‘Bros’ Embraces Best Rom-Com Tropes

LGBTQ+ love story's quest for inclusivity, approval hits self-inflicted road blocks

Gay-themed romances aren’t new to Tinsel Town. Think “Brokeback Mountain,” “Happiest Season” and “Call Me By Your Name,” for starters.

“Bros” is still a very different kind of film. It’s a rom-com featuring two male characters with all the trappings of a major studio release.

Everything else here is unapologetically heterodox.

The film’s frank depictions of gay sex, culture and identity set it far apart from any mainstream movie. All of the above suggests the story might coast on those factors, content that its groundbreaking nature requires little else in our woke age.

Instead, “Bros” delivers well-defined characters, smart dialogue and, best of all, laughter. The story’s insistence on diving into a “grooming” culture war battle, though, may lose a sizable group of viewers.

It’s an unforced error in a story seeking, and mostly earning, widespread approval.

Bros | Official Trailer [HD]

Billy Eichner stars as Bobby, a podcaster whose love life consists of one-night stands, courtesy of Grindr. He’s smart and cynical, and he’s not pining for a relationship of any kind.

Just. Not. Interested.

And then he meets Aaron (Luke Macfarlane), a hulking gent who holds the same mindset. The two flirt and fight between awkward sexual encounters, but they slowly realize how much they enjoy each other’s company.

That’s where the cultural complications kick in.

Bobby’s social warrior bona fides come first, always. Aaron, who presents as a traditional (read: straight) male straddles his gay and heterosexual worlds. Both bring plenty of baggage to the courtship, and it’s here where “Bros” assembles its sharpest commentary.

And boy, does “Bros” drown in commentary.


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Bobby is spearheading a new LGBTQ+ museum project, with his fellow creators bickering about President Abraham Lincoln’s gay vibes and other issues. The film stops over and again to deliver a lecture on gay rights, historical punishments and more.

The Stonewall riots get repeatedly name-checked before the first act wraps.

“Bros” just can’t help itself, but it should.

Yet when Bobby breaks down why his confident façade is just that, the movie soars. He shares the hurt he’s accumulated over time, and it speaks to cultural injustices far better than any ham-fisted lecture.

The film generates some laughs by poking fun at the Hallmark Channel, both its lineup of bland originals and the way the woke Left forced it to embrace sexual diversity. On screen, it’s cynically suggested Hallmark was chasing dollar signs, not bowing to Cancel Culture.

The sly, unspoken gag? Macfarlane starred in several Hallmark originals.

Billy Eichner, Luke Macfarlane and Nicholas Stoller talk 'Bros' at TIFF 2022 | Variety Studio

Eichner, who co-wrote the script, has a mile-a-minute style that perks up every scene, and he’s not afraid to give Bobby real flaws. The rest falls in the capable hands of director Nicholas Stoller (“Forgetting Sarah Marshall”), who has a keen sense of both comic timing and making the most of every punch line.

Traditional audiences may still squirm from start to finish.

Along the way we’re treated to throuples, gay orgies, anonymous sex and a dash of foot worship. Eichner is holding nothing back here, going so far as to gently critique gay culture at times without drawing satirical blood.

“Bros” includes several off-putting scenes that may upend the film’s plea for tolerance. An early sequence finds Bobby talking to a straight couple and their young children present. The chat veers into gay sex details, and Bobby asks, and rightly so, if the conversation is appropriate for young ears.

The woke parents just shrug, as if any element of the gay lifestyle must be embraced by children of any age.

No exceptions.

Later, Bobby argues with Aaron’s mother (Amanda Bearse), an elementary school teacher, that gay history should be introduced to second graders. The film later doubles down on the argument, akin to a victory lap.

A line likely to alienate viewers from both ideological sides? A character notes that two-thirds of her child’s grammar-school class mates consider themselves “non-binary.”

Later, Bobby lovingly recalls his parents taking him to a play where the male cast appears fully nude. It’s meant to show how children must be exposed to gay relationships and issues. Many will recoil at the context given Bobby’s age at the time. He was 12.

No matter your political leanings, “Bros” is, yes, an inclusive step for an industry that kept gay stories off-screen for decades. Eichner and co.’s eagerness to embrace culture war issues may work against the progress it seeks.

HiT or Miss: “Bros” offers a different kind of rom-com, but it falls back on the genre’s better elements to power its love story.


  1. Bros give the game away on Groomer Culture: It’s always about the children.

    “My parents took me to see a play with naked men in it. I was 12.” Oh, okay then. But for political reasons you were “born with it.” No, fess up here: someone led you to it. You’ve all but admitted it.

    It’s not biological. It’s a belief system at best, and that’s shown by the degree that reinforced belief and behavior is so critical to queer culture. That’s on full display in this film, as there is a constant need to reinforce queer doctrine, beliefs, and lifestyle in each and every situation. There’s also a need to introduce children to the queer manner at early opportunities, through orchestrated museum visits or by parental injections. You can’t be just “gay” like Peter Thiel, to be queer you have to be 24/7 queer from your socks and FB profile to your dietary habits, the car you drive, and the brand of lubricant you use. None of that is something you’re “born with,” it’s all an engineered culture from top to bottom.

    People in Queer society are astutely aware of this, which is why the slightest resistance, or even just indifference freaks them out. It’s a constant reminder of what they’ve left behind. They need to be coddled, otherwise there’s no point in being queer.

  2. Toto presents as a conservative, even Christian, commentator on Hollywood but this review, and others on same-sex productions, shows he has been totally co-opted by this movement what with “social injustices”, his ease with watching homosexual activities and his total acceptance of their claims to legitimacy.

  3. I have absolutely no desire to see this and that is entirely because of the subject matter. I am not interested in watching a gay bromance.

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