The new sitcom, because that is essentially what it is. Brothers is a star-studded event starring Matthew McConaughey and Woody Harrelson that is, head-scratchingly, your typical television comedy. It’s the kind of show network television produced for decades. On the surface, critics eager to praise the stars may call it vintage entertainment. I’d call it a giant waste of talent and the audience’s time.
If you have seen The Odd Couple, the famous Neil Simon play turned into a classic film starring Jack Lemmon and Walter Matthau, you already know the setup. It is a comedic formula that has been watered down for decades: the annoying, uninvited guest overstays his welcome and refuses to leave. The actions disrupt the life of the increasingly exasperated host and their families.
The problem is that this setup usually works for unwanted guests with no close personal relationship, but the crux of the show is how close Harrelson and McConaughey are. That disconnect weakens the story and the comedy while kneecapping the central mystery with the “rumor” that the two may actually be related in real life. That makes Apple TV‘s Brothers somewhat enjoyable, but ultimately a toothless and useless endeavor.
The series assumes most viewers will tune in and keep watching because of the comedic chemistry between the leads. Which, let’s face it, is true. McConaughey and Harrelson have starred in four projects together: EDtv, Surfer, Dude, True Detective, and now Brothers. (We will not count their individual cameos in Welcome to Hollywood.) It would be a lie to say these two, alone, are incredibly charming together on screen and individually.
The writing, however, recycles from decades of sitcoms doing the same shtick. To make matters worse, the supporting cast is saddled with dull dialogue and clunky one-liners you’d expect to hear on The CW. For example, when Harrelson’s wife, Joy (Brittany Ishibashi of Marvel’s Runaways fame), hears him say he is going to spy on his daughter from the shadows. Her reply? “What are you? A vampire?”
That sound you hear is crickets. And no, they’re not chirping with laughter.
Brothers is executive produced by David West Read (Schitt’s Creek) and Lee Eisenberg (Good Boys), so it is head-scratching to see them make a series this safe, tepid, and underwritten. The issue extends to the supporting cast. Natalie Martinez, so good in Bad Monkey, has virtually nothing to do here but look pretty, be dismissed, and get insulted, mainly by McConaughey’s campaign manager, played by Lisa Gilroy (Shrinking), who gets the most laughs.
The problem is obvious: Harrelson and McConaughey have too much creative power. The writing serves their characters and leaves the rest of the cast to pick up the scraps. That’s unfortunate, because the Brothers‘ is at its best when both leads take an active role in their family dynamics. This is particularly true in the “Valentine’s Day” episode, where the families watch their teenage children go to a school dance together for the first time.
I can admire McConaughey taking on a storyline about running for governor—something he has reportedly contemplated in real life. While Harrelson lets his controversial real-life father into the story, it still feels like real life mirroring art. However, Brothers lacks emotional depth, ensemble writing, and character-driven comedy, making it a star-powered vanity project dressed up as prestige television.
You can stream Brothers on Apple TV+ starting September 23rd with a special two-episode premiere. The remaining episodes will drop every Wednesday up until the season finale on November 4th. We screened all eight episodes for this review.
Matthew McConaughey and Woody Harrelson's new series Brothers lacks the emotional depth, ensemble writing, and character-driven comedy, making it a star-powered vanity project dressed up as prestige television.
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I am a film and television critic and a proud member of the Las Vegas Film Critic Society, Critics Choice Association, and a 🍅 Rotten Tomatoes/Tomato meter approved. However, I still put on my pants one leg at a time, and that’s when I often stumble over. When I’m not writing about movies, I patiently wait for the next Pearl Jam album and pass the time by scratching my wife’s back on Sunday afternoons while she watches endless reruns of California Dreams. I was proclaimed the smartest reviewer alive by actor Jason Isaacs, but I chose to ignore his obvious sarcasm. You can also find my work on InSession Film, Ready Steady Cut, Hidden Remote, Music City Drive-In, Nerd Alert, and Film Focus Online.
