Review: 'Bros' puts Billy Eichner through the Apatow movie-comedy machine, creating a funny movie about LGBTQ joys and anxieties.

You can’t call “Bros” the gayest movie ever made — though it’s plenty gay. But this guy-meets-guy romantic comedy is, perhaps, the gayest gay movie ever made, if one uses the old definition of “gay” meaning happy.

One of the themes that star and co-writer Billy Eichner attacks frequently is that too many movies with gay characters in the lead are sad affairs about lonely gay cowboys or something, and are usually “about two straight actors trying to win an Oscar.”

“Bros” is not that kind of gay movie. Instead, Eichner becomes the latest comedian to run his stand-up persona through producer Judd Apatow’s star-making machine — the way Amy Schumer did in “Trainwreck,” or Pete Davidson did in “The King of Staten Island.” And Eichner’s persona is witty, acerbic, a little jaded, and unabashedly homosexual.

Eichner plays Bobby Leiber, a New York podcaster who talks about his failures in creative endeavors — like when he auditioned for “Queer Eye” and couldn’t cry at the right moment — and in maintaining a long-term relationship. At age 40, Bobby has largely resigned himself to random sexual encounters with men he meets on Grindr or in gay bars.

It’s at one such bar that he meets Aaron (Luke Macfarlane), a probate lawyer who’s incredibly buff. (When Bobby meets Aaron, Aaron is shirtless.) They seem to hit it off, but something in their mutual distrust of relationships and commitment keeps them from turning lustful attraction into a dating scenario.

Meanwhile, as Bobby tries to figure out what Aaron’s deal is, Bobby is also deep into his job organizing the first national LGBTQ+ history museum. Most of his work involves begging rich gay people and celebrities — including a brilliant cameo by someone perfect for this demographic — and constantly arguing with his staff, a smorgasbord of queer representation whose members can’t agree on much of anything.

Director Nicholas Stoller (“Forgetting Sarah Marshall,” “Neighbors”), who co-wrote the script with Eichner, packs “Bros” with tons of jokes and lots of funny queer icons, including Harvey Fierstein, “SNL’s” Bowen Yang, “Married With Children’s” Amanda Bearse, Jai Rodriguez (from the original “Queer Eye for the Straight Guy”) and others. One of the best running gags involve suddenly inclusive Christmas movies on the “Hallheart Channel” — a joke that’s even funnier when you know Macfarlane has starred in a few Hallmark Channel movies.

There were moments during “Bros” where I wondered if I, as a straight male, wasn’t supposed to be enjoying this, because of how some jokes target straight attitudes about LGBTQ+ people. One of Bobby’s trans colleagues, Tamara (Eve Lindley), asks in a meeting, “Guys, do you remember straight people,” which prompts their lesbian colleague Cherry (Dot-Marie Jones) to respond, “Yeah, they had a nice run.” At another point, Bobby complains that “gay sex was more fun when straight people were uncomfortable with it.”

Speaking of which, “Bros” will indeed test straight people’s comfort level with gay sex — because the sex scenes here definitely earn the movie’s R rating.

Get over it, straights. The whole point of movies is to be exposed to lives and cultures outside of your own, and “Bros” delivers a view of the world not often seen in movies. It’s also ridiculously funny, which is reason enough to watch it.

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‘Bros’

★★★1/2

Opening Friday, September 30, in theaters everywhere. Rated R for strong sexual content, language throughout and some drug use. Running time: 115 minutes.

Review: 'Hocus Pocus 2' is a funny and engaging movie, a far cry from the dull original

Maybe there is magic in the world, if a terrible movie like 1993’s “Hocus Pocus” can inspire a sequel 29 years later, “Hocus Pocus 2,” that has more laughs and heart than the original ever hoped to have.

Yes, I know the original is beloved in some quarters, a slumber-party staple for kids whose parents wouldn’t let them watch real scary movies around Halloween. I was not one of them; I checked my original review (I’ve been doing this for a long time) and I gave it one-and-a-half stars, with a little bit of charity because I enjoy Bette Midler in pretty much anything. Before settling in on “Hocus Pocus 2” the other night, I watched the first movie again, just to see if I had mellowed — and, nope, it’s still awful, a cheaply produced affair that wastes the talent of Midler, Sarah Jessica Parker and Kathy Najimy.

So how did the sequel manage to leap over my nonexistent expectations and land squarely in “hey, this is pretty good” territory? Let’s start with the fact that Midler, Parker and Najimy have leaned into the joke more this time. They play the again-resurrected Sanderson sisters knowing they’re in a ridiculous Halloween movie, and they enjoy themselves a lot more. My favorite sight gag is when the Sandersons enter a house and are looking for something; when Midler’s Winifred says “spread out,” it’s Parker’s dim Sarah Sanderson who takes her literally and starts doing the splits.

A lot of the credit for the sequel’s success goes to director Anne Fletcher (“The Proposal,” “Dumplin’”), who latches onto the humor and the sisterly empowerment of the script by Jen D’Angelo (who shares story credit with David Kirschner, who co-wrote the original, and Blake Harris). 

That empowerment isn’t held by the Sanderson sisters, but by the teen friends who inadvertently bring them back from the dead: Magic obsessed Becca (Whitney Peak, who starred in the “Gossip Girl” reboot) and Izzy (Melissa Escobedo), who are currently feuding with their friend Cassie (Lilia Buckingham) because she’s got a dorky boyfriend, Matt (From Gutierrez), who bullies Becca and Izzy. 

The set-up is also funny, a prologue in 17th century Salem that shows us how the young Sanderson sisters became witches, with a strategic cameo from Hannah Waddingham (“Ted Lasso”). The prologue also introduces the Sandersons’ tormentor, Rev. Traske, whose descendant in 2022 is Salem’s mayor and Cassie’s father — both played with droll wit by Tony Hale.

Also throw in Sam Richardson (“Veep”) as a magic-shop owner who get in over his head by the Sandersons, and Doug Jones reprising his role as the zombie Billy Butcherson, setting the record straight about his puritan “romance” with Winifred.

With that cast, and a script that’s only partly reverential to the original, and “Hocus Pocus 2” turns out to be worth a look — even if you didn’t suffer through the original.

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‘Hocus Pocus 2’

★★★

Starts streaming Friday, September 30, on Disney+. Rated PG for action, macabre/suggestive humor and some language. Running time: 104 minutes.

Review: 'Nothing Compares' artfully relives the most intense part of Sinead O'Connor's career, with bracing commentary from O'Connor today

The documentary “Nothing Compares” shows you everything you think you know about Irish singer Sinead O’Connor from her breakout in 1987 to her infamous career-derailing 1993 appearance on “Saturday Night Live.” 

But what’s most fascinating about director Kathryn Ferguson’s intimate profile is how much it reveals that people don’t know about O’Connor — much of it from O’Connor’s own mouth.

O’Connor’s voice today — gruff and aged, and about an octave lower than the banshee wail that made her famous — is heard via audio through most of this impressionistic documentary, describing her tough childhood. O’Connor cites her Catholic upbringing, the oppressive grip Holy Mother Church had on the Irish and particularly its women, and the generations of abuse handed down from her grandmother to her mother to her.

Music, which she learned from her father, was her lifeline, and her ticket out of Dublin. Non-traditional female singers were unheard of in Ireland, and O’Connor’s only chance to sing the music she wanted to was to go to London. She joined her first band in Ireland, Ton Ton Macoute, and attracted the attention of a label and a manager, which got her to London, where she worked on her debut album, “The Lion and the Cobra,” and met drummer John Reynolds, who became the father to her first child, Jake, when she was 20.

O’Connor talks candidly about how her pregnancy upset her record label, who she said suggested she get an abortion. She also discusses how she defied feminine norms with her image, from shaving her head to wearing leather jackets and Doc Martens boots. 

It was O’Connor’s second album, “I Do Not Want What I Haven’t Got,” that yielded her breakthrough hit, her cover of Prince’s “Nothing Compares 2 U.” Everyone in the film talks about the song, and the way it lit O’Connor’s career like a rocket. What the movie doesn’t do is play the song — Prince’s estate wouldn’t let them.

The most important job Ferguson performs is to set O’Connor’s actions and career in context, of both the times and her personal story. That’s no more apparent than discussing her 1993 appearance on “Saturday Night Live,” when she ended a song by tearing up a photo of Pope John Paul II. The moment torpedoed her career, but she says, in interviews then and now, that she doesn’t regret it. Considering how much has come out about the Catholic Church’s decades of abuse of children in Ireland, it’s time for a lot of people to admit that she had a point.

Ferguson’s film doesn’t delve into the rest of O’Connor’s sometimes bizarre life after 1993, which might be for the best considering her personal struggles in recent years. What it does deliver, a concentrated punch of O’Connor’s combative personality and fierce defense of herself during the most intense part of her career, is fascinating and impossible to turn away from.

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‘Nothing Compares’

★★★1/2

Starts streaming on Friday, September 30; airs on Showtime on Sunday, October 2. Not rated, but probably R for strong language and some disturbing imagery. Running time: 96 minutes.

Review: 'Don't Worry Darling' is a slick trip through suburban paradise, with a lot of ideas it can't or won't explore

Director Olivia Wilde’s “Don’t Worry Darling” is a puzzle box of a movie, one where the unraveling of the mystery is more satisfying than what we find inside.

Wilde and screenwriter Katie Silberman (who shares story credit with brothers Carey and Shane Van Dyke) introduce us to Alice and Jack Chambers, a loving and frisky young couple in a suburban desert paradise. Alice (Florence Pugh) fries up bacon and eggs for Jack (Harry Styles), who hops into his massive hunk of Detroit steel and heads to work at the top-secret Victory Project — a routine repeated by the other couples on their cul-de-sac. 

While Jack works, Alice cleans house, goes shopping with friends Bunny (played by Wilde) and Peg (Kate Berlant), or takes dance classes taught by Shelley (Gemma Chan). When Jack comes home, Alice is waiting with a glass of Scotch and a pot roast, and the promise of sex on the dining table. Their life seems perfect, in a dream house that seems like something out of “The Dick Van Dyke Show.” (Co-writers Carey and Shane Van Dyke are Dick’s grandsons.)

The other constant in this perfect life is Frank (Chris Pine), the founder of the Victory Project and the benevolent boss to all the men in the community. With Shelley as his wife, Frank delivers backyard speeches about how this community is a family — and stays that way because everyone knows the part they play in it.

Alice starts to notice unusual things, like the discordant images that flash in her brain. She also listens when her friend Margaret (KiKi Layne) starts saying “we don’t belong here,” and draws the attention of the jumpsuit-wearing Victory Project Security and the project’s pill-dispensing Dr. Collins (Timothy Simons).

Wilde’s realization of this suburban dreamscape, and the cracks that start to become visible to Alice and to us, is striking — and proof that her directorial debut, “Booksmart,” was no one-off. The sunlit desert views, the sleek interiors, and the too-perfect cars and costumes combine to make this ‘50s setting feel too good to be true.

The set-up is so well handled that it’s aggravating when Wilde reveals the twist — which I won’t here, because of “spoilers” and because if I start lamenting where it goes wrong, I may never stop.

Suffice it to say that Wilde opens the door to some serious conversations — about women’s bodily autonomy, about fragile masculinity, about what’s love and what’s control in a relationship — and then stubbornly refuses to go through that door. Because of that lack of follow-through, “Don’t Worry Darling” is left being an intriguing idea for a movie rather than a fully explored one.

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‘Don’t Worry Darling’

★★1/2

Opens Friday, September 23, in theaters everywhere. Rated R for sexuality, violent content and language. Running time: 122 minutes.

Review: 'Blonde' is an artfully done but cruel recounting of the worst parts of Marilyn Monroe's tragic life

In the 60 years since her death at age 36, Marilyn Monroe and her mystique have been analyzed, dissected and commented upon by pretty much everyone who has ever watched a movie — and, as director Andrew Dominik’s fictionalized take, “Blonde,” shows us, we remain no closer to understanding what made her tick.

Dominik’s lushly constructed but cruelly staged biopic is only about a few sides of her life. It’s never about Monroe as human being, or as artist. It’s only about Monroe as object of other people’s desires, and as victim of those people’s whims.

Cribbing from parts of Joyce Carol Oates’ doorstop of a novel, Dominik (who directed and wrote the screenplay) begins with a painful prologue shows Norma Jeane Baker (played as a girl by Lily Fisher) suffering at the hands of her unbalanced mother, Gladys (Julianne Nicholson), who talks about Norma’s never-seen father, someone so famous his name can never be mentioned — and someone, in Gladys’ delusional state, she thinks will someday return. Ultimately, Gladys ends up in a sanitarium and Norma Jeane in an orphanage.

Fast forward, and Norma Jeane — played as an adult by Ana de Armas — launches a modeling career, on shoots mostly for advertising but a few for skin mags. Her agent (Dan Butler) gets her an opportunity for a contract with 20th Century Fox, but she soon learns the price is being raped by the studio chief, Mr. Z (David Warshofsky). (Following Oates’ novel, the main men in Norma Jeane’s life are not identified by name in Dominik’s script — though occasionally, as with Daryl F. Zanuck, he lets a bold-face name slip.)

Norma Jeane’s early career shows promise, but her private life — a three-way relationship with Charlie Chaplin Jr. (Xavier Samuel) and Edward G. Robinson Jr. (Evan Williams), scions of Hollywood royalty — draws a warning from her agent and Mr. Z., to stay out of the scandal sheets.

Norma Jeane finds a more publicly acceptable romance with the ex-athlete — Bobby Cannavale as the recently retired baseball legend Joe DiMaggio — that seems picture-perfect. She even calls him “Daddy” in private. Dominik depicts the ex-athlete as physically abusive and possessive, particularly showing his rage when Marilyn shoots her iconic scene from “The Seven-Year Itch,” as paparazzi leeringly capture her billowing dress.

As Marilyn tries to show her seriousness, taking acting workshops in New York — which is where she meets “the playwright” (Adrien Brody, channeling Arthur Miller well). Happiness for Marilyn, again, seems just out of reach.

In the later scenes of the film, there’s another man put in the picture, identified as “the president” (played by Caspar Phillipson). This is where Dominik indulges in the most lurid tabloid speculation about Marilyn and JFK. It’s also where the movie — by focusing tightly on de Armas’ face as she simulates oral sex — that the movie earns its NC-17 rating.

Dominik, beloved by cinephiles for his mournful Western “The Assassination of the Outlaw Jesse James by the Coward Robert Ford,” shoots mostly in black-and-white with some passages in color. Much of his technical prowess is deployed in matching de Armas into classic movie scenes (pairing her with George Sanders in “All About Eve” and Tony Curtis in “Some Like It Hot”) or re-enacting famous photos of the star.

For every moment of grace and elegance, there are shots like the one where the point of view is from inside Marilyn’s vagina as a speculum is inserted to begin an abortion procedure. (This happens in two different parts of the film.) Or there’s the shot from inside an airplane toilet, as Marilyn vomits on the lens.

What, exactly, is the point of “Blonde” — besides letting de Armas pull off a fearless, frequently topless performance as the much-tormented Norma Jeane? It’s hard to divine Dominik’s motives. But the end product serves to drag the image, the persona, of Marilyn Monroe, and the person of Norma Jeane Baker, through all the slime and innuendo that dogged her in life. Any moviegoer with a heart will wince throughout “Blonde,” and wonder why we all can’t leave Norma Jeane to rest In peace. 

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‘Blonde’

★★

Starts streaming Wednesday, September 28, on Netflix. Rated NC-17 for some sexual content. Running time: 166 minutes.

Review: 'Railway Children' is a somber children's adventure with lessons about war and racism

The cherished British chsracter trait of the stiff upper lip apparently gets taught early, as evidenced by the characters in “Railway Children,” a plodding child-centered drama from the Homefront of World War II.

It’s 1944, and parents in English cities are putting their children on trains heading to the country, to keep them safe as German bombs are dropped on metropolitan areas. That’s how the Evans children — teen Lily (Beau Gadsdon) and her little siblings Pattie (Eden Hamilton) and Teddy (Zac Cudby) — end up leaving their mother (Jessica Baglow) in Manchester to live in a town in Yorkshire.

The three land with Annie (Sheridan Smith), who’s the principal of the town’s school. Annie has a son, Thomas (Austin Haynes), and her mother, Bobbie (Jenny Agutter), who reassures the Evans children that when she was a girl, she, too, was transported from the city to the country, and ended up making her life there.

There’s more to Bobbie’s statement than most American moviegoers know. It turns out that “Railway Children” is not a remake of the 1970 film “The Railway Children,” but a sequel — because Agutter, when she was 17, played Bobbie as a girl, relocated to Yorkshire in 1905 (which is when Edith Nesbit wrote the children’s book on which both movies are based). Nesbit’s story and the 1970 movie version are, like Cliff Richard and bubble-and-squeak, uniquely British products that are beloved there and largely unfamiliar in the States.

The Evans children, with Thomas as their new companion, try to make the best of the situation, as they play around the train station and dodge the school bullies. Then they find Abe (KJ Aikens), a young Black American soldier who claims he’s hiding because he’s on a secret mission — but Lily soon learns that Abe has deserted his unit because of the racist MPs, and that he’s only 14.

The children are mostly left to their own devices — Annie is preoccupied when she gets a telegram from the British Army about her husband — and become the focus of a plot that’s equal parts children’s adventure and social-studies class in which the English kids learn about the harsh treatment of African Americans in the United States.

Director Morgan Matthews, whose credits are mostly in documentaries, doesn’t let things get too silly. He works with his young actors to impart the gravity of their wartime life, putting a serious edge on the adventure. Matthews benefits from the presence of the veteran actors, including Agutter, Tom Courtenay as a kindly uncle who works for the government, and John Bradley (“Game of Thrones,” “Moonfall”) as a secretive stationmaster.

“Railway Children” is more sober-minded than most American children’s films, as it teaches kids about the horrors of war and racism. Some may find it a little dry, but it has its share of gentle charms.

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‘The Railway Children’

★★1/2

Opens Friday, September 23, in theaters everywrhere. Rated PG for thematic material, some violence and language. Running time: 95 minutes.

Review: 'The Woman King' is a potent historical epic, carried on the mighty shoulders of Viola Davis

In some ways, director Gina Prince-Bythewood’s war epic “The Woman King” is the sort of movie they used to make in abundance: Strong, hero-driven melodramas set against the backdrop of historic battles. Think “El Cid” or “Braveheart” or even “Henry V,” if you want to get Shakespearean about it.

But in two crucial ways, “The Woman King” is the sort of movie they almost never made, because that strong hero driving the story is a woman and an African — and, as played by the always compelling Viola Davis, fully deserving of the honorific of the title.

Set in the 1820s in the west African kingdom of Dahomey (now known as Benin), the film depicts a prosperous people living a fruitful existence away from European colonization. The young king, Ghezo (John Boyega), maintains peaceful relations with the nearby Oyo warlord, Oda Ade (Jimmy Odukoya), though the Oyo are becoming more belligerent. Fortunately for Ghezo, Dahomey has the protection of the fiercest warriors in the area, the all-woman fighting force called the Agojie.

Much of “The Woman King” focuses on the lives of the Agojie, living away from menfolk under King Ghezo’s protection. The king has also forbidden his subjects from casting their eyes on the Agojie when they return from battle — so the people of Dahomey know little about what goes on within the walls of the king’s compound.

Prince-Bythewood and screenwriter Dana Stevens (who shares story credit with the actress Maria Bello) introduce us to the Agojie by following a young recruit, Nawi (Thuso Mbedu), a headstrong teen who is abandoned by her adopted father because she refuses to marry the rich men he selects for her. 

Nawi is rebellious even to the Agojie’s battle-scarred leader, General Nanisca (that’s Viola Davis), who drills into her the message that the Agojie are disciplined, and must work as a unit — not go off alone, as Nawi sometimes does. Through boot-camp sequences, Nawi learns the skills of a fighter, as one of Nanisca’s top lieutenants, Izogie (Lashana Lynch), takes on the teen as a protege.

Meanwhile, Nanisca tries to sidestep the palace intrigue of Ghezo and his many wives — while trying to warn the king that appeasing the nearby European slave traders will not end well. Nanisca also gets a warning from her top aide, Amenza (Sheila Atim), that the signs and omens tell her that something out of Nanisca’s past will return and threaten everything she holds dear.

Prince-Bythewood (“Love and Basketball,” “The Old Guard”) stages some ferocious battle scenes, with the Agojie deploying spears and swords in effectively lethal fashion against Oyo soldiers and European slavers. Even more impressive are the training sequences, which flow with the grace and finesse of good song-and-dance numbers; one scene, where the trainees graduate and take oaths to their sister warriors, is particularly moving.

Lynch, Atim and Mbedu (who appeared in the series “The Underground Railroad”) lead a strong ensemble cast. Of course, the standout is Davis, as the two-time Oscar winner shows why she’s one of the finest actors working today — displaying the iron will that makes Nanisca a fearsome general, and the deep well of pain underneath that propels her to push herself and her troops to the limit. She makes “The Woman King” the powerful, soaring drama that it is.

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‘The Woman King’

★★★1/2

Opens Friday, September 18, in theaters everywhere. Rated PG-13 for sequences of strong violence, some disturbing material, thematic content, brief language and partial nudity. Running time: 126 minutes.

Review: 'Pearl' has its moments of gore, but it's more about the drama that sets up the exploitation of 'X'

Calling director Ti West’s “Pearl” a horror movie is a bit of a misnomer, because though it may have ample bloodshed and gore, they are secondary factors in this prequel to West’s “X.”

If you remember “X” (it was released only six months ago), it depicted a group of young people in 1979, renting space on a remote farm to make a porno film — and, after an hour of set-up, getting killed one by one for running afoul of the old couple who lived on the farm, Howard and Pearl. In “Pearl,” which was shot in secret during the filming of “X,” we get her origin story.

It’s 1918, and teen-age Pearl — played by Mia Goth, who played the wannabe porn star Maxine in “X,” and co-wrote this script with West — dreams of a better life than feeding the farm animals, cleaning up her immobile father (Matthew Sunderland), and enduring the harsh criticisms of her German-speaking mother, Ruth (Tandi Wright). She hasn’t heard from Howard, her husband, who’s away in Europe, fighting in the Great War, but sometimes gets visits from Howard’s perky sister, Misty (Emma Jenkins-Purro). 

Pearl’s dream, paralleling Maxine’s in “X,” is to be a famous star of the screen. When she can slip away from her mother’s gaze, she likes to go into town and watch the pictures and imagine herself as one of the dancing girls. She makes time with the handsome projectionist (David Corenswet), who shows her something they don’t usually play in the theaters: Stag films, where young men and women get naked and have sex with each other.

In the opening of the movie, West shows Pearl being kind to the farm animals — until a goose wanders into the barn, which she skewers with a pitchfork and then feeds to the alligator in the nearby pond. (She later finds alligator eggs, which likely explains why there’s still a hungry alligator in the same pond in “X,” 61 years later.) The goose’s demise hints at Pearl’s dark side, and the gore that West takes his sweet time delivering.

In contrast to “X,” which leaned hard into its exploitation roots, “Pearl” is more about the drama. What is most memorable when it’s all over is Goth’s gonzo yet earnest performance, throwing herself into the role whether Pearl is dry-humping a scarecrow or confessing her wicked ways to a horrified Misty.

Goth isn’t done with this franchise — a teaser after the end credits promises “MaXXXine,” set in Los Angeles in 1985. After giving it her all in “Pearl,” one can only imagine where Goth and West will take the story next, though one presumes it will be bloody.

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‘Pearl’

★★★

Opens Friday, September 18, in theaters everywhere. Rated R for some strong violence, gore, strong sexual content and graphic nudity. Running time: 102 minutes.