Bottoms (2023)
Director: Emma Seligman
Screenwriters: Emma Seligman, Rachel Sennott
Starring: Rachel Sennott, Ayo Edebiri, Ruby Cruz, Havana Rose Liu, Kaia Gerber, Nicholas Galitzine, Miles Fowler, Marshawn Lynch
If Not Another Teen Movie and Heathers had merged into a single, fierce comedy, the result would likely resemble Bottoms, Emma Seligman’s audacious 2023 teen sex comedy. Co-written by Rachel Sennott — who reunites with Seligman after the director’s breakout feature Shiva Baby — the film centers on two misfit high schoolers, Josie and PJ, played by Ayo Edebiri and Rachel Sennott. Branded “ugly, gay and untalented,” they’re pushed to the margins of their school’s social hierarchy. Their romantic fixation on popular cheerleaders Isabel (Havana Rose Liu) and Brittney (Kaia Gerber) sets the story in motion.
The plot kicks off when a rumor circulates that Josie assaulted Isabel’s quarterback boyfriend, Jeff (Nicholas Galitzine). PJ seizes the gossip as an opportunity to reinvent their image by founding a self-defense “fight club,” convinced that toughness will finally draw the girls’ attention. PJ’s blunt explanation — “That’s basically the point of feminism” — frames the film’s irreverent approach to gender politics and social ambition.
Bottoms thrives on deliberate absurdity. Seligman stages her story in a heightened, almost surreal high school universe where conventional rules do not apply: pep rallies erupt into chaotic brawls, swords appear unexpectedly, and faculty influence is minimal save for quirky figures like Mr. G (Marshawn Lynch), whose classroom chalkboard presents a mock-question about feminism. The movie plays with visual non sequiturs — a caged football player in the background of a classroom scene goes entirely unexplained and unremarked upon — reinforcing the film’s dreamlike logic. Period details are purposely ambiguous; technology appears and disappears in odd ways so the film resists being pinned to a specific year.
This stylized reality is a strength. By avoiding fleeting social media references, Bottoms sidesteps instant obsolescence and operates on its own comedic rules. Costume designer Eunice Jera Lee mixes Y2K and early-2000s aesthetics with current trends, creating a wardrobe that feels both nostalgic and contemporary. Although frequently described as a Gen Z comedy, Bottoms aligns more closely with the raunchy, over-the-top energy of films like Bring It On and classic teen sex comedies, updated with queer perspectives and sharper satire.
Underneath its broad humor, Bottoms handles serious subject matter with surprising candor. Scenes in which the female members of the fight club casually discuss sexual assault are rendered with a chillingly mundane tone, reflecting how normalized such conversations can become. The film also confronts the real-world stakes of small-town high school football culture, mounting to a violent, cathartic finale underscored by a synth-driven score from Charli XCX and Leo Birenberg. The soundtrack leans on 80s-style synths and well-chosen needle drops — including an energetic use of Avril Lavigne’s “Complicated” — that amplify both humor and emotional beat.
Performance-wise, Bottoms is buoyed by a charismatic cast. Rachel Sennott and Ayo Edebiri share an effortless chemistry; their established off-screen friendship translates into lively, quick-witted interplay on screen. Edebiri, coming off high-profile work in series such as The Bear, and Sennott both show comedic range and emotional depth. Supporting players like Ruby Cruz, Nicholas Galitzine, and Marshawn Lynch add solid color, but Havana Rose Liu stands out as a scene-stealer, balancing sharp comedic timing with vulnerability.
Ultimately, Bottoms is an uproarious, bold film that feels instantly familiar while staking out its own territory. It pays homage to the teen-sex-comedy lineage — drawing comparisons to American Pie, Superbad, and more recent entries like Blockers — yet it distinguishes itself with unabashed queerness, inventive set pieces, and a willingness to blend grotesque physical comedy with genuine emotional stakes. The movie’s satirical edge and vigorous performances make it a memorable, laugh-out-loud ride and a noteworthy entry in contemporary teen comedy.
Score: 23/24