THE PHANTOM OF THE OPERA 2004 ART EASY MOVIE

In large part, this is because Eichner’s screenplay doesn’t fall into the trap of being governed by the same tropes and expectations it makes fun of. Not content to simply settle into familiar territory, he sets his sights on rising to the level of the romance classics he boldly references throughout, from “When Harry Met Sally” to “You’ve Got Mail” to “Manhattan.” With the help of director and co-writer Nicholas Stoller, whose sure-handed cinematic sensibility allows the star’s broadly satirical strokes and flights of absurdist fancy to flourish while still remaining grounded, he succeeds.

If that were all that “Bros” accomplished, it would be enough, but it gives us so much more. There’s a method to Eichner’s madness, and it hinges on reminding us that we are all, from a certain perspective, utterly ridiculous. It’s very much the kind of savagely iconoclastic spoof we would expect from its creator, making fun of social conventions (both gay and straight) and lampooning everything from awards-show stunt fashion to celebrity athletes coming out of the closet to “Dear Evan Hansen” - but it’s not nearly as scattershot as it sometimes feels. It turns out he’s wrong on all counts, and the two men soon find themselves drawn into a relationship, despite some serious issues around commitment and the fact that they seem to have nothing in common.Īll of this is a perfect match for Eichner’s comic sensibilities – he’s built his image on calling out society for the absurdity of its assumptions, the illogic of its priorities, the depth of its shallowness, and “Bros” gives him plenty of opportunity to do exactly that, as well as plenty of fodder for his usual zingers and pop-culture references. While at a launch event for a new dating app, Bobby meets Aaron (Macfarlane), who – as one of the crowd of shirtless gay scenesters he’s used to being ignored by, he assumes is shallow, not too bright, and not into him at all.

“Bros” is unabashedly autobiographical in tone, presenting Eichner essentially as an alternative version of himself if he had been a queer history scholar and author instead of a poly-hyphenate show biz celebrity his character, Bobby Lieber, has even got a podcast, allowing him to voice the kind of take-no-prisoners witticisms and shrewdly queer observations about life and culture for which both versions of himself have become famous.

THE PHANTOM OF THE OPERA 2004 ART EASY MOVIE

This expectation seemed all but confirmed when Eichner announced the casting of actor Luke Macfarlane – known for playing handsome hunks in the very romcoms his movie would presumably be sending up – as his love interest.Īs it happens, those assumptions were not entirely wrong. When Eichner was tapped to make his film for Universal, many may have assumed it would be a showcase for his signature comedic persona - acerbic but disarmingly funny, more than a touch manic, somehow confrontational, defiant, and self-deprecating all at the same time - that would also poke fun at a heteronormative genre beloved just as often by its queer fans for its camp value as for anything else. After all, even when a movie scores as many points for LGBTQ representation as this one does, what really matters is whether or not it’s actually any good. Still, now that his much-anticipated movie is finally out, we can finally stop talking about all that. The “Billy on the Street” writer/comedian/actor, true to his brand, has been loud-and-proud about his efforts to foster authenticity and inclusivity throughout the making of his film, and rightly so. If you’re reading this, you probably already know that “Bros” is a history-making milestone for LGBTQ representation in the movies - the first gay romantic comedy produced by a major Hollywood studio, written by an openly gay man (Billy Eichner) who also stars in it – and that it was made with queer talent filling virtually every role, both on camera and off.

The phantom of the opera 2004 art easy