BLOCKERS – Review

As Spring break finally starts to wind down, the multiplex offers an R-rated for raunchy oasis amidst the battling ‘bots and silent scary stories. It ‘s been six weeks since the wild antics of GAME NIGHT and four weeks for that bucks and bullets romp GRINGO. This week’s flick is unique since it concerns both adults and their kids, a twist on the NEIGHBORS movies which had a young married couple squaring off against some rowdy college students. Now, these parents are a bit older than Seth and Rose (who had toddlers), since they have kids about to graduate high school. Oh, and their kids are actually young women, maturing way too fast for their folks. That’s one of the reasons these three parents decide to become BLOCKERS.

Through a cell phone’s camera we first meet sweet little Julie as she looks sadly into the lens. It’s her first day of school (likely first grade, so first full day, and maybe a new school). Single mom Lisa (Leslie Mann) does her best to put her angel at ease (while stifling a sob, no doubt). Then Lisa’s frown turns upside down as another girl, Kayla, introduces herself, seconds before Samantha (Sam) joins them. A bond is formed at the school’s entrance way. While on the other side of the cell phone another friendship begins between Kayla’s papa Mitchell (John Cena) and Sam’s dad Hunter (Ike Barinholtz). Cue the Broadway standard “Turn Around” as a dozen or so years pass, and the bond between the little girls is even stronger as they blossom into young women. It’s a special day, because that night is the big prom. At school, later that morning, Julie (Kathryn Newton) announces to her pals that she will “give herself” to her longtime boyfriend Austin (Graham Phillips) that night, after the dance. Kayla (Geraldine Viswanathan) excitedly suggests that she will lose her virginity that night also, allowing them to share a secret special anniversary. The quiet, shy Sam (Gideon Adlon) is hesitant as she, unbeknownst to her BFFs, is questioning her ..um..”orientation”. But, deciding she should experience “everything”, Sam agrees to be part of the big “Sexpact 2018”. After school, Lisa throws a pre-prom get together in her backyard for the kids and their parents. Mitchell takes an instant disliking to Kaylo’s date Connor (Miles Robbins), her science lab partner. Suddenly a stretch limo pulls up and the long absent Hunter, who was divorced by Sam’s mom years ago, emerges proclaiming that the “ride” is his treat. As the couples head out for their big night, Mitchell and Hunter stick around to help Lisa clean up. They’re distracted by the near-constant beeping coming from Julie’s room. Turns out she left her laptop on, and it’s synced up with her phone so that every text pops up on the screen. The trio are perplexed by the stream of symbols and emojis, but Hunter finally decodes them and figures out the after-dance plans. Then Lisa proposes another pact: stop the girls from going “all the way”. Mitchell quickly agrees, as does an initially reticent Hunter. Thus begins their long night’s odyssey, as they attempt to track down their girls and “block” those boys.

Hey Rock, watch your back (and read your scripts carefully) because another “brother from the ring’ is making a name for himself in the movies. After several great supporting roles in comedies (SISTERS, TRAINWRECK, and the DADDY”S HOME flicks), Cena gets to shine center stage (along with Leslie and Ike) with a very energetic and appealing performance as perhaps the most protective screen pop since Neeson’s TAKEN role. Mitchell may have a body chiseled from stone, but there’s a soft gooey center inside when it comes to his love for Kayla. He will (and does) suffer any amount of embarrassment and humiliation in her name. Not only is Cena a terrific physical comedian (and impressive physical presence), but he’s got great comic timing, hitting the punch lines with expert precision. He ably holds his own screen time along with his two comedy vets at his side. We know that Mann can deliver the funny from her work on four films made by her husband Judd Apatow. This is her strongest work since their last collaboration (and a serious career stumble with two dismal 2016 efforts, HOW TO BE SINGLE and THE COMEDIAN). There’s a real complexity and vulnerability to her performance as the helicopter mom, Lisa. As she pursues her daughter, she begins to reflect back on her own life and choices, especially in a telephone call between the two that proves brutally honest and heartbreaking. This gives her final scenes an emotional wallop, which Mann delivers on to make Lisa’s story arc very compelling. That arc is nearly as strong as that of Barinholtz’s Hunter who begins as the hard-parting goof we’ve seen him do in the NEIGHBORS flicks and as the wild male nurse in TV’s “The Mindy Project” (he was a writing and producer in the show also). He’s got a manic motormouth that switches on to high without thinking things through. Although he’s the first to realize the pact plans, Hunter has the most mature response, although he’s soon at the forefront of the nutty schemes. But Barinholtz opens up the Hunter character, who rebels at being labeled the “bad dad” of the block and rails at his “banishment” by those he thought were his friends. And, most touchingly, he begins to repair his relationship with his daughter Sam, admitting his mistakes and devastating regrets. We know that Barinholtz can tickle the funny bones, but here he also pulls at the heart-strings.

The other trio is more than worthy of praise (we’ll be hearing from them in lots of future projects). Newton handles the more difficult role with great skill. Her relationship with mom Lisa is the film’s most complex and dramatic. Luckily Newton can balance the laughs and tears while making her romance with Phillips as Austin very warm and real. Adlon (daughter of Pamela Adlon, mastermind behind TV’s “Better Things’, so the apple doesn’t fall far…) also brings warmth with awkward laughs as Sam, whose character faces a huge life decision that threatens to upend her friendships. It’s another great character arc, one that plays out beautifully, and deftly handled with true grit by Adlon. And then there’s the film’s comedic force of nature, the wild whirlwind that is Viswanathan as the crude, rude, full of attitude Kayla. In the tradition of Melissa McCarthy in BRIDESMAIDS through to Jillian Bell in ROUGH NIGHT, she’s got a go for broke, unfiltered energy that bursts off the screen. She’s a superb scene-stealer (and with this cast, that’s saying something). That energy works well as a counter-balance to the always-chill Robbins as “herbal chef” Connor. When he’s not rattling off the ingredients of his crafted mood-enhancers (like a server relaying today’s specials at a fancy eatery), he’s smirking beneath his “man bun” ( a look that acts as a red flag to the “man-bull” Mitchell). And let’s praise Sam’s date, Jimmy Bellinger, as theatre geek Chad, a guy trying way too hard to be hip (that fedora). Getting back to the adults, there short but solid work from June Diane Raphael as Sam’s still bitter mom and Hannibal Buress as her new hubby, the good-natured but off-putting Frank. Plus Colton Dunn as the world’s most accommodating limo driver scores big laughs , as do Gary Cole and Gina Gershon as Austin’s very adventurous parents. And though she doesn’t get to deliver many of the movie’s jokes, Sarayu Blue as Mitchell’s no-nonsense hard-working wife Marcie is a most welcome voice of sanity amidst the chaos.

This marks the feature directing debut of Kay Cannon, another of this film’s delightful surprises. Aside from guiding the terrific cast, Cannon has a confident comedic hand, knowing just when to trim a scene or cut for ultimate hilarity (this flick has the most excruciating genital close-up since THERE’S SOMETHING ABOUT MARY) to generate multiple laughs (sure I’ve missed a few jokes due to the big audience reactions). Much of those laughs must be credited to the intelligent script by Brian and Jim Kehoe who have created some of the most engaging high school women since LADY BIRD. What’s most interesting is the way the story shifts. After the first hour or so most comedies hit a lull, a dull stretch until the usual slapstick finale. Here, when the laughs begin to taper off a tad, the tone gets more dramatic and is just as compelling as the goofy hijinks It put me in mind of the terrific SUPERBAD (can’t be 11 years old already), and wouldn’t you know, Seth Rogan and Evan Goldberg are two of this flick’s producers. Though this film seems to be just right for these changing times. The marketing folks are selling this as a raucus raunchy farce, but it really has lots to say about sexual mores and manners. And it really tackles some old antiquated double-standard about active young men and women (these three ladies have no need of rescuers). Despite crude symbolism in the poster art, and the chugging contest in the trailers (pretty funny payoff, though), BLOCKERS is a smart and savvy comedy.

4 Out of 5