Cast: Morris Chestnut, Shemar Moore, D.L. Hughley, Bill Bellamy, Gabrielle Union, Susan Dalian, Tamala Jones, Jenifer Lewis, Clifton Powell
Director: Gary Hardwick
Producers: Paddy Cullin, Darin Scott
Screenplay: Gary Hardwick
Cinematography: Alexander Gruszynski
U.S. Distributor: Screen Gems
Once, not too long ago, it would have been considered revolutionary for a movie about black twenty-something men to be almost entirely devoid of violence. But that was before efforts like The Best Man and The Wood proved that there was a considerable market for male-oriented dramas set in the African American community. (For women, there are the likes of Soul Food, Waiting to Exhale, and How Stella Got Her Groove Back.) However, now that the door is open, we're seeing sub-par material like The Brothers find its way through. This movie does what dozens of Caucasian-centered films have done: explore tired themes via a worn-out, cliché-riddled storyline. And, like many multiplex visitors before it, The Brothers makes the mistake of thinking it has uncovered some wise, new insight into the human condition, when, in fact, it's regurgitating pop psychology ideas that are unlikely to be surprising to anyone sitting in the audience.
The title characters are four affluent black yuppies who have varying views on issues of intimacy and commitment. Jackson (Morris Chestnut) wants to "grow up" and become involved with a woman, but he has nightmares about giving up his freedom. Then he meets Denise (Gabrielle Union), and he begins to believe that he may be able to overcome his fears. Terry (Shemar Moore) has elected to give up the single life and marry BeBe (Susan Dalian), despite having once vowed never to fall into a woman's clutches. Derrick (D.L. Hughley, one of the Original Kings of Comedy), the only married member of the group, never stops extolling the virtues of matrimony, even though his own union is on shaky ground. Finally, there's Brian (Bill Bellamy), who is so entrenched in the bachelor's lifestyle of one-night stands and meaningless sex that nothing will shake his confidence in his approach to the world.
At first glance, The Brothers seems like the male equivalent of Waiting to Exhale. After a while, however, it becomes clear that writer/director Gary Hardwick is actually more sympathetic with the women in the movie than with the men. It is possible to accuse The Brothers of male-bashing, and, had it been penned by a woman, that charge would have been forthcoming. At any rate, the four men in this movie come across mostly as self-absorbed, self-serving, petulant, and infantile, while the women are presented as long-suffering and patient. Although the female contingent in the audience may find this approach true-to-life, it's likely to turn some men off.
Hardwick's screenplay is not well-written. There are several conversations (both between "the brothers" and "the sisters") that are intended to offer deep revelations about commitment, love, men, women, and relationships. However, instead of offering a fresh perspective on anything, these discussions (which use a lot of stiff language that suggests a screenwriter's presence) sound like they're repeating phrases out of self-help books. Men are afraid to commit. They hate being seen as weak. The one sure sign of true love is when the man gives the woman the last bite of food.
The various relationships are presented with different degrees of success. The one with the most screen time is that between Jackson and Denise. Unfortunately, although Jackson is a nice guy (and Morris Chestnut does a good job portraying him), his interaction with his girlfriend is dragged down by an unerring reliance upon formulaic clichés. In a romantic comedy, this might not be all bad, but The Brothers is more of a drama than a comedy (although there are sequences played primarily for laughs, especially those featuring Hughley). Likewise, the relationship between Terry and BeBe is weakly drawn, wasting the talent of a couple of likable actors. Perhaps the most interesting couple is Derrick and Shelia (Tamala Jones), who, in many ways, are the most down-to-earth individuals in The Brothers (although the whole oral sex thing is overplayed). Then there's Brian, who has so little personality that he's easily forgotten. (He also isn't paired up with anyone - at least not for long.)
The Brothers is not poorly made, and it offers a level of "safe" entertainment for those who are looking for an unchallenging, derivative diversion. But, aside from a few nice performances, there's nothing here of note, and, even though the movie thinks it's breaking some kind of new ground, it's actually spinning its wheels in well-explored territory. The Brothers is in desperate need of a breath of fresh air to break up the stale atmosphere, but there's none here.
© 2001 James Berardinelli