An anti-cinema prototype stacked with Oscar winners and nominees usurps Zendaya and James Bond on streaming

There have been murmurs in the streaming industry about a new trend where movies are crafted specifically for viewers who might be multitasking on their phones, potentially missing key plot points. The mere thought of such a phenomenon is, frankly, disheartening, especially in an era already inundated with mediocre content masquerading as “entertainment.”

Films like Uglies, Atlas, Rebel Moon, Killer Heat, and Space Cadet illustrate this shift, producing what some might call “undiluted slop.” But Brothers, a new release on Prime Video, seems to take this trend to a whole new level—one that could be deemed “anti-cinema.” The implications of this trend are troubling, yet intriguing, as they raise questions about the future of storytelling in film.

Brothers — A Bizarre Case Study

Despite its questionable quality, Brothers has become a hit, climbing to the second spot on Prime Video’s worldwide film charts as of October 18, even surpassing major titles like No Time to Die and Challengers. Directed by Max Barbakow, the film features an impressive cast, including Oscar winners like Marisa Tomei, Glenn Close, and Brendan Fraser, along with Peter Dinklage and Josh Brolin as twin brothers from a criminal family who reunite for one last heist.

However, Brothers is a peculiar cinematic experience, likened to a “jumbo jet pileup on a tarmac made of horse manure.” It carries a peculiar self-awareness about its own lack of substance, and while the action and comedy fall flat, there’s something oddly captivating about its sheer aimlessness. The actors seem to approach their roles with a sense of detachment, as if they know they’re performing for a film rather than genuinely experiencing their characters’ situations. This makes the film feel more like an improv session among stars rather than a coherent story, drawing comparisons to Marvel Studios’ What If…? but without any engaging narrative to hook the audience.

A Comparison of Worth

While Brothers has found a following, it doesn’t offer the emotional satisfaction one might seek in an action-comedy. Brendan Fraser’s cartoonish villain may provide some amusement, but if you’re looking for a more fulfilling viewing experience, The Fall Guy—which once held a similar position in viewership—delivers genuine entertainment that justifies your time.

Ultimately, the rise of movies like Brothers suggests a troubling trend: filmmakers might be prioritizing content that accommodates our short attention spans, further aligning cinema with the habits of TikTok scrolling. This begs the question: are we losing the art of meaningful storytelling in exchange for instant gratification? The shift in audience preferences could lead to a cinematic landscape where depth and creativity are sacrificed for mere convenience, and that’s a future we should be wary of.