After The Screaming Stops - This Tap-like Bros Reunion Movie Rocks More Than You'd Think
Dir: Joe Pearlman, David Soutar
Starring Bros (but not Craig)
Who knew Bros would turn out to be the new Spinal Tap? This thoroughly entertaining doc focuses on the reunion last year of what was briefly one of the biggest boy bands in Britain, or as they like to call it, the world.
The film opens by establishing its two central heroes: Luke Goss – lives in Los Angeles and from these early shots of him on the beach, him on a mountain top, he is clearly cast as the spiritual one, looking for meaning in his life and dragging along Ron Perlman to sing his praises as an actor. Before the proposed one-off reunion, Luke was finishing off his directorial debut, a film he has laboured on for six years. From what little we see of it, it looks like straight to video fodder – but not to worry, most of his oeuvre has been.
Next we meet Matt Goss – lives in Las Vegas and is bizarrely successful as something of a Sinatra-lite casino crooner, he’s, well, the not very bright one. Although he thinks he is. Thus we find him explaining to us that he had his beloved bulldog painted with a pint of lager – as he stands in front of said painting of his beloved bulldog with a pint of lager, he explains that a firm commitment to Stevie Wonder means he does not believe in superstition (still not sure if he means the song), and that the letters “h – o – m – e” represent “home.”
Throughout the film he remains a bucketful of genuinely confused and confusing aphorisms and botched metaphors. He is (more than likely unintentionally) hysterical.
And whilst Matt’s talk of 15 one-way roads but only one two-way road, and of having to be on the same page “otherwise you can’t turn the page,” the movie also features some superb backstage bust ups, largely due to Matt’s delicate ego and Luke’s well-labelled passive aggressiveness. It’s so Tap you just wait for them to break up again. But they don’t, they get to their night of glory at the O2, tough sadly the film doesn’t go on to discuss why they cancelled the rest of their comeback tour after that one gig.
As if to prove the filmmakers – who have the full support of the band – were not out to sabotage the boys, there is also a fair deal of poignancy in the film – the brothers’ desire to rekindle their friendship, their obvious love of their late mum – even if it is often derailed by Matt trying to explain it all using big words.
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