‘Bros’ director blasts audiences for film’s box office failure


If anyone could bring comedy back to the movies, it’s Nicholas Stoller.

The writer/director has already delivered hits like “Forgetting Sarah Marshall,” “Get Him to the Greek,” “The Muppets” and “Neighbors.”

Now, with life-supporting theatrical comedy, Stoller is back with “Bros.” The gay romantic comedy follows two stubborn bachelors (Billy Eichner, Luke Macfarlane) who fall in love despite themselves.

And the public remains far, very far from the film.

The film sadly deserved $4.8 million on its opening weekend, falling well short of its $22 million budget and grossing $30-40 million in marketing costs.

Hollywood media have been writing about the film’s failure since last weekend. Now the far-left Hollywood reporter asks Stoller and ‘Bros’ co-star Guy Branum which explains the results at the box office.

Branum claims his marketing ideas were flatly rejected by Universal, the studio behind the film. Stoller struggles to deal with the film’s commercial misfires, citing critical praise for the film (89% “fresh” at Rotten Tomatoes) and positive screening tests.

Eichner blamed the straight community for ignoring his film (he co-wrote the screenplay with Stoller). Stoller confirms Eichner’s comments, citing private data from Universal. The dismal numbers still show that most gay Americans chose other movie theater options last weekend.

The director cited other reasons for the film’s failure, including his claim that Hollywood “trained” audiences not to see comedy in theaters.

This is certainly not true of the pre-awakened era. Comedies have regularly crossed the $100 million mark at the US box office. Think:

  • Bridesmaids($169 million)
  • The hangover 1, 2 and 3($277 million, $254 million, $112 million, respectively)
  • Half brothers” ($100 million)
  • Ted(218 million dollars)
  • 22 jump street($191 million)
  • Neighbors(150 million dollars)
  • Perfect pitch 2 and 3($184 million, $104 million, respectively)

Stoller partly blames the public for not seeking out his film.

“It’s very strange just because the movie is so much fun. And as someone who does comedies for theaters – or did until, I guess, this weekend – I love see comedies in theaters, and people do. It’s almost like people don’t know what’s good for them. [emphasis added]”

Stoller turned her budding “Neighbors” franchise into a woke affair, hiring two screenwriters to bolster her feminist bona fide. That sequel, “Neighbors 2: Sorority Rising,” made $95 million less than its predecessor, killing the franchise in the process.

What the “Bros” director doesn’t realize is how much culture is responsible for the failure of the “Bros.” Big-screen comedies can no longer entertain as they once did. Even lukewarm dishes like “Snatched” and “Get Hard” are getting scathing reviews for being “problematic.”

This mindset cuffs performers, reducing the jokes they can tell. Even far-left comics like “Desus & Mero” censor themselves for fear of Cancel Culture fallout.

It’s also why “Hangover” director Todd Phillips left the genre to helm “Joker” in 2019.

Stoller ignores how alienating too many Hollywood stars are to a potential audience. Eichner is a prime example, using his Twitter account and public appearances to speak out against anyone he disagrees with on politics.

Moreover, the public is exhausted by the weapon culture of the left in every possible forum. This “Bros” trailer suggests the film is more or less the same, poking fun at straight people, touting an LGBTQ+ museum subplot, and proudly sharing characters engaged in “troupe.”

The “Bros” director’s comedic timing remains relevant throughout his new film. He might want to get out of his Hollywood bubble, though, to figure out why so many Americans, straight and gay, haven’t lined up to see “Bros.”


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