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Box Office: 'Brothers' grossed $4.8 million over the weekend

Luke McFarlane and Billy Eichner in Brothers

Universal

In grim but not surprising news, Universal’s Brothers becomes the latest live-action drama comedy, mostly in empty theaters. Billy Eichner/Luke McFarlane’s romantic comedy made just $4.8 million over the weekend. That includes $1.84 million on Friday, including $500,000 from Thursday’s preview. That’s lower than the opening of Jo Koy’s Easter Sunday , which opened at the box office in early August Revenue was $5.44 million. Written by Eichner and Nicolas Stoller and directed by Stoller, the $22 million film is technically the first mainstream, widespread theatrical rom-com starring a same-sex couple. Alas, the trailer and much of the media coverage underscores its importance, its groundbreaking presence, and its social value as to whether or not the film is entertaining.

I think this movie is in the same category Trap, thrives when it’s “just” a rom-com, but stops in its tracks to congratulate itself on its existence and hit every LGBTQIA discussion point. Media coverage reflects a common annoyance: Every major celebrity image emphasizes demographic triumph and aspiring empowerment. Notice how many people made headlines with some exciting changes to The Dixie Chick’s outrageous “Not Ready to Make Nice.” These are things that may please clients, include stories about how each new young actor becomes the next great hero/woman to conquer Hollywood, and may attract social attention. However, it does not sell tickets.

However, the movie got an A on Cinemascore and a 91% and 7.18/10 on Rotten Tomatoes, so (like Smile , which I feel is a warm-up to its cinematic predecessors, poor improv), I’m clearly in the minority. I love David O. Russell’s Amsterdam, so maybe I’m turning into a bitter contrarian. Without ignoring the prevalence of homophobia, Bros is an original, R-rated, no The star’s romantic comedy, even after Kevin Hart, Will Ferrell and Melissa McCarthy now for Netflix NFLX to make their movies. Eichner wasn’t a star, and Stoller wasn’t a big-name director, and the only marketing ploy was “the first mainstream LGBTQIA dramatic romantic comedy.” Twenty years too late.

Brother should exist (and may flourish) 25 Years ago, in The Birdcage and After success, in and out. Hollywood ignores its late 90s inclusive success stories ( Waiting for exhale, rush hour, python etc), and spent most of the 2000s and 2010s chasing the four-quadrant “white man who found him special and saved his life while getting the girls’ action fantasy franchise” one day”. We only get something like Bros or Love Simon (even Fear Street and Mitchells Vs. The Machines, should have been dramatic before Covid) is now inexcusable. That’s the subtext of Bros’s best scene (our protagonist mourns that his parents didn’t live to see his success) .

While Hollywood is chasing The Lord of the Rings, the lost time, unfulfilled career and unfinished social progress are outrageous, Pirates of the Caribbean and Shrek and then spent ten years chasing the Avengers as a crooked “heterosexual only” It takes white people to save us from Al Quada” response to 9/11. In the mid-2010s, Hollywood was a little concerned about the commercial value of “not white” movies, only to fall into a new normal where studio programmers had far less dramatic potential than pre-streaming time. The brothers may end up with over/under $12M in domestic, hopefully PVOD will Come to the rescue. Damn.

Mani Ratnam’s Tamil The action epic of the language period Ponniyin Selvan I opens Friday in 510 theaters. Based on Kaiki Krishnamurthy’s 1955 novel, the first film consists of two parts starring Vikram, Aishwarya Rai Bachchan, Jayam Ravi, Karthi and Trisha, among others. Despite little domestic media attention (and I admit to missing it), the picture grossed $2.14 million on Friday’s opening weekend with $4.11 million. That’s an average of a whopping $8,059 per theater, on par with Disney’s Brahmastra Part One: Shiva

($4.5 million in 810 quite a theater) with more coverage and marketing. That’s slightly higher than RRR ($9.5 million at 1,200 theaters last March). It’s a damn solid debut for a relatively (at least from where I’m now) version of India unknown.

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