All in all, I liked Billy Eichner’s “Bros” more than the linked review below, despite its flaws, which I’ll get to. The depiction of urban gay life among thirtysomethings in the age of Grinder rings true, as does the budding relationship between neurotic Bobby (Eichner) and hot lawyer Aaron (Luke Macfarlane) as they try to overcome the barriers that hook-up culture and self-doubt pose to emotional intimacy. The “realness” of the onscreen relationship between these two emotional wounded men, and the film’s dark humor, may be why straight audiences haven’t embraced “Bros,” as it’s far from the cutesy rom-com mold that might have been more commercially acceptable.
And then there’s the fake history and woke politics that Eichner’s script imposes on the story. I nearly signed off after Bobby’s opening monologue, where he relates the myth that Stonewall was led by transwomen of color who threw the first brick (no, it wasn’t and they didn’t) and declares that a cis gay white man probably only threw the 11th brick. That canard is repeated later as well by Bobby, a fundraiser for a budding LGBTQ+ history museum in Manhattan. Later, when the museum opens, an exhibit celebrates Obama and refers to the “nightmare” that followed. You get the picture.
But the infighting among the “diverse” fundraising committee of transpeople of color, a bisexual, a lesbian or two, and Bobby (the lone cis white gay man) is played for some genuine laughs (although, of course, this diversity excludes anyone not on the woke left although gay Republicans would no doubt help to fund such a museum).
I’m not sure what compromises, if any, could have made “Bros” a profitable picture, but thumbing its nose at a large segment of gay viewers didn’t help.
Woke, far-Left Hollywood Reporter just threw Eichner under the bus!https://t.co/jUWfDr6c70— Christian Toto (@HollywoodInToto) October 5, 2022
Its hard to money on 7% of the population.— Donald Taylor (@DTincville) October 4, 2022
The Hollywood Reporter https://t.co/oR5u22xtOQ