The manic, filter-free, all-id persona Seann William Scott embodied in the roles that first brought him to attention nearly a couple decades ago — notably teen comedies “Road Trip,” “Dude, Where’s …
embodied in the roles that first brought him to attention nearly a couple decades ago — notably teen comedies “Road Trip,” “Dude, Where’s My Car?” and the “American Pie” series — did something inspired with a familiar type. The alpha frat-bro character is usually a villain, or at least a tool. But this actor lent polo-collar-up dudedom in shark-like search of sex or any other stimulus an absurdist, howling-at-the-moon zest.
The rest of “Bloodline” is a little tame for the energy its main actor taps. This is one of those films that wants to do something unusual and clever with the serial killer concept, yet goes where several others have gone before: in a vaguely black-comedy direction banking on the disconnect between outwardly vanilla lifestyle and bloodsoaked secret activities.
The narrative then rewinds three months, with Lauren yet to give birth, and Evan counseling at-risk teens as a Southern California high school social worker. His ongoing student clients have real problems: Ray is the son of a just-released violent convict; Kelly has a molesting uncle; honor student Chris sees his fragile domestic stability threatened by the return of a parent with a drug problem. Evan takes a genuine paternal interest in their well-being, perhaps too much so.
These escalating tensions soon lead to Evan “venting” by growing far too proactive in alleviating his students’ worries — i.e. delivering lethal harm upon the adults who distress them. It takes a while before we realize this is a problem-solving method with some family history.
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