There’s a reason why “Bros,” the self-proclaimed first gay-centric romantic comedy from a major Hollywood studio, flopped on its opening weekend, and it has nothing to do with rampant homophobia, regardless of what its co-lead actor/co-writer/co-executive producer Billy Eichner would have you believe. While laced with some brutal and hysterical barbs and observations about life as anything other than heteronormative in today’s society, the reality is that “Bros” lacks the fortitude to truly challenge its audience with something original and provocative, and instead falls victim to the same creative pitfalls that derail many heterosexual rom-coms.
For fuck’s sake, “Bros” even has a musical interlude deep in its third act when Eichner’s character, Bobby, suddenly has a full band on standby so he can perform a sappy love song he wrote for his on-again-off-again boyfriend Aaron (Luke Macfarlane).
There’s a reason why “Bros,” the self-proclaimed first gay-centric romantic comedy from a major Hollywood studio, flopped on its opening weekend, and it has nothing to do with rampant homophobia, regardless of what its co-lead actor/co-writer/co-executive producer Billy Eichner would have you believe. While laced with some brutal and hysterical barbs and observations about life as anything other than heteronormative in today’s society, the reality is that “Bros” lacks the fortitude to truly challenge its audience with something original and provocative, and instead falls victim to the same creative pitfalls that derail many heterosexual rom-coms.
For fuck’s sake, “Bros” even has a musical interlude deep in its third act when Eichner’s character, Bobby, suddenly has a full band on standby so he can perform a sappy love song he wrote for his on-again-off-again boyfriend Aaron (Luke Macfarlane).