Bros review: a mostly relatable and witty comedy
Bros feels distinctly relatable, which is perhaps its greatest success.
At first glance, it might not seem like Heartstopper and Bros fit into the same bracket. One is about teenagers discovering who they are in the world while one is a gay rom-com centered on two gay men in their forties. But both are providing much-needed LGBTQ representation, the kind many wish they’d had growing up.
Most will have heard of the film’s slightly “disappointing” opening weekend in the US in September. The stars themselves recognise it wasn’t what they wanted. But as is often the case there is a disparity between what audiences think and what is considered a commercial success. In this writer’s experience what people have been saying about Bros has largely been positive. And with good reason.
The film follows the same plot points as most rom-coms and in doing so feels familiar. If it ain’t broke don’t fix it, just make it gay. But where Bros differentiates itself from straight-led rom-coms such as director Nicholas Stollers’ Forgetting Sarah Marshall is that it manages to interweave worthy cultural discussions such as internalised homophobia, ageism, and toxic masculinity into the one-hour-fifty-five-minute runtime.
Sure, not all of these get all the attention they deserve (as Luke Macfarlane reasonably points out, “We cannot address every single issue. There’s not enough time in the movie”) their inclusion speaks to the film’s aim to educate audiences. Although this does mean that it runs the risk of coming across as preachy to more informed, queer audiences
Billy Eichner leads as Bobby Lieber, a perpetually single, cynical, and neurotic forty-something gay man living in New York City. Bobby, a well-known podcaster and LGBTQ author, struggles to see how people can be so happy all the time and despairs at the gay community’s sometimes shallow standards.
Eichner brings to the role his typical brand of sharp, snippy comedy and makes Bobby a relatable guy. There’s a sense of longing for something meaningful hidden behind a thin veneer that ‘everything is ok’. On one night out at a gay club filled with mostly conventionally hot, ripped, shirtless men Bobby meets Aaron (the delightful and charming Luke Macfarlane) a closed-off, straight-passing, bro-y type.
The two spend much of the film figuring out if they’re a compatible fit with one another going through the typical rom-com motions along the way. If you’ve seen any rom-com you can likely guess at what conclusion the film reaches as to the will they won’t they. But, continuing the theme of subversion in Bros, it’s actually not as clear-cut as you think. Eichner recently joked about a potential sequel and there could be ample material.
Perhaps the film’s most poignant moment sees Bobby and Aaron relaxing on a sun-splashed beach in gay mecca, Provincetown. Here, Bobby recalls the times in his life he’s been told he was “too gay” and that he needed to “tone it down”. Eichner delivers the monologue with the sincerity and gravitas that it deserves, clearly drawing on his own experiences and that of countless others who’ve been told the same. Later, Aaron has a slightly less weighty emotional moment where he admits to his own failed dreams, which Bobby encourages him to pursue.
Both moments give the actors a chance to show us layered performances, not often seen in the rom-com genre, and see a deconstruction of obsession with the Bro-y masculinity that often purveys through much of the gay community. Both actors give solid performances that feel grounded throughout and ultimately feel real.
Plaudits are deserved for the assembly of an all-LGBTQ cast in the main and supporting roles. Bros‘ offering of representation for queer people is welcome but enviable for those of us old enough to have grown up with barely any queer characters on screen that were taken seriously. One of the best things about the film is the representation being provided on a scale and platform not seen before. Representation that even a few years ago would be almost unimaginable.
The supporting cast of characters devour their sometimes minimal screen time to great effect. Standouts include Fire Island‘s Bowen Yang as a narcissistic and wildly imaginative gay TV producer and the ever-hilarious Harvey Fierstein. TS Madison, Eve Lindley, and Miss Lawrence also sparkle. Jim Rash certainly makes his presence known if only for his volume.
Debra Messing and Kristin Chenoweth also make for pitch-perfect cameos.
The script crackles with wit and sarcasm at every turn, which is expected from Eichner and Stoller, who co-wrote the film. A particular stand-out line is a passing reference to Beyoncé’s Lemonade album that is so brilliantly casual and throwaway it could easily be missed. The film capably takes satirical and irreverent swipes at gay culture while also finding time to pause and highlight serious issues.
It’s hard to think that it’s taken until 2022 for us to get a film like Bros. But then in many ways, it isn’t especially considering social attitudes today. Bros is not a perfect film by any means. It is a shame that the more diverse roles are saved for the supporting characters, but Billy Eichner brings us a version of the queer experience to the silver screen that he knows and can relate to. It’s not everyone’s experience but it is valid.
As the first of its kind Bros was always going to face heavy expectations. In the face of those, it does a good job of feeling relatable and showing off an authentic example of a gay male experience. The film doesn’t shy away from honest portrayals of gay men’s dating lives, their sex (Lord knows it doesn’t!), or their foibles. Bros should be celebrated for being the first of its kind as well as being a major win when it comes to LGBTQ representation. It has its place in the history books and on the whole, it has met those expectations.
Rating: 4/5
Bros is available to watch in cinemas now.