SNL Review April 14, 2018: John Mulaney/Jack White

April 16, 2018

jmunney Saturday Night Live, SNL Weekly Recaps, Television , , , , , , , , , , 3 Comments

CREDIT: Will Heath/NBC

This review was originally published on News Cult in April 2018.

News Cult Entertainment Editor Jeffrey Malone watches every new episode of Saturday Night Live and then organizes the sketches into the following categories: “Love It” (potentially Best of the Season-worthy), “Keep It” (perfectly adequate), or “Leave It” (in need of a rewrite, to say the least). Then he concludes with assessments of the host and musical guest.

Love It

Hollywood Update – Mulaney finds brilliant inspiration from his very own “Family Flix” (aka “Rocket Dog”), one of the greatest sketches he ever wrote during his SNL tenure. This time around, the objectionable material for supposedly family-friendly entertainment is squarely present both in front of and behind the camera. Simply mentioning the uncomfortable sexual ramifications of a parent-child body switch premise would have been enough to make this sketch a winner, but the disturbing details just keep on coming.

Horn Removal – The second sketch of the night to take obvious and winning inspiration from a previous SNL bit hearkens back to a pre-Mulaney time, namely the Will Ferrell-starring Bad Doctor. This time around, it is the patients who are more the crazy people, although the biggest laughs come from Mulaney’s plastic surgeon calmly explaining to the horned fellow and his fetishistic girlfriend just how idiotic they are.

It always bodes well for the Monologue when you have a stand-up comedian hosting, and I furthermore appreciate that Mulaney delivered jokes I had never heard from him before. Maybe this was material that he had used on stage previously, but it was new to me…I have to give it up to Big Nick’s Greek Diner, or any comedy sketch past or present, that turns into a full-blown Les Miserables homage.

Keep It

Robert Mueller/Michael Cohen Lie Detector – Meet the Parents came out 18 years ago, which was around the time that my SNL fandom was really starting to bloom. So this Mueller investigation homage to the Fockers is like if Steven Spielberg and Drew Barrymore had cameoed in 2000 for an ET-centric parody about the Monica Lewinsky scandal. Anyway, we certainly don’t need Ben Stiller and Robert de Niro to rehash their “you can milk anything with nipples” routine in 2018, but it is a unique enough entryway into the current scandal du jour.

The Drag Brunch is what we can refer to as precision comedy, and the target is hit…Mulaney’s student leader attempts to hide a boner on National School Walkout Day, and we should all know from Big Mouth how masterful he is at humorizing awkward bodily functions…Ah, a parody of Wild Wild Country, that new Netflix documentary series about a cult that a lot of people are obsessing over but that I have not watched (yet?); this isn’t the first time a sketch has revolved around Kenan’s insatiable appetite for booty, nor is it the best, but it is still fairly amusing (and props to the audience for cheering Nasim Pedrad’s cameo without prompting)…Michael and Colin’s most memorable bits this time around involve bringing the Cleveland Browns’ futility into all this and a zinging follow-up about cream soda…I have never subjected myself to Laura Ingraham, so I have no idea how accurate Kate McKinnon’s impression is, but the list of all her disreputable new sponsors is on-point…Kenan’s Lavar Ball routine is a steady, unwavering formula, but damn if I don’t lose it when he claims that his son Lonzo is certified fresh on Rotten Tomatoes or that he has a long-lost Mexican son named “La Biblioteca.” And “You say ‘tomato,’ I say ‘this tomato costs $500’” might just be the quote of the season…The Real Intros of Reality Hills zeros in on what that genre is all about, doesn’t it?

Leave It

No terrible sketches on John Mulaney’s watch!

John Mulaney

How many former SNL writers who were not also cast members have returned to host? The only other one besides John Mulaney that I can think of is Larry David. Mulaney is certainly well-known enough among comedy nerds to justify booking him as host, but is he famous enough among the general public? The correct answer is: who cares? The episode he is in charge of runs smoothly, and it appears that he had a powerful effect on the writers’ room, what with the plethora of concept-driven sketches. Also, Darrell Hammond twice refers to him (on purpose?) as John “Mulvaney.”

Jack White

On a scale of “absolutely essential” to “playing the hits,” this is hardly a landmark performance from Jack White, but of course his chops are as strong as ever. Are “Over and Over and Over” and “Connected by Love” future classics in his oeuvre? I’m not banking on that legacy, as they do not sound terribly different from his typical garage rock numbers, but maybe after a few more listens, I’ll notice some peculiarities.

Letter Grades

Mueller/Cohen Lie Detector – B-

John Mulaney’s Monologue – B+

Drag Brunch – B

National School Walkout Day – B-

Wild Wild Country – B

Big Nick’s Greek Diner – B+

Jack White performs “Over and Over and Over” – B+

Weekend Update
The Jokes – B-
Laura Ingraham – B-
LaVar Ball – B

Hollywood Update (BEST OF THE NIGHT) – A-

Horn Removal – B+

Jack White performs “Connected by Love” – B+

The Real Intros of Reality Hills – B

This Is a Movie Review: ‘Rampage’ is Big, Big, Big, Very Big

April 13, 2018

jmunney Cinema, Movie Reviews , , , , , , , Leave a comment

CREDIT: Warner Bros.

This review was originally posted on News Cult in April 2018.

Starring: Dwayne Johnson, Naomie Harris, Jeffrey Dean Morgan, Malin Åkerman, Jake Lacy, Joe Manganiello

Director: Brad Peyton

Running Time: 107 Minutes

Rating: PG-13 for Pummeling and Devouring by Mutated Animals, Frighteningly Evocative Urban Destruction, and Crude Gorilla Hand Gestures

Release Date: April 13, 2018

If you subscribe to the belief that bigger is better in cinema, then you ought to head straight to Rampage. Its entire premise is: what if three already fairly large animals became gigantic? The main focus is on our good buddy George, an albino silverback gorilla who knows sign language. He hooks up with a grey wolf that “weirdos on the Internet” have dubbed “Ralph,” as well as a crocodile who goes by Lizzie. The three of them have been mutated by a mysterious gas that fell from the sky. In addition to blowing them up, it has given them abilities typical of other species. It is a bit like the hybridization in Annihilation, but much less nightmarish and internally disruptive.

There is a lot of time devoted to explaining that the mutations are the result of developments in CRISPR genetic editing technology. Some cursory research on my part reveals that early research into CRISPR was happening in the mid-’80s, coincidentally around the same time that the first entry in the Rampage video game series (on which the film is based) was released. It can sometimes be helpful to ground a creature feature with real science, but in this case it is beside the point. We’re just here to see George, Ralph, and Lizzie let loose, and what is appreciated is that there are only three of them, because if the mutations had gotten even more out of hand, this could have all just been a cacophonous mess.

Tasked with wrangling these huge creatures are some actors both literally and metaphorically big. Who else could be the human star of Rampage besides Dwayne “The Rock” Johnson, who is reliably big when it comes to muscles, charisma, and box office results? Lending him a hand is a government agent played by Jeffrey Dean Morgan, who, though a tall man himself, is certainly not quite as large as Johnson. But as the “asshole looking out for other assholes,” he knows just how big and vibrant a supporting performance in this type of film needs to be. And rounding out the cast’s bigness are Malin Åkerman and Jake Lacy as a sniveling brother-sister villainous duo. Their experience in comedy has trained them well for just how to calibrate their broadness. Lacy especially, constantly with a sandwich or Pop-Tart in hand, is bound to get you chuckling with his pouty face.

The climax, in which the mutant trio tears apart Chicago, is filled with stunningly big and bold decisions. The onscreen deaths are somewhat alarmingly violent, though not unexpectedly so. But when we get to a skyscraper collapse that evokes the Twin Towers falling on 9/11, the film scrambles through about 100 different tones. These outsize decisions are consistent with Rampage’s entire approach, but they are liable to leave you unable to process quite what is happening. Bigger is not always better. Sometimes you need to take a step back and ask yourself if a certain choice is really a good decision, but Rampage never lets its foot off the gas.

Rampage is Recommended If You Like: Godzilla, King Kong, Godzilla vs. King Kong, Honey, I Blew Up the Kid

Grade: 2.5 out of 5 Gorilla Middle Fingers

This Is a Movie Review: A Classic Game Turns Deadly in the Sloppy But Intermittently Effective ‘Truth or Dare’

April 11, 2018

jmunney Cinema, Movie Reviews , , , , , , , , , , , , Leave a comment

CREDIT: Peter Iovino/Universal Pictures

This review was originally posted on News Cult in April 2018.

Starring: Lucy Hale, Tyler Posey, Violett Beane, Hayden Szeto, Landon Liboiron, Nolan Gerard Funk, Sophia Ali, Sam Lerner, Aurora Perrineau

Director: Jeff Wadlow

Running Time: 100 Minutes

Rating: PG-13 for Douchey College Behavior, Serious Alcoholism, Disturbing Secrets, Freaky Images, Sudden Broken Bones and Gunfire, and One Quick Sex Scene

Release Date: April 13, 2018

It takes a while for Blumhouse’s Truth or Dare to really get going. At first it’s just about a group of college friends hanging out in Mexico on spring break, which is fair enough because these movies are often about attractive young people whose lives get upended by some ancient curse. But you would think there would be a little more foreboding about the dangers to come. Instead, we get the most banal opening credits sequence in a good long while, which is effectively just a social media vacation slideshow that is livened up in no way at all with genre signifiers. At least the first third gives us Ronnie (The Goldbergs’ Sam Lerner), the ultimate parody of a fratty interloper, who delivers beautiful poetry like, “I can’t say no to shots. Everyone knows that.”

Thankfully director Jeff Wadlow and his fellow screenwriters figure out how to make their premise truly unsettling about halfway through. The stakes of the titular game, cursed by a demonic presence, are literally life-or-death: tell the truth, or you die; complete your dare, or you die. Trouble is, the challenges can be just as lethal as the consequences. When these kids are not told to literally kill someone, they are asked to reveal secrets that might drive their friends to kill themselves. There are Final Destination-style dynamics of victims being picked off one by one here, but the methods used to terrorize them are uniquely effective. This is the horror of confronting painful secrets that can lead to irreparable rifts between loved ones. On top of that, there is the creepy signature visual effect involving faces contorted into uncanny valley-style bulging eyes and unnaturally stretched-lips smiles.

While it is appreciably unsettling, Truth or Dare could have taken more care to grapple with its morality. It confronts the eternal dilemma of choosing between saving a small group of loved ones and a larger group of strangers, as well as the conflict between self-interest versus protecting others who may not be deserving of such care. Olivia (Lucy Hale) is both the narrative and moral center. She gives money to the homeless and professes that she would save the larger group, while dealing with her own feelings for the boyfriend of her best friend, who is constantly cheating on him. This all leads to an ending that is undeniably devastating that but might just betray the message that Olivia has attempted to demonstrate throughout. It is fine when a horror flick ends on a sour note, but it is not exactly playing fair when it is such a stark departure from what has come before.

Truth or Dare is Recommended If You Like: It Follows But Wish It Were More Like Traditional Friday Night Multiplex Horror (For Good and For Ill), The Ring, Final Destination

Grade: 3 out of 5 Creepy Smiles

Billboard Hot Rock Songs – Week of April 14, 2018

April 11, 2018

jmunney Billboard Charts, Billboard Hot Rock Songs, Music , , , Leave a comment

Each week, I check out the Billboard Hot Rock Songs chart, and then I rearrange the top 25 based on my estimation of their quality. I used to rank all 25, now I just rank the cream of the crop.

Original Version
1. Imagine Dragons – “Whatever It Takes”
2. Imagine Dragons – “Thunder”
3. Imagine Dragons – “Believer”
4. Portugal. The Man – “Feel It Still”
5. Bad Wolves – “Zombie”
6. Foster the People – “Sit Next to Me”
7. Alice Merton – “No Roots”
8. Panic! at the Disco – “Say Amen (Saturday Night)”
9. Walk the Moon – “One Foot”
10. Five Finger Death Punch – “Gone Away”
11. lovelytheband – “Broken”
12. Portugal. The Man – “Live in the Moment”
13. Fleetwood Mac – “Dreams”
14. Muse – “Thought Contagion”
15. Panic! at the Disco – “(Fuck a) Silver Lining”
16. James Bay – “Wild Love”
17. Godsmack – “Bulletproof”
18. Three Days Grace – “The Mountain”
19. Nathaniel Rateliff & the Night Sweats – “You Worry Me”
20. Shinedown – “Devil”
21. Vance Joy – “Saturday Sun”
22. Breaking Benjamin – “Red Cold River”
23. Two Feet – “I Feel Like I’m Drowning”
24. Imagine Dragons – “Next to Me”
25. Dethklok – “Awaken”

Jmunney’s Revision
1. No Roots
2. Feel It Still
3. You Worry Me
4. I Feel Like I’m Drowning
5. Wild Love
6. Live in the Moment
7. Dreams
8. Thought Contagion

Billboard Hot 20 – Week of April 14, 2018

April 11, 2018

jmunney Billboard Charts, Billboard Hot 100, Music , , , , Leave a comment

Each week, I check out the Billboard Hot 100, and then I rearrange the top 20 based on my estimation of their quality. I used to rank all 20, now I just rank the cream of the crop.

Original Version
1. Drake – “God’s Plan”
2. Bebe Rexha and Florida Georgia Line – “Meant to Be”
3. Post Malone ft. Ty Dolla $ign – “Psycho”
4. The Weeknd – “Call Out My Name”
5. Blocboy JB ft. Drake – “Look Alive”
6. Zedd, Maren Morris, and Grey – “The Middle”
7. Ed Sheeran – “Perfect”
8. Bruno Mars and Cardi B – “Finesse”
9. Lil Dicky ft. Chris Brown – “Freaky Friday”
10. Migos ft. Drake – “Walk It Talk It”
11. Camila Cabello ft. Young Thug – “Havana”
12. Bazzi – “Mine”
13. Rich the Kid – “Plug Walk”
14. Camila Cabello – “Never Be the Same”
15. The Weeknd and Kendrick Lamar – “Pray for Me”
16. Cardi B – “Be Careful”
17. Migos – “Stir Fry”
18. XXXTentacion – “Sad!”
19. Kendrick Lamar and SZA – “All the Stars”
20. Offset and Metro Boomin – “Ric Flair Drip”

Jmunney’s Revision
1. Pray for Me
2. All the Stars
3. Havana
4. Never Be the Same
5. Call Out My Name

This Is a Movie Review: ‘Borg vs McEnroe’ Serves Up an Electrifyingly Tense Two-Biopics-in-One

April 11, 2018

jmunney Cinema, Movie Reviews , , , , , , , Leave a comment

CREDIT: Julie Vrabelova/Neon

This review was originally posted on News Cult in April 2018.

Starring: Sverrir Gudnason, Shia LaBeouf, Stella Skarsgård, Tuva Novotny

Director: Janus Metz Pederson

Running Time: 107 Minutes

Rating: R for the F-Bombs of Athletic Frustration and Incidental Nudity

Release Date: April 13, 2018

A study in contrasts often makes for both thrilling athletics and fascinating cinema. Thus it makes sense that we now have a film chronicling the 1980 Wimbledon men’s final between the Swedish Björn Borg and the American John McEnroe, considered by many to be one of the greatest, if not the greatest, tennis matches of all time. It is surprising, perhaps, that it has taken decades for Borg vs McEnroe to happen, though that is perhaps attributable to tennis not being as marquee as other sports. But it is also good that we have had to wait, as it has given us time to digest the moment. The end result is appropriately internationally flavored, with a Danish director, production support from multiple countries, and only about two cast members well-known in America.

As a major tennis fan, I can’t help but think about how dramatically different Borg vs McEnroe would have gone if today’s officiating technology were available. The Hawk-Eye system used at many tournaments is an exceptionally efficient method for confirming whether or not balls have landed in or out of bounds. Had it been around 40 years ago, it could have prevented McEnroe from developing his hothead reputation, much of which came from his disputes with the umpires about supposedly blown calls. He could have been vindicated, though perhaps he would have found something else to complain about. But because it all went down as it did, B v M sets up its titular rivalry in terms that could be an alternate title: “Ice-Borg vs. Superbrat.”

Instead of a traditional dramatization of a rivalry, Borg vs McEnore is really more a concurrent double biopic. The buildup over the course of the tournament to the championship match is interspersed with flashbacks that paint both competitors as outsiders fighting their way into a game that has historically been elitist and dismissive of outsiders. Borg (who displays a temper on par with McEnroe’s in his teenage years) is treated with insults by the sport’s upper crust; though he is embraced by fans after winning the four prior Wimbledons in a row, he still maintains a resolve of doing things his own way. McEnroe is the upstart attempting to break through, showing little concern for decorum at the tournament where it is valued more than anywhere else, and he is met with the boos to match his impishness. As Borg, Sverrir Gudnason is not asked to do much besides remain still and calm outside of the tennis scenes, but there is a world of action taking place within his eyes. Shia LaBeouf does not try to mimic McEnroe’s voice, but he does deploy his similar propensity for asshole outbursts.

B v M’s filmmaking techniques are unique among most sports biopics, and are practically avant-garde when compared to typical live televised athletics. Rarely does the camera focus merely on the ball landing on the court, one of the most essential aspects of the game, instead criss-crossing between the reactions of the two players as well as key figures in the stands. The editing is often frenetic, suggesting the whirlwind of emotions and pressure Borg and McEnroe are digesting throughout. The journey ends on a note of profound respect, their twinned stories appropriately subsumed within each other, leading into the expected epilogue that hits harder and deeper than most.

Borg vs McEnroe is Recommended If You Like: The filmmaking of Triumph of the Will, Rivalry Friendships

Grade: 3.5 out of 5 Epic Tiebreaks

This Is a Movie Review: ‘The Rider’ Presents a Cowboy Who Cannot Imagine Life Outside the Rodeo

April 9, 2018

jmunney Cinema, Movie Reviews , , , , , , 1 Comment

CREDIT: Sony Pictures Classics

This review was originally published on News Cult in April 2018.

Starring: Brady Jandreau, Tim Jandreau, Lilly Jandreau, Cat Clifford, Lane Scott

Director: Chloé Zhao

Running Time: 105 Minutes

Rating: R for Mumbled Cowboy Profanity

Release Date: April 13, 2018 (Limited)

I’m not too familiar with the South Dakota rodeo scene, and I’m guessing that before she wrote and directed The Rider, Chloé Zhao wasn’t too familiar with it either. I make that assumption based on the fact that she grew up in China, a country that, as far as I know, is not noted for its rodeo culture. But if I had no idea about her background, I would have guessed that she in fact had grown up in the scene that her film portrays. The production notes recount how she immersed herself in the world of a group of Lakota cowboys, and that is clear from the results on screen. This is intimate, realist cinema, gently revealing profundity within a boy, his horses, and the land.

As Brady Blackburn, Lakota cowboy Brady Jandreau essentially plays himself: a rising rodeo star whose career is cut short, possibly permanently, by a fall that leaves him with a nasty head injury. (The entire cast basically themselves, in fact.) This makes his story more reflective than he ever intended his life to be, as he reckons with the consequences of not defining himself beyond anything other than a rodeo rider. If he is fundamentally a rider, but he cannot ride, then how can he even be? Many of the film’s shots are Jandreau looking off into the distance, as he delivers a perfectly fine example of face acting.

Where I think The Rider ultimately sets itself apart is its treatment of economic reality. Because Brady must give up the rodeo, he is forced to take a job as a grocery store stock boy. But this is not, as one might expect, cause for humiliation or depression. Ultimately the message of the film, at least as Brady is concerned, is: don’t give up. Any setback is an opportunity for him to keep his head up. Foolhardy though he may be, every decision he makes is so that he can get closer to getting back on the horse. When horses suffer an injury as debilitating as Brady’s, they are put to death out of mercy. Brady’s single-mindedness almost makes you wonder if that should also be an option for humans. But it is also inspiring to behold someone so sure about himself. Mostly, it is heartening to see someone’s story treated with such thorough, deep respect.

The Rider is Recommended If You Like: Realist cinema

Grade: 3.5 out of 5 Ten Gallon Hats

SNL Review April 7, 2018: Chadwick Boseman/Cardi B

April 9, 2018

jmunney Saturday Night Live, SNL Weekly Recaps, Television , , , , , , Leave a comment

CREDIT: Will Heath/NBC

My letter grades for each sketch and segment is below. My in-depth review is on NewsCult: http://newscult.com/snl-love-itkeep-itleave-chadwick-bosemancardi-b/

Outnumbered – C+

Chadwick Boseman’s Monologue – B-

Nike Pro-Chiller Leggings – C

Black Jeopardy – B+

Fertility Frontier Project – B

Aidy B – B-

Cardi B performs “Bodak Yellow”/”Bartier Cardi” – B

Weekend Update
The Jokes – B-
Mark Zuckerberg – C
Angel, Every Boxer’s Girlfriend From Every Boxing Movie Ever – B

Magic Mirror – B

Warehouse Fire – B

Cardi B performs “Be Careful” – B-

Restaurant Complaint – B-

The Game of Life: DACA Edition – B

Black Panther Screening – C

This Is a Movie Review: The Death of Stalin

April 6, 2018

jmunney Cinema, Movie Reviews , , , , , , , , , , , Leave a comment

CREDIT: IFC Films

When it comes right down to it, people are just people. This is the thought I have when watching the scene in The Death of Stalin in which a group of officials bumblingly drop the body of the dying Soviet Premier onto a bed. No matter how despotic things get, we are still beholden to our embarrassing physical realities. Alas, when the film starts to regularly show people shot in the head without a second thought, it is hard to remain Zen about the situation.

I saw Death of Stalin at the Alamo Drafthouse, and the pre-show programming included parts of the Monty Python’s Flying Circus episode “The Cycling Tour,” which features Michael Palin bungling his way into being the target of a Russian firing squad, who famously misfire at him from only a few feet away. As I prefer my gallows humor with plenty of goofiness, “The Cycling Tour” is definitely more comfort food for me than The Death of Stalin. That is not to say the latter is unsuccessful. I see what Armando Iannucci is doing, I acknowledge that he has met his goals, I laugh where I can, and then I move on, newly grateful that I live in a society that is not quite so dangerous as 1950s USSR.

I give The Death of Stalin 4 Impossible Promises out of 5 Buggings.

This Is a Movie Review: Three Teenage Girls Make a Sex Pact, But It is the Parents of ‘Blockers’ Who Are Behaving Badly

April 5, 2018

jmunney Cinema, Movie Reviews , , , , , , , 2 Comments

CREDIT: Quantrell D. Colbert/Universal Pictures

This review was originally posted on News Cult in April 2018.

Starring: Leslie Mann, John Cena, Ike Barinholtz, Kathryn Newton, Geraldine Viswanathan, Gideon Adlon

Director: Kay Cannon

Running Time: 102 Minutes

Rating: R for Girls Talking About Sex Without Any Shame, Butt Chugging and the Like, and a Concerning Amount of Drug Use

Release Date: April 6, 2018

What to do with a movie that has a really great message but that plays fast-and-loose with any sense of realism? You take the good, you take the bad – the facts of life! I didn’t go into this meaning to name-check a classic ’80s TV theme song, but as it popped into my head, it just felt remarkably right. At its core, and at its best, Blockers emphasizes the fact that teenage girls have sexual desires and treats that truth as matter-of-factly as it deserves to be treated. This isn’t some “girls can be gross, too!” twist on a “boys will be boys” classic. The sex here approached with maturity and it is often romantic. Any grossness in Blockers is due to insecurity or lapses in plausibility.

Have sex pacts ever occurred in real life? If so, I hope they are as supportive and sweetly motivated as the one in Blockers. On the occasion of her senior prom, Julie (Kathryn Newton) announces to her lifelong friends Kayla (Geraldine Viswanathan) and Sam (Gideon Adlon) her intention to lose her virginity tonight to her boyfriend. Sensing an opportunity for a shared anniversary, Kayla and Sam declare that they are in as well. They may not be in as serious a relationship as Julie is, but they’ve got guys who they like well enough and who have the necessary equipment. But when Julie’s mom Lisa (Leslie Mann), Kayla’s dad Mitch (John Cena), and Sam’s dad Hunter (Ike Barinholtz) catch wind of the pact, they are not going to stand idly by as their girls become women.

It is distressing that these parents have such regressively protective attitudes, though it is encouraging that they are presented as the ones so clearly in the wrong. And what’s more, their motivations are more complicated than not trusting their daughters. Lisa is a single mom who has raised Julie alone her whole life. She is struggling through deep-seated separation anxiety, worrying that Julie getting closer to her boyfriend means she will attend college thousands of miles away, which means that she could disappear forever. Director Kay Cannon and her team of screenwriters handle this unflinchingly, and I wish they would have devoted even more time to it. Hunter, meanwhile, knows that Sam is gay and is worried that her friends are forcing her to do something she doesn’t really want to do. Originally introduced as a deadbeat screw-up, he ends up coming off as the most open-minded of the trio, though the film does lose focus a bit on that tack for the sake of gags. Mitch is really the only one who comes as the stereotypically overprotective parent, and though Cena does imbue him with a fair amount of sweetness, he feels out of place in what the film is ultimately saying.

Blockers’ message that teenage girls should be allowed to make their own sexual decisions, especially if they are with boys (or otherwise) who they like and respect, is indisputably valuable. While it may be underlined a little too obviously, perhaps it is a message that needs to be repeated. It is also heartening to see a group of supportive teenage female friends on screen. Julie, Kayla, and Sam have their stark differences, but their loyalty runs deep. That well of positivity offsets a bit the parents’ surplus of bad behavior, which stretches the bounds of credulity a bit too much. Seriously, Blockers, you’re plenty funny without having to resort to butt chugging beer. That is to say, this is a movie that is much more sure-footed when it comes to romance (somehow making licorice the perfect food for declaring love) than when it swerves into the territory of illegal behavior.

Blockers is Recommended If You Like: Superbad and other Judd Apatow productions, particularly if they feature insecure parents, The Sisterhood of the Traveling Pants, Clueless

Grade: 3.5 out of 5 Sex Pacts

Older Entries Newer Entries