I was always anticipating Superbad, but I never expected anything near to the quality of film-making and cinema experience I received. Coming out of the cinema with a huge grin on my face made me realise that a "teen flick" can be a winner, something which seemed impossible. Technically speaking, it is almost impossible to create an even decent "teen flick", given that to class Superbad as such a thing would be dismissive. For example, the '90s classic Dazed and Confused is often classed as a teen movie, but it is much more than that, considering the film studies the social-trends of a forgotten era which gave birth to modern teen culture. It is nostalgic viewing for many, just like what Superbad will grow to be in the years to come.

Seth Rogen has been having a victorious time throughout 2007; kicking off the summer with Knocked Up and ending with Superbad, he is establishing himself as one of the finest actors and script writers working within modern comedy. Deservedly, this is something the talented comedian has been working for, and now maintains a place within comedic history. Seth Rogen wrote and starred in Superbad, and on viewing the picture you will observe his talent as both a writer and actor.

Superbad does not exactly carry a narrative structure, something best suited for a film of its kind and so should not be used as a criticism. Essentially, the film follows the day of three high-school friends who have been invited to a party on account of them providing the alcohol. It is that simple on the surface, but the film turns out to be significantly more intelligent than just teens looking to score and get wasted. Not only does the picture place some moralistic ideas into the dialogue, but it speaks to its audience with an easy-to-relate-to style.

If you ever did or are experiencing the high-school lifestyle then Superbad will be an instantly recognisable achievement. The film is crammed with themes which the viewer can relate to and sums up the series of gauche events encountered throughout adolescence. Filmed in garish colours and through exaggerated techniques, Superbad epitomises retro cool and certainly does not value discretion. Everything works perfectly against the outlandishly preoccupied sex jokes. Written with a bravura tone of angst and rebellion, the nerdy comedy fuses with the energetic and welcoming characters. The screenplay is crafted on a torrent of clever hilarities, which progressively become slightly more subtle (if that is even possible for Superbad) as the film develops. Moving at a consistently fast pace, the film refuses to let the viewer have room breathe; it is at these moments that the viewer will most likely realise the timing of the film. And although these moments are a sign of thin wearing, the picture manages to pick its momentum up again, due to the rapid-fire and constant barrage of jokes.

The film is going to undoubtedly propel the careers of the three protagonist actors. Jonah Hill and Michael Cera have become relatively well-known over the last couple of years for their work within American comedy. Nonetheless, it is supporting performer Christopher Mintz-Plasse (in his debut role) who outshines the rest of the cast. The casting of him as Fogell a.k.a. McLovin is too good to be true, as he personifies the character entirely and crafts a role which will forever be quoted and loved. Seth Rogen and Bill Hader also star as the two off-beat, lazy cops; the pair work together with an amusing ease, proving that the chemistry depicted is not forced but completely natural. In fact, this goes without saying because the whole cast combine flawlessly.

Overflowing with memorable scenes (which should not be spoiled) and relentless entertainment Superbad continues to be a riot long after the credits have rolled. Superbad is something truly spectacular and was an intrepid business risk worth employing. Its success is overwhelming, but once seen it is easily understandable.