The raunchy coming of age film has become a staple cult-classic of each generation; ’70s kids have “Animal House,” ’80s kids have “Fast Times at Ridgemont High,” ’90s kids have “American Pie,” leaving the 2000s kids zeitgeist film to be determined.   

New release “Blockers” makes a bid for this position, with a unique twist on the all too familiar trope: having the protagonists be women, instead of the usual sausage-fest present in films of this kind. While this already lends a new perspective on the over-tired genre, the edition of parents to the cast of characters, in roles as important if not more important than their daughters, is another interesting, differential choice on the part of the filmmakers.  

“Blockers” focuses around 3 girls and their respective parents – Julie and her mom Lisa, Kayla and her dad Mitchell and Sam and her estranged father Hunter. The three girls, best friends since childhood, make a pact to lose their virginities on prom night. While Julie is set on consummating her relationship with her longtime boyfriend, Kayla and Sam are more interested in strengthening their friendship by having a common experience to rally around.  

The plot kicks off when their plans are discovered (through an earnestly unironic emoji code breaking scene), with Lisa and Mitchell jumping into helicopter parent mode to stop #sexpact2018 before its realization. Hunter joins at first to stop Lisa and Mitchell, but begins to work with them after fearing his closeted lesbian daughter will force herself to be with a guy to fulfill the pact despite her true sexuality. 

The concept of “Blockers” presents interesting questions ripe for further development, primarily: is the parental neurosis depicted inherent because they’re daughters, not sons? And why, besides sexism, is this story so different framed through the eyes of teenage girls instead of boys? 

Unfortunately, the film squanders this potential for originality in favor of a cardboard regurgitation of past raunchy comedies, unclear of the purpose throughout its entirety and giving the audience whiplash through rapid fire cuts between scenes filled with gratuitous CGI vomit during product placement car chases, and clunky emotional exposition during random heart to hearts. 

All dialogue is dumbed down to a third-grade comprehension level, despite the clearly adult nature of the film and its R rating. When the film attempts to address one of the central questions posed above in a scene with Kayla’s mom, it falls flat in its heavy handed moral lessons, and is so carbon copy “girl power!” it seems ripped from a “woke feminist bae” Buzzfeed listicle.  

The inescapably trite dialogue in all the emotional moments, and the choice to leave in “gross out” scenes more characteristic of straight to DVD “comedies,” stops “Blockers” from escaping the conventions of its genre and reaching true greatness.  

However, despite its flaws, “Blockers” does well for what it is, providing light hearted comedy with a sweeter side than many films reminiscent. 

Leslie Mann, John Cena and Ike Helmholtz really shine in their respective parental roles, each evoking a different kind of comedic style that appeals to all senses of humor as a collective. Cena and Mann in particular seem to bounce off each other well; Cena playing the perfect muscles-for-brains counterpart to Mann’s hysterical housewife.  

In addition to these brilliant comedic performances, “Blockers” escapes true mediocracy through the character of Sam and her love interest Angelica, who is portrayed in a humorously angelic way, with heavenly music and a halo of bright light following her onscreen. The wholesome nature of this relationship, and the earnest journey of self-discovery and acceptance Sam undergoes within the backdrop of vomit and butt chugging jokes, are some of the most interesting aspects of the film. 

Corny predictability aside, by the end of “Blockers” each daughter and respective parent have completed their coming of age, wrapping up the story with a neat bow for a warm conclusion. An instant classic? No. A much needed and well executed twist on a long ago worn out tale? Yes.