Review of Blockers (2018) by Pipec — 17 Jun 2018

"Blockers" is cathartically hilarious and singular; an unmissable parental odyssey through the world of the new century.

Screenwriters Brian Kehoe and Jim Kehoe sign one of the most lucidly witty and superbly developed comedy scripts coming"Blockers" is cathartically hilarious and singular; an unmissable parental odyssey through the world of the new century.

Screenwriters Brian Kehoe and Jim Kehoe sign one of the most lucidly witty and superbly developed comedy scripts coming from a major studio so far this year. It's not a lie that the core theme, but not the be-all-end-all, is potentially suggestive, in every sense of the word, however, the true surprise is the approach used to narrate this barrel of laughs. One of the greatest strengths that makes it win the viewer empathy is that this R-rated comedy is easily identifiable, either in the role of parent or son, such identifiability facilitates the connection between side and side to unfold the story with full confidence and fluency; whatever's about to happen, the audience is already in a state of affable predisposition. In that great basis, it gets another important support: its ability to exceed the low expectations that many put in this kind of audiovisual products. I'm not going to lie, I was genuinely shocked to hear about the reception of this flick at the latest SXSW Film Festival, an act that, therefore, multiplied my interest in seeing what this anomalous teen comedy was made of. And the annihilation of those expectations lies in a well-aimed script, again, not by its resolute pathos, but by the tools with which it's worth to relate a story about sex, one which goes beyond its own limits to focus on the fibers of motherhood and modern paternity, acceptance, maturity, understanding, overprotection, sexuality, tolerance, forgiveness and friendship. Sex is the undeniable, disguised McGuffin that helps to develop the plot and all the situations composing this amusing idea. They use inevitably present-age matters as incentives, and that is precisely what makes it so special and endearing, that you, your friend or neighbor can star this adventure: there are divorced parents, single mothers, homosexual characters, sex games, young "chefs" and repressed girls; there's diversity and the plot richness is there. John Cena had already left small hints about his acting aptitude with short roles, however, it's possible to observe closely the comical beast this man of enviable proportions keeps secret with one of his few leading roles. Alongside him, an empowered charming Leslie Mann returns better than ever, an actress who didn't make a good decision selecting a role like her golden years in "The Other Woman" or "Little Birds" in a long, long time. It's good to see her again starring a high-quality flick, managing a delicious balance between naturalness and exaggeration by means of Lisa, an excellently plotted character that, by surprise, isn't portrayed as the typical spinster mother who dies in a bathtub with her thousands of cats eating her hair — even if she literally says so. — Mann easily fits in the trio of "cock-blocking" parents, endowing a special charm both the group and her character through a display of sincerity and strength; a great satisfaction to know one of the queens has returned reloaded. To date, Ike Barinholtz has been present in several major-studio comedies recently. Thanks to his long journey alternating in the series "The Mindy Project" and that movie catalog, the actor has found his own mark and has known how to use it in the right way. This time he plays Hunter, a divorced father who everyone knows for cheating on his wife with a nanny and for being a lousy paternal figure. At first, his character becomes a sort of retainer to the story, but some minutes later, transmutes into a delightful catalyst to the fierce spark to emerge and work without obstruction. As for the young cast, an impetuous Kathryn Newton, a surprising Geraldine Viswanathan and a depressingly interesting Gideon Adlon lead and manipulate this #sexpact2018, the three women permeate her character with energy and veracity, they're properly related to reality.

Steadily facetious, with a light and clever narrative and charismatic and striking performances; "Blockers" by Kay Cannon disperses its weaknesses thanks to a limited, magnificent cast and a wisecracking script, using them to make an undeniably contemporary film, not necessarily by the presence of smartphones, social media, and emojis, but by the organic and trustworthy treatment applied on the story, displaying congruent and coherent attitudes to a 21st century in which, surprisingly, morality and amorality remain standing in front of feelings. Few aspects can be refuted about Universal Pictures' comedy that constantly activates the corner of your mouth and your most perverse sense of humor; an offering that stands out among the rest by its honesty and correct adaptation on the millennial generation through an open-minded prism. A breakthrough for the politically incorrect major-studio comedy, an example from which they must learn, understand and respect, not emulate and spoil.