Billy Eichner’s gay romantic edy — -starrg Le Macfarlane and Guy Branum — is msy, funny, and ultimately charmg when isn’t weighed down by all the firsts.
Contents:
- JUDD APATOW'S GAY ROMANTIC COMEDY CASTS A LOVE INTERT FOR BILLY EICHNER
- THE BT QUEER COMEDI A WORLD OF SAD, GAY FILMS
- BILLY EICHNER’S GAY ROM-COM ‘BROS’ IS AS HILAR AS IT IS HISTORICBILLY ON THE SCREENTHE FIRST MAJOR STUD GAY ROM-, BILLY EICHNER’S NEW MOVIE IS A BIG DEAL. THANKFULLY, S UNAPOLOGETIC BAWDS AND NVENTNAL FORMULA HELP LIVE UP TO HIGH HOP.NICK SCHAGERENTERTAMENT CRICUPDATED SEP. 10, 2022 3:05PM EDT / PUBLISHED SEP. 10, 2022 3:02PM EDT UNIVERSAL PICTURBROS IS A LANDMARK FILM. NOT ONLY FOR BEG THE FIRST GAY ROM- PRODUCED AND DISTRIBUTED BY A MAJOR AMERIN STUD (UNIVERSAL), BUT FOR BEG A PERFECTLY FORMULAIC GAY ROM- THAT STARTS WH A BAWDY BANG AND THEN BE MORE STANDARD-ISSUE (AND PREACHY) AS NEARS THE FISH LE.IN BOTH S, THAT N BE VIEWED AS PROGRS, AND BETTER STILL, NICHOLAS STOLLER AND BILLY EICHNER’S EDY—BUTG AT THIS YEAR’S TORONTO FILM FTIVAL BEFORE PREMIERG THEATERS ON SEPTEMBER 30—HAS MORE GOG FOR THAN S GROUNDBREAKG PEDIGREE. NAMELY, HAS A STEADY STREAM OF LGHS, MOST OF THEM URTY OF S HEADLER, WHO EMPLOYS HIS TRAMARK GMPY-TTY-HOSTILE PERSONA FOR A SNARKY AND SERMON-Y SAGA ABOUT FDG YOURSELF AND, THE PROCS, YOUR IAL (IF UNLIKELY) PLEMENTARY HALF.IN HIS FIRST BIG LEAD ROLE FOLLOWG A OF HOSTG THE HILAR BILLY ON THE STREET SERI AND STEALG SCEN ON THE LIK OF PARKS AND RECREATN, EICHNER IS BOBBY LIEBER, A SUCCSFUL NYC PODSTER WHO’S ALSO SPEARHEADG THE CREATN OF THE CY’S MAIN LGBTQ+ HISTORY MM. BOBBY WANTS TO E THIS PLATFORM TO RURRECT THE MARGALIZED STORI OM HIS MUNY THAT HAVE BEEN ERASED BY MASTREAM FORC, CLUDG—MOST NTROVERSIALLY—THAT OF ABRAHAM LLN, WHOM BOBBY AIMS TO OUT A GRAND EXHIB, MUCH TO HIS LBIAN, BISEXUAL AND TRANS WORKERS’ NSTERNATN.STEPPG ON PEOPLE’S TO ISN’T BOBBY’S NCERN, HOWEVER; WHETHER BROADSTG HIS OWN DISTERT LOVE AND ROMANCE OR CHATTG ABOUT HIS GRIM AND UNSATISFYG GRDR ENUNTERS, HE’S BRASH, UNHIBED, AND MORE THAN A B ABRASIVE. IN OTHER WORDS, HE’S AN EVER-SO-SLIGHTLY FICTNALIZED VERSN OF EICHNER, A MANNER AK TO ADAM SANDLER FUNNY PEOPLE, AMY SCHUMER TRAWRECK, AND PETE DAVIDSON THE KG OF STATEN ISLAND—ALL OF WHICH, LIKE BROS, WERE PRODUCED BY JUDD APATOW. EICHNER AND DIRECTOR STOLLER’S SCRIPT IS STEEPED S STAR’S EXPERIENC AS A SGLE 40-YEAR-OLD MMENT-PHOBE NAVIGATG A DIVERSE GAY MANHATTAN, MARKED BY DNER PARTI WH A UPLE THAT’S HAPPY TO ANNOUNCE THEY’RE NOW A “THROUPLE,” AND NIGHTS OUT AT A CLUB WHERE JT ABOUT EVERYONE OTHER THAN BOBBY IS A SHIRTLS, RIPPED HUNK. IT’S AT ONE OF THOSE VENU THAT BOBBY LOCKS EY WH, AND IS TRODUCED TO, AARON (LE MACFARLANE), A STRIKGLY HANDSOME AND BUFF TATE LAWYER WHOM BOBBY’S IEND SCRIB AS “BORG.”GIVEN BOBBY’S PULSIVE HAB OF SAYG EXACTLY WHAT’S ON HIS MD, HE WAST NO TIME LLG AARON BORG TO HIS FACE, ALTHOUGH MORE SURPRISG IS THE FACT THAT THE TWO QUICKLY STRIKE UP A NNECTN—ONLY FOR AARON TO REPEATEDLY VANISH LIKE SOME SORT OF UNRWEAR-MOL VARIATN OF BATMAN. NOHELS, THEY EVENTUALLY BEG TEXTG AND HOOKG UP, SPE THEIR ODD-UPLE DYNAMIC: AARON IS A GGED ALPHA WHO’S TO SPORTS, THE HANER AND GARTH BROOKS, AND BOBBY IS A THEATRIL LOUDMOUTHED ACTIVIST WHO N’T STAY SILENT FOR TWO SENDS. EICHNER’S SCHTICK IS OF A LOVE--OR-HATE- VARIETY, AND MUCH OF HOW BROS PLAYS PENDS ON ONE’S TOLERANCE FOR HIS “ANGRY, JUDGMENTAL” CHARACTER. THAT SAID, STOLLER’S EDY UNRL THAT BOBBY’S IDSYNCRATIC LOUD-AND-PROUD ATTU—AS WELL AS HIS MORE FEME SPEECH AND BEHAVR, PECIALLY PARED TO THE CROSSF-OBSSED, TTOSTERONE-JECTG AARON—IS SOMETHG FOR WHICH HE SHOULD MAKE NO APOLOGI.THE FILM HAS BOBBY PERDILLY EXPOUND ON THE NEED FOR LGBTQ+ VOIC TO BE HEARD AND, JT AS CCIALLY, FOR THEM TO NOT BE SILENCED BY REQUTS TO “TONE DOWN” THEIR FLAMBOYANCE FOR STRAIGHT PATRTS. THOSE MOMENTS ARE TE TO THE STORY AT HAND, YET THEY’RE NOT ALWAYS GRACEFULLY WOVEN TO THE ACTN PROPER, HIGHLIGHTED BY A CREAKY BOBBY BEACH MONOLOGUE ABOUT THE DISCRIMATN HE’S FACED, AND FOUGHT AGAST, SCE CHILDHOOD.BROS EMBRAC S QUEERNS WHILE EXPLAG WHY DOG THAT IS IMPORTANT, AND IF THE LATTER N OCSNALLY MAKE THE FILM FEEL LIKE AN ABC AFTERSCHOOL SPECIAL, ’S NSISTENTLY SHARP WHEN MG BOBBY’S ROLLERASTER EXISTENCE JUGGLG ONE-NIGHT STANDS, PROFSNAL HEADACH AND PKY NEWFOUND EMOTNS THAT MIGHT JT BE—SPOILER ALERT!—LOVE. BOBBY N’T QUE GRASP WHY A GUY LIKE AARON IS TERTED HIM, AND THAT’S UNRSTANDABLE; THE DUO’S Y-YANG CHEMISTRY IS NEVER WHOLLY BELIEVABLE, THIS SPE MACFARLANE’S CHARMGLY LOW-KEY PERFORMANCE AS A JUICEHEAD WHO’S ATTRACTED TO BOBBY FOR HIS TELLIGENCE, SUCCS AND LACK OF RERVE. STILL, THEY MAKE A CUTE PAIR, AND THEIR ABSURD UPS AND DOWNS ARE ALL THE FUNNIER FOR BEG ATTUNED TO THE STGGL OF 21ST-CENTURY GAY MEN, BE THEY WH REGARDS TO INTY AND BODY-IMAGE ISSU, THE PH-PULL BETWEEN SPONTANEO TRYSTS AND LONG-TERM MMENT, OR THE TRICKS OF ALG WH PARENTS—THE LAST OF WHICH, DURG A DNER OUT WH AARON’S VISG MOM AND DAD, SERV AS THE TALE’S FACTO PLOT CRISIS.THROUGHOUT, BOBBY’S QUIPS ARE THE ENGE THAT KEEPS BROS NNG, AND THEY’RE SO SPIKY AND ON-TARGET THAT ’S EASY TO OVERLOOK THE MATERIAL’S HACKNEYED GENRE MANVERS. TWO SEPARATE N-S WH WILL & GRACE VET DEBRA MSG ARE PARTICULARLY CHUCKLEWORTHY, AS ARE BOBBY’S QUEER EYE DN AND AN EXTEND RIFF ON SAME-SEX WBOY MOVI.“NOT ALL GAY PEOPLE ARE NICE!” SCREAMS BOBBY AT FILM’S OUTSET, AND EICHNER AND STOLLER’S FEATURE IS BT WHEN LEANS TO S PROTAGONIST’S AGGRSIVE, ARGUMENTATIVE ENERGY—AND, ALSO, THE DOUBT AND SELF-LOATHG THAT LURKS BENEATH HIS ARSE EXTERR. WHEN BOBBY GETS CREASGLY ANNOYED AT A GRDR REQUT FOR AN ASS PIC, SUBSEQUENTLY CUTS HIMSELF SHAVG HIS REAR END FOR SAID SNAPSHOT, AND THEN GETS REJECTED FOR HIS UNRWHELMG RRIERE, EICHNER TAPS TO A SIMULTANEOLY MAD-AND-MOROSE VE THAT PROV TO BE THE PROCEEDGS’ STRONGT SU. “BROS WALKS S TALK ABOUT WANTG TO CELEBRATE THE THENTIC REALI OF LGBTQ+ AMERINS ALL THEIR MSY, NTRADICTORY GLORY.” REFERENC TO BARBRA STREISAND, CHER, MARIAH CAREY AND HALLMARK CHRISTMAS MOVI—THE LAST OF WHICH ARE MOCKED FOR PANRG TO QUEER DIENC—ARE ALL PREDICTABLE PARTS OF THE PACKAGE, AND SO TOO IS A THREAT TO BOBBY AND AARON’S BLOSSOMG AMOUR THE FIGURE OF AARON’S FORMER HOCKEY TEAMMATE.BROS WALKS S TALK ABOUT WANTG TO CELEBRATE THE THENTIC REALI OF LGBTQ+ AMERINS ALL THEIR MSY, NTRADICTORY GLORY, AND THOUGH DO THAT WH A FEW TOO MANY ALICIZED SPEECH ABOUT S TENTNS, S SCERY ULTIMATELY WS OUT. MOREOVER, EICHNER AND STOLLER’S CISN TO FASHN THEIR GAY ROM- A VISUALLY, NARRATIVELY AND THEMATILLY FAIAR MOLD HAS THE EFFECT OF FILTERG THE RADIL THROUGH THE TRADNAL (A NOTN UNRSRED BY S UNTRY-MIC FALE).IN THE END, WHAT MAK BROS SO NOTEWORTHY IS THAT TREATS BOBBY AS JT ANOTHER SCREWY ROM- HERO, UNSURE OF HIMSELF AND SECRETLY SPERATE FOR THE NNECTN HE BELIEV HE DON’T NEED. IT’S AN AMG ACT OF CEMATIC NORMALIZATN, PNEERG PRECISELY BEE ’S SO NVENTNAL. NICK SCHAGER
JUDD APATOW'S GAY ROMANTIC COMEDY CASTS A LOVE INTERT FOR BILLY EICHNER
Le Macfarlane is jog the st of "Bros," which is beg billed as the first rom- about gay men to be produced by a major stud. It's due out 2022. * gay romantic comedy 2022 *
And next year is gog to be even the first major stud gay rom-, to queer-clive horror, to Harry Styl playg a queer p, the next year will have a ton of great LGBTQ+ ntent on the big screen.
THE BT QUEER COMEDI A WORLD OF SAD, GAY FILMS
The first major stud gay rom-, Billy Eichner’s new movie is a Big Deal. Thankfully, s unapologetic bawds and nventnal formula help live up to high hop. * gay romantic comedy 2022 *
Billy Eichner wrote and starred this gay rom- wh an all LGBTQ+ prcipal st, cludg Bowen Yang, Ts Madison, Guillermo Diaz, and Le Macfarlane as Eichner's love tert.
BILLY EICHNER’S GAY ROM-COM ‘BROS’ IS AS HILAR AS IT IS HISTORICBILLY ON THE SCREENTHE FIRST MAJOR STUD GAY ROM-, BILLY EICHNER’S NEW MOVIE IS A BIG DEAL. THANKFULLY, S UNAPOLOGETIC BAWDS AND NVENTNAL FORMULA HELP LIVE UP TO HIGH HOP.NICK SCHAGERENTERTAMENT CRICUPDATED SEP. 10, 2022 3:05PM EDT / PUBLISHED SEP. 10, 2022 3:02PM EDT UNIVERSAL PICTURBROS IS A LANDMARK FILM. NOT ONLY FOR BEG THE FIRST GAY ROM- PRODUCED AND DISTRIBUTED BY A MAJOR AMERIN STUD (UNIVERSAL), BUT FOR BEG A PERFECTLY FORMULAIC GAY ROM- THAT STARTS WH A BAWDY BANG AND THEN BE MORE STANDARD-ISSUE (AND PREACHY) AS NEARS THE FISH LE.IN BOTH S, THAT N BE VIEWED AS PROGRS, AND BETTER STILL, NICHOLAS STOLLER AND BILLY EICHNER’S EDY—BUTG AT THIS YEAR’S TORONTO FILM FTIVAL BEFORE PREMIERG THEATERS ON SEPTEMBER 30—HAS MORE GOG FOR THAN S GROUNDBREAKG PEDIGREE. NAMELY, HAS A STEADY STREAM OF LGHS, MOST OF THEM URTY OF S HEADLER, WHO EMPLOYS HIS TRAMARK GMPY-TTY-HOSTILE PERSONA FOR A SNARKY AND SERMON-Y SAGA ABOUT FDG YOURSELF AND, THE PROCS, YOUR IAL (IF UNLIKELY) PLEMENTARY HALF.IN HIS FIRST BIG LEAD ROLE FOLLOWG A OF HOSTG THE HILAR BILLY ON THE STREET SERI AND STEALG SCEN ON THE LIK OF PARKS AND RECREATN, EICHNER IS BOBBY LIEBER, A SUCCSFUL NYC PODSTER WHO’S ALSO SPEARHEADG THE CREATN OF THE CY’S MAIN LGBTQ+ HISTORY MM. BOBBY WANTS TO E THIS PLATFORM TO RURRECT THE MARGALIZED STORI OM HIS MUNY THAT HAVE BEEN ERASED BY MASTREAM FORC, CLUDG—MOST NTROVERSIALLY—THAT OF ABRAHAM LLN, WHOM BOBBY AIMS TO OUT A GRAND EXHIB, MUCH TO HIS LBIAN, BISEXUAL AND TRANS WORKERS’ NSTERNATN.STEPPG ON PEOPLE’S TO ISN’T BOBBY’S NCERN, HOWEVER; WHETHER BROADSTG HIS OWN DISTERT LOVE AND ROMANCE OR CHATTG ABOUT HIS GRIM AND UNSATISFYG GRDR ENUNTERS, HE’S BRASH, UNHIBED, AND MORE THAN A B ABRASIVE. IN OTHER WORDS, HE’S AN EVER-SO-SLIGHTLY FICTNALIZED VERSN OF EICHNER, A MANNER AK TO ADAM SANDLER FUNNY PEOPLE, AMY SCHUMER TRAWRECK, AND PETE DAVIDSON THE KG OF STATEN ISLAND—ALL OF WHICH, LIKE BROS, WERE PRODUCED BY JUDD APATOW. EICHNER AND DIRECTOR STOLLER’S SCRIPT IS STEEPED S STAR’S EXPERIENC AS A SGLE 40-YEAR-OLD MMENT-PHOBE NAVIGATG A DIVERSE GAY MANHATTAN, MARKED BY DNER PARTI WH A UPLE THAT’S HAPPY TO ANNOUNCE THEY’RE NOW A “THROUPLE,” AND NIGHTS OUT AT A CLUB WHERE JT ABOUT EVERYONE OTHER THAN BOBBY IS A SHIRTLS, RIPPED HUNK. IT’S AT ONE OF THOSE VENU THAT BOBBY LOCKS EY WH, AND IS TRODUCED TO, AARON (LE MACFARLANE), A STRIKGLY HANDSOME AND BUFF TATE LAWYER WHOM BOBBY’S IEND SCRIB AS “BORG.”GIVEN BOBBY’S PULSIVE HAB OF SAYG EXACTLY WHAT’S ON HIS MD, HE WAST NO TIME LLG AARON BORG TO HIS FACE, ALTHOUGH MORE SURPRISG IS THE FACT THAT THE TWO QUICKLY STRIKE UP A NNECTN—ONLY FOR AARON TO REPEATEDLY VANISH LIKE SOME SORT OF UNRWEAR-MOL VARIATN OF BATMAN. NOHELS, THEY EVENTUALLY BEG TEXTG AND HOOKG UP, SPE THEIR ODD-UPLE DYNAMIC: AARON IS A GGED ALPHA WHO’S TO SPORTS, THE HANER AND GARTH BROOKS, AND BOBBY IS A THEATRIL LOUDMOUTHED ACTIVIST WHO N’T STAY SILENT FOR TWO SENDS. EICHNER’S SCHTICK IS OF A LOVE--OR-HATE- VARIETY, AND MUCH OF HOW BROS PLAYS PENDS ON ONE’S TOLERANCE FOR HIS “ANGRY, JUDGMENTAL” CHARACTER. THAT SAID, STOLLER’S EDY UNRL THAT BOBBY’S IDSYNCRATIC LOUD-AND-PROUD ATTU—AS WELL AS HIS MORE FEME SPEECH AND BEHAVR, PECIALLY PARED TO THE CROSSF-OBSSED, TTOSTERONE-JECTG AARON—IS SOMETHG FOR WHICH HE SHOULD MAKE NO APOLOGI.THE FILM HAS BOBBY PERDILLY EXPOUND ON THE NEED FOR LGBTQ+ VOIC TO BE HEARD AND, JT AS CCIALLY, FOR THEM TO NOT BE SILENCED BY REQUTS TO “TONE DOWN” THEIR FLAMBOYANCE FOR STRAIGHT PATRTS. THOSE MOMENTS ARE TE TO THE STORY AT HAND, YET THEY’RE NOT ALWAYS GRACEFULLY WOVEN TO THE ACTN PROPER, HIGHLIGHTED BY A CREAKY BOBBY BEACH MONOLOGUE ABOUT THE DISCRIMATN HE’S FACED, AND FOUGHT AGAST, SCE CHILDHOOD.BROS EMBRAC S QUEERNS WHILE EXPLAG WHY DOG THAT IS IMPORTANT, AND IF THE LATTER N OCSNALLY MAKE THE FILM FEEL LIKE AN ABC AFTERSCHOOL SPECIAL, ’S NSISTENTLY SHARP WHEN MG BOBBY’S ROLLERASTER EXISTENCE JUGGLG ONE-NIGHT STANDS, PROFSNAL HEADACH AND PKY NEWFOUND EMOTNS THAT MIGHT JT BE—SPOILER ALERT!—LOVE. BOBBY N’T QUE GRASP WHY A GUY LIKE AARON IS TERTED HIM, AND THAT’S UNRSTANDABLE; THE DUO’S Y-YANG CHEMISTRY IS NEVER WHOLLY BELIEVABLE, THIS SPE MACFARLANE’S CHARMGLY LOW-KEY PERFORMANCE AS A JUICEHEAD WHO’S ATTRACTED TO BOBBY FOR HIS TELLIGENCE, SUCCS AND LACK OF RERVE. STILL, THEY MAKE A CUTE PAIR, AND THEIR ABSURD UPS AND DOWNS ARE ALL THE FUNNIER FOR BEG ATTUNED TO THE STGGL OF 21ST-CENTURY GAY MEN, BE THEY WH REGARDS TO INTY AND BODY-IMAGE ISSU, THE PH-PULL BETWEEN SPONTANEO TRYSTS AND LONG-TERM MMENT, OR THE TRICKS OF ALG WH PARENTS—THE LAST OF WHICH, DURG A DNER OUT WH AARON’S VISG MOM AND DAD, SERV AS THE TALE’S FACTO PLOT CRISIS.THROUGHOUT, BOBBY’S QUIPS ARE THE ENGE THAT KEEPS BROS NNG, AND THEY’RE SO SPIKY AND ON-TARGET THAT ’S EASY TO OVERLOOK THE MATERIAL’S HACKNEYED GENRE MANVERS. TWO SEPARATE N-S WH WILL & GRACE VET DEBRA MSG ARE PARTICULARLY CHUCKLEWORTHY, AS ARE BOBBY’S QUEER EYE DN AND AN EXTEND RIFF ON SAME-SEX WBOY MOVI.“NOT ALL GAY PEOPLE ARE NICE!” SCREAMS BOBBY AT FILM’S OUTSET, AND EICHNER AND STOLLER’S FEATURE IS BT WHEN LEANS TO S PROTAGONIST’S AGGRSIVE, ARGUMENTATIVE ENERGY—AND, ALSO, THE DOUBT AND SELF-LOATHG THAT LURKS BENEATH HIS ARSE EXTERR. WHEN BOBBY GETS CREASGLY ANNOYED AT A GRDR REQUT FOR AN ASS PIC, SUBSEQUENTLY CUTS HIMSELF SHAVG HIS REAR END FOR SAID SNAPSHOT, AND THEN GETS REJECTED FOR HIS UNRWHELMG RRIERE, EICHNER TAPS TO A SIMULTANEOLY MAD-AND-MOROSE VE THAT PROV TO BE THE PROCEEDGS’ STRONGT SU. “BROS WALKS S TALK ABOUT WANTG TO CELEBRATE THE THENTIC REALI OF LGBTQ+ AMERINS ALL THEIR MSY, NTRADICTORY GLORY.” REFERENC TO BARBRA STREISAND, CHER, MARIAH CAREY AND HALLMARK CHRISTMAS MOVI—THE LAST OF WHICH ARE MOCKED FOR PANRG TO QUEER DIENC—ARE ALL PREDICTABLE PARTS OF THE PACKAGE, AND SO TOO IS A THREAT TO BOBBY AND AARON’S BLOSSOMG AMOUR THE FIGURE OF AARON’S FORMER HOCKEY TEAMMATE.BROS WALKS S TALK ABOUT WANTG TO CELEBRATE THE THENTIC REALI OF LGBTQ+ AMERINS ALL THEIR MSY, NTRADICTORY GLORY, AND THOUGH DO THAT WH A FEW TOO MANY ALICIZED SPEECH ABOUT S TENTNS, S SCERY ULTIMATELY WS OUT. MOREOVER, EICHNER AND STOLLER’S CISN TO FASHN THEIR GAY ROM- A VISUALLY, NARRATIVELY AND THEMATILLY FAIAR MOLD HAS THE EFFECT OF FILTERG THE RADIL THROUGH THE TRADNAL (A NOTN UNRSRED BY S UNTRY-MIC FALE).IN THE END, WHAT MAK BROS SO NOTEWORTHY IS THAT TREATS BOBBY AS JT ANOTHER SCREWY ROM- HERO, UNSURE OF HIMSELF AND SECRETLY SPERATE FOR THE NNECTN HE BELIEV HE DON’T NEED. IT’S AN AMG ACT OF CEMATIC NORMALIZATN, PNEERG PRECISELY BEE ’S SO NVENTNAL. NICK SCHAGER
The movie, which is beg lled the first gay romantic edy by a major stud, jt wrapped filmg and is schled to h theaters Augt 22, 2022. Tells the story of bt iends Jane and Lucy, when one of them gets a promotn to move to London and the other out as gay. Set post World-War II Germany, this Atrian drama follows Hans Hoffmann (Franz Rogowski) who's imprisoned several tim for beg gay and durg his time prison shar an timate relatnship wh his cellmate, Hans Hoffmann (Franz Rogowski), who is servg a life sentence for murr.