Brothers

My brother Jacob called me in today to review a movie called Brothers (hmm... I wonder if he was intending something by that). I only knew the film from one trailer that I saw 7 years ago, but the trailer gives away far too much. Let me tell you, Mr. Director Jim Sheridan, you'd do yourself a favor not to spoil your own movie. Or if you do, make sure your film has enough going for it that it doesn't need to rely on the element of suspense.

Maybe that's too harsh. There's a certain type of film whose existence depends on the particular scenario its plot establishes (2015's Room is another example of this—also one that gives away far too much in its trailer), and to “sell the audience” on seeing the movie, you need to show them what the scenario is. In this type of film, the characters aren't interesting to us in themselves: they're interesting because of the scenario they're thrown into. Unfortunately, Brothers shows off some of the payoffs and all the pitfalls of this approach to filmmaking.

Sheridan is guilty of a lot of hand-holding in this film. Sam (Tobey Maguire) is the good son. Tommy (Jake Gyllenhaal) is the bad son. And every time Tommy speaks to his father, they get into a big uncomfortable fight. But it's alright. Tommy improves in everyone's eyes—and the improvement is conveyed in minutes via montage with upbeat music overlaid. This conventional premise is hammered into our heads again and again throughout the first hour.

And speaking of hammering, the cuts are guilty of the same broad strokes. Sam's idyllic domestic life—CUT! Tommy up to no good in a bar. Or, we are invited to contrast the peace of life at home vs. life in Afghanistan as we watch the shot of Sam driving a military vehicle succeeded by his wife, Natalie Portman, driving a van. And in case we missed the contrast, we cut back to the military van. And back to the family van. Really, this scene has more cuts in it than a Norman Bates victim, though with less subtlety than a Bates.

Things do get better, though. Eventually. The third act is pretty much the sole premise for the film, and in it we are treated to a topnotch performance by Maguire, complete with his own variation on the Citizen-Kane-tearing-down-the-house motif. But even here, the dialogue is still spotty. This Mature-rated film doesn't expect any maturity from its viewers. For a 'character-driven' film, dialogue is key.

Lastly, you do get some heartwarming moments by the end. And a film that can help make people aware of combat-related post-traumatic stress can bring about an actual good in society. Its heart is in the right place, if not its brain.

Okay guys, I hope you enjoyed my brother's review today! If you'd like to see more of him, check out his blog called Coffee Cup by the Lamplight. Well, what next week's reviews lacks in brothers, it will make up for in Shakespeare and superheroes. If you've seen any stage production whatsoever of Shakespeare, well, good for you, but that does not prepare you for the vision of this movie. And due to popular demand, I need not even say which superhero film I am reviewing next week-- was I entertained, or did I lean more with the critics? All will be found out in next week's episode!