquest and female objectification on a mantle as a prize to be won.

Blockers is much more than that. It’s a tricky film. The marketing for comedy can be great, but often much of the humor is in the trailers and the films lack. But, with a debut out SXSW, Blockers had built up a positive reputation that it was more than just another teen sex comedy. And, I have to agree.

Julie (Kathryn Newton), Sam (Gideon Adlon) and Kayla (Geraldine Viswanathan) are entering into their final months of senior year. On the day of senior prom, Julie decides she is ready to have sex with her boyfriend, and lose her virginity. In a proclamation of unity and to cement their bond of friendship, Kayla and Sam decide it is also time for them to lose their virginity. Upon discovering this #SEXPACT2018, parents Lisa (Leslie Mann), Hunter (Ike Barinholtz) and Mitchell (John Cena) decide to step in to stop their children from having sex.

Blockers Review

Director Kay Cannon’s work may be familiar to you, having written for the Pitch Perfect series and New Girl. Blockers is her directorial debut. And it is strong. Cannon is no stranger to comedy, and that shows. There are some terrific comedic beats throughout, mostly involving the plot of the parents. With five credited writers, this easily could have become a detached mess. But, Cannon navigates six different character arcs with ease. She intertwines the struggles and relationships of each parent/child duo efficiently. In the process, she is able to elevate standard genre fare, and infuse it with great heart and sincerity.

The issue with most sex comedies of this nature is that there are many played out character types and societal ideas. We’ve grown accustomed to the boy telling the girl he loves her, so he can bed her. One character usually flaunts his masculinity and talks a big game, attempting to acquire his goal. One relationship hits the rocks because the girl says no. Each of these archetypes cultivate negative ideological responses.

From the early moments of the film, once the parents discover the plot, the “theme stated” becomes the exploration of the double standard of sex.

“The “theme stated” becomes the exploration of the double standard of sex.”

Men losing their virginity is lauded as a proud, coming of age moment. Women losing their virginity is a shame. By objectifying women, they aren’t allowed to explore their sexuality. If they are to do so in any form, they are ridiculed by society.

Lisa and Mitchell are the perpetrators here. They are the ones wanting to break this pact, citing the belief that sex should be saved for a special moment. But, there’s a deeper issue for both of them—fear. Lisa and Mitchell are both scared of their children growing up. Motivated by other discoveries and fearing a lack of trust, Lisa is the most fraught. Her attempts to sabotage Julie come from a place of spite, more than prudeness.

Mitchell on the other hand has similar fears. Though, they’re not as drawn out as Lisa’s. Mitchell is the “I’ll kill you if you touch my daughter” father. He has raised a tomboy, who he is very close to. But, his major motivation is that he just wants to be a good father. He has to reconcile when to be a protector and when to let Kayla go out on her own and make her own decisions. He doesn’t want to see her hurt, and by doing so failing as a father.

Hunter, on the other hand, who is played as the doofus of the trio has the purest of motivations. He knows something about his daughter. And he knows that if she were to see the sex pact through it would betray her true self. He wants her to be true to herself. Hunter states that girls should have the same ability to explore their sexuality as men. He never reneges on this belief, either.

Cannon allows time for each of these characters to examine their own motivations and beliefs in such a way that develops these characters past traditional archetypes.

In doing so, and in framing it from the girls’ side of the story, she is able to cleverly subvert traditional male/female gender roles in the narrative. Julie is never pressured into anything she doesn’t want. Kayla is able to make a decision that she isn’t judged or criticized for. Sam gets to be herself with no condemnation. And, all of the parents understand why they were wrong and come to terms with their daughters growing up.

The humor works, there are some shockingly outrageous moments that had me on the edge of my seat, howling in laughter. Of course, there were plenty of jokes that were chuckle-worthy, while others fell flat. And, a rewatch may not have quite the same impact. But the emotional core of this film, and the subversion of standard tropes make this film standout.

John Cena continues to thrive in these comedy situations. He struggles in a few scenes to keep a straight face, but he goes in like a champ and gives 110%. Leslie Mann is wonderful, and the young Newton, Adlon and Viswanathan carry their end.

But, this is Ike Barinholtz’ film.

He steals every scene, and gets to deliver a very heartfelt performance. There is one scene in particular that gets to the core of the relationship between the parents themselves, where Barinholtz is able to get us to see him as more than the butt of the joke. It’s truly a standout performance from a wonderful comedian.

This movie literally gets balls-out wild at times. You’re going to see some male genitalia, and some other nudity. But, the film never fetishizes any of the women in this movie. And, it’s better for it. Hopefully, the days of Nadia naked on the bed are moving beyond us. Cannon proves you can do this type of comedy without the male gaze there to objectify anyone.

I’ve been sitting on this movie for a couple of days, and I keep thinking about the pure joy that drives it. I hope we continue to talk about this one in the years to come, because it is a delight.

Blockers is rated R for all the stuff you’d expect. It opens wide on April 6th, and runs for around 100 minutes.

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