Bros Reviews

Director Nicholas Stoller (The Five-Year Engagement) writes with actor Billy Eichner (Parks and Recreation) for Bros, a romantic comedy with a long-overdue twist. Despite a supporting cast of notable stars, the film suffers from a hit-and-miss first half that might be disappointing for some from this already worn-out genre, keeping them from viewing the more impactful second half.Bobby Leiber (Eichner) is neck-deep in planning and opening the first major LGBTQ+ museum. As a result, he has little time for relationships, relying instead on hook-ups. This works just fine because it meshes well with his commitment issues. But one night, while clubbing, he notices Aaron Shepherd (Luke Macfarlane), who also hides commitment issues deep within seemingly endless, multi-person hook-ups. The two couldn't be more different: Bobby is thin and cerebral, while Aaron is muscular and impulsive. But these differences might be just the thing each has needed in their lives, allowing them both to finally discover there is more to life than sad dancing, boring partners, and even more monotonous sex. But first, they have to convince each other that they're worth more than that.The script is good once it gets going. Unfortunately, it does take a while to get there. What could have been a touching story of finding one's self in a world of scrutiny and non-acceptance is presented instead as a cringe-worthy hour of questionably directed non-heterosexual clichés more suited to the 1980s and even, at times, the 1970s. When Bobby first sits down with his museum staff, there isn't any question about how each identifies because they look like a set of well-worn stereotype flash cards. The same applies to clubbing scenes, where the revelers often look like a Village People casting call. These combine to make some good jokes in the script less effective. This might be by design, to give straight viewers what they expect. But there are a few scenes that the unknowing straight person may find uncomfortable. The intention may have been to educate people, but the message gets lost in a flurry of threesomes, bad sex jokes, and awkward family conversations. Because of this, some viewers might not make it through this to the genuinely good tale that is the meat of the story - how Bobby and Aaron manage to find each other and themselves. This is where the script shines, as do the performances by Eichner and Macfarlane, buoyed by good chemistry between them. Their fears, needs, and genuine affection for each other come through and is a perfect representation that the LGBTQ+ community hurts and loves just like everyone else.One thing that isn't inconsistent in the movie is the soundtrack. Each song is perfectly placed, even in the more frantic first half. It is especially effective once the two leads start spending more time together. The song, penned by Eichner, in the final major scene is a testament to his writing skills.Bros isn't the perfect film for mainstreaming a non-hetero romantic comedy. This is a shame because there is so much potential, not to mention talent, that went into it. The comedy part is stretched and, in the first act, often limited to derogatory non-binary humor. But the romantic aspect of the film is tender, genuine, and precisely what the genre needs. Now that Eichner has the uncomfortable jokes out of the way, he can concentrate on scripting something solid that meets the needs of both elements in this genre.