'Bros' Review: Billy Eichner's Groundbreaking Gay Rom-Com Tops the Genre
BROS
R: Sexual content, language throughout and some drug use
Runtime: 1 Hr and 55 Minutes
Production Companies: Global Solutions, Apatow Productions
Distributor: Universal Pictures
Director: Nicholas Stoller
Writers: Billy Eichner, Nicholas Stoller
Cast: Billy Eichner, Harvey Fierstein, Luke Macfarlane, Ts Madison, Monica Raymund, Guillermo Díaz, Guy Branum, Amanda Bearse, Jim Rash, Bowen Yang
Release Date: September 30, 2022
In Theaters Only
Bobby Leiber (Eichner) is a successful middle-aged socialite. He’s also the curator of a fictional-but-should-be-real LGBTQ museum in development. He’s never been in love and has never been in a relationship. Yet, he’s content with random Grindr hookups, hosting a popular podcast, and holding disdain towards romance. During a night at the club, he meets Aaron (Luke Macfarlane), a muscular yet unfulfilled lawyer who loves the simplicity of hooking up with men with the IQ of Mac from It’s Always Sunny. These two emotionally unavailable men from different walks of life challenge each other’s wits, which leads to a budding romance without labels.
In the Apatow book of business, an actor-comedian becoming a household name is followed by them co-writing/starring in an R-rated studio comedy that Apatow produces—and, in some cases, directs. Actor-comedian Billy Eichner has gone from running up to strangers on the street to running up that silver screen. Unlike Apatow’s cishet alumni Amy Schumer and Pete Davidson, there’s additional pressure on Eichner as the first openly gay co-writer playing the lead in a theatrical release studio rom-com. Of course, if Happiest Season and Fire Island weren’t Hulu exclusives, that sentiment wouldn’t be true. Thankfully, when Apatow says, “Jump,” Universal says, “How high?”
Eichner and co-writer/director Nicholas Stoller scoff at the glass ceiling, smashing it with the catalyst of Bros’ self-aware humor from the jump, mocking the lack of LGBTQ representation in the entertainment industry. The satire is reminiscent of that “Period Lesbian Drama” skit from SNL, which has been their funniest sketch in years. Eichner’s blunt, observational honesty and unapologetic persona flow through his mouthpiece lead. The dialogue is hysterical, especially since most of the film’s gags air grievances against Hollywood's lack of LGBTQ representation and the mediocre content LGBTQ crowds have consumed in recent history.
The humor is heavily referential but often presents hilarious gags or zingers that hit hard. Of course, my non-binary self was rolling with laughter to the extent that I nearly got lightheaded. I expected Bros’ deconstruction of gay culture to wear itself thin based on the trailer using an array of its best self-aware humor. However, the story hoodwinks you with a—I promise I’m not saying this because he’s Jewish—Nora Ephron-type rom-com with an unabashedly raunchy coat of paint.
Bros’ biggest strength lies in the exploration of Bobby and Aaron's complexities. Their shared goal of ducking affection stems from their respective relationship to their queerness. Their contradicting personalities—Bobby’s spontaneity and Aaron’s reserved, easy-going perspective—bode a great dynamic from their first interaction. As their romance develops, the writers meticulously peel the layers of their guarded walls as effectively as we saw in Shrek. Their existential conflicts may feel familiar, but it’s also refreshingly mature. Eichner gets on a soapbox at various points, and one of his many monologues pierces me to the brink of tears.
Billy Eichner gives a spectacular leading performance, showcasing his angst with a resounding vulnerability and wisdom that brings humanity to Bobby. He brings a refreshing sense of maturity that we hardly get from these types of male comedic leads. This film was also my first exposure to Luke Macfarlane (who probably won’t be leading Hallmark movies anymore since Bros mercilessly assassinated their pandering brand), and he blew me away. Their chemistry is as warm as it is often hilarious.
The treasure trove of old-school and up-and-coming LGBTQ stars Jim Rash, Bowen Yang, Miss Lawrence, TS Madison, and Dot-Marie Jones elevates the comedy. Some queer colleagues from the Brooklyn comedy community appeared in this film, and I screamed.
I’m adamant when it comes to my self-appointed Apatow rule. But, I can make an exception when that comedy offers a constructive character story, and the narrative pushes forward instead of emphasizing comedic bits that linger far too long. For the first time since The Big Sick, a long Apatow production gets a pass since it moves at a breezy pace.
The film bears a steady pace but falters in its midpoint and its finale. After establishing Aaron and Bobby’s relationship, Bros instantly rams into major conflict without giving the viewer time to breathe. They try to bridge the passage of time via montage, but it doesn’t feel like enough.
Bros pads the runtime during the third act by dumping three separate endings. Two of them could’ve been alternate endings for the Blu-ray. The film warrants its two-hour runtime, but its fat could’ve been trimmed by 10-15 minutes. The fact that I didn’t think of its run time till the finale is a major testament to the pacing’s strength.
In my Happiest Season review a few years ago, I wrote, “It would’ve been a box office hit amongst general and LGBTQ+ audiences. I can picture this being a successful crowd-pleaser for lesbians, gays, or anyone in the LGBTQ+ community as they walk out of the theater feeling joyous, with a warm fuzziness in their heart, knowing this is their movie that will warrant multiple viewings.” The sentiment shared for this applies to Bros, times two.
Bros serves as a relentlessly hilarious and intuitive commentary on the complexities of queer culture in our lifestyles, pursuit of romance, and hypocrisies. It juggles those complexities while providing a heartwarming romance bolstered by the leads' layered performances and chemistry. Undoubtedly, it is the new bar to clear for timely LGBTQ comedies and rom-coms, period.
