The director of ‘Bros’ disappointed the audience with the film’s box office failure

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

The screenwriter/director previously created hit movies like “Forget Sarah Marshall,” “Bring Me To The Greeks,” “The Muppets,” and “Neighbours.”

Now with theatrical comedy about life supportStoller is back with “Bros. The gay romantic comedy follows two stubborn single souls (Billy Eichner, Luke Macfarlane) who love each other despite themselves.

And the audience is far away, away from the movie.

The movie earned the infamous way 4.8 million dollars on opening weekend, a far cry from the $22 million budget and reported $30 – $40 million in marketing expenses.

Hollywood news outlets have been writing about the film’s failure since last weekend. Now, the distant Hollywood reporter is asking Stoller and “Bros” co-star Guy Branum What explains box office results.

Branum claims his marketing idea was completely rejected by Universal, the studio behind the film. Stoller struggled to handle the film’s commercial flaws, citing critical acclaim for the film (89 percent “fresh” on Rotten Tomatoes) and positive screening tests.

Eichner blamed the outspoken community for ignoring his film (he co-wrote the script with Stoller). Stoller confirmed Eichner’s comments, citing confidential data to Universal. The dismal numbers still show that most gay Americans picked up other movie options last weekend.

The director gave other reasons for the film’s failure, including his assertion that Hollywood had “trained” audiences not to watch comedies in theaters.

That certainly wasn’t true of the pre-wake era. Comedies regularly hit the $100 million mark at the US box office. Think:

  • Bridesmaids” ($169 million)
  • Hangovers 1, 2 and 3” ($277 million, $254 million, $112 million, respectively)
  • Step brother” (100 million dollars)
  • Ted” (218 million dollars)
  • 22 Jump Street” ($191 million)
  • Neighbor” ($150 million)
  • Pitch Perfect 2 and 3” ($184 million, $104 million, respectively)

Stoller partly blamed the audience for not looking up his film.

“It was very strange just because the movie was so much fun. And as a theater comedian – or did until this weekend – I love watching comedies in the cinema, and so does everyone. It’s almost like people don’t know what’s good for them. [emphasis added]”

Stoller turned his desired franchise “Neighbours” into a love awakening, hiring two female screenwriters to strengthens its feminist beliefs. That sequel, “Neighbors 2: Sorority Rising,” earned $95 million less than its predecessor, killing the franchise in the process.

What the “Bros” director didn’t realize was how much of a culture blames “Bros” for the failure. Comedies on the big screen can no longer be as entertaining as they once were. Even tedious tickets like “Stuck” and “Hard” suffer from withering reviews because “problem. “

That mindset handcuffs artists, reducing the jokes they can tell in the process. Even comics as far left as Self-censorship “Desus & Mero” for fear of destroying the Culture.

That’s also why the “Hangover” director Todd Phillips has left the genre to direct 2019’s “Joker”

Stoller ignores the fact that too many Hollywood stars alienate potential audiences. Eichner is a prime example, using his Twitter account and public appearances to criticize anyone he disagrees with politically.

In addition, audiences are exhausted by the culture of weaponization of the Left in every possible forum. That “Bros” trailer suggests that the film is more of a similarity, mocking outspoken people, extolling an LGBTQ+ museum subplot, and proudly sharing characters participating in a “group.”

The “Bros” director’s comic book time stays the same throughout his new movie. Still, he might want to step outside of his Hollywood bubble, to understand why so many Americans, both straight and gay, aren’t lining up to see “Bros.”


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