Superbad is still super funny, super filthy and super telling. That last is somewhat inadvertent, but the movie is more than just a lens into the fetid minds of unsupervised boys. The porn-powered self-absorption it observes among millennials dates it as Origin of the Snowflakes. “Just how I feel” justifies everything.
Sociological observations aside, Superbad is a hall-of-fame high school movie that slays comedically. Plus it launched several notable careers, including Jonah Hill’s, even as it kicked Seth Rogen’s into overdrive.
Brilliant from the opening credits, where white suburban boys dance in silhouette to the super-funky Too Hot to Stop, the movie uses that very funny cultural appropriation to declare its transgressive ambition.
The plot revolves around a superficially simple quest. During the final two weeks of high school, two seniors vow to bring booze to a cool-kids party. It’s not only their ticket into the bash, but into getting lucky with their respective crushes. Of course, everything goes hilariously wrong. Can you say McLovin?
McLovin and much more make Superbad a benchmark movie. Absurdly entertaining, it reveals more than it should and even more than it intended. About that last, we’re living with those pathologies to this day.
Superbad follows three unsupervised upper-middle-class dudes on the loose during their final two weeks of high school. Two just got into Dartmouth, the other one didn’t. All hell breaks loose.
Judd Apatow didn’t write or direct Superbad, just produced it, but it has all his hallmarks, especially the spoofing of bad behavior by not-so-bad people. Those people are millennials who exist outside any form of disciplined value system. No religion, just desire. No responsibility for anyone but themselves.
Men and boys at their worst
Circumstantial surrealism aside, Superbad tells truths about society, technology and more.