Bros-2022
Director Nicholas Stoller
Starring Billy Eichner, Luke Macfarlane
Scott’s Review #1,304
Reviewed October 5, 2022
Grade: A
Even if Bros (2022) were a bad film, it would still hold the monumental distinction of being the first LGBTQ+-themed romantic comedy released and supported by a major distributor.
In 2022, years after the legalization of same-sex marriage in the United States and various other milestones that would take too long to list, Bros is the first of its kind.
Fortunately, Bros is not a poor film but an exceptional one with brazen confidence and a lot to say.
Led by crisp and intelligent dialogue, lovable lead actors, a cast comprised solely of the LGBTQ+ community, strong characters, and hilarious moments, it has something for everyone, whether gay, straight, or otherwise.
Before readers pigeonhole the film as one only to be seen by the LGBTQ+ community, I will cry bullshit.
Straight audiences will fall in love with the characters and learn valuable lessons about stereotypes and deep-seated emotions of gay men who are not always comfortable in their skin.
Unfortunately, Bros was not the box office smash hit the studio had hoped it would be. Some straight viewers felt the film was not for them, and that’s a shame.
There is still more work to be done to eliminate conscious and unconscious bias and educate others to embrace differences.
Billy Eichner, who co-wrote the Bros screenplay along with director Nicholas Stoller, stars in the film, alongside Luke Macfarlane.
Eichner plays a sardonic, gay Jewish male named Bobby Leiber who resides in New York City. We meet Bobby while he is recording another episode of his New York podcast and radio show, The Eleventh Brick at Stonewall, where he talks to callers about his written works on gay history and gay icons.
He claims to be okay with being single and not having found love, instead hooking up with random men through a dating application called Grindr, although he is successful in his career and has good friends.
He awkwardly meets Aaron Shepard (Macfarlane), a hunky, masculine guy deemed ‘hot but boring’ by those in Bobby’s circle, in a gay club.
The two men slowly develop a romantic relationship despite their commitment problems and hectic schedules, which seem designed to put the kibosh on love.
Despite all the other aforementioned wins, what makes this LGBTQ+ film stand out is that the screenwriting feels fresh and intelligent. Above all else, it wisely paints the struggles that most gay men seeking a relationship of substance face.
As in other romantic comedies, specific setups and situations create conflict that risks preventing Bobby and Aaron from getting together. Bobby feels Aaron is out of his league, preferring other muscular men to his overbearing and critical approach.
One can understand Bobby’s angst, but in one of the film’s most poignant and beautiful scenes, Aaron tearfully reveals that Bobby constantly challenges him, and it feels good.
He needs to be with Bobby because it is right. Bobby serves as a mentor to Aaron as he wrestles with being true to himself. Stuck in a depressing yet financially secure job, Aaron longs to be a chocolate maker instead.
Beauty is only skin deep. Regardless of occasional insecurities, the two men are firmly connected, and that beats everything else.
On a personal level, both characters resonated with me, evoking their angst. One would assume that Aaron the hunk would be more confident, but is that the case? Both men teach and learn from each other, which makes their relationship powerful.
In addition to the romantic moments, Bros has its share of raunchy and comical scenes, which justify its ‘R’ rating. In typical Judd Apatow (the film’s producer) form, the sex scenes are revealing.
There are enough orgies, toe-sucking, and fist-sucking to make the prudish blush. The planned ‘rimming’ scene was cut from the final cut. One wonders what that would have been like.
The film follows a distinct comedy formula and includes a helping of standard annoying, clueless, or over-the-top colorful characters that appear to justify its mainstream comedy placement.
The genius is that Bros works.
I implore straight audiences to give the film a chance, if for no other reason than to show that gay people are as different from each other as apples and oranges. As Bobby makes clear, some are nice and some are assholes.
Bros (2022) treads conventional but with a twist, and shows that gay characters are as genuinely funny as straight characters. It provides laugh-out-loud moments and teary sentimental ones.
I’m eager for the next project from Billy Eichner.
