Bromance

Although Bromance doesn’t open on a particularly fun or stylish note, director Arun quickly entrusts composer Govind with the task of setting the mood and he delivers spectacularly with the sleek and trippy “Local Gen-Z Anthem”. The song’s vibrant visuals match its energy, together offering glimpses of the lively and exuberant ride that’s about to begin. From that point on, Raveesh Nath and Thomas P Sebastian, who penned the screenplay and dialogues, take charge, crafting a packed narrative punctuated by well-timed high points that keep the momentum going. However, the script stumbles due to its excessive reliance on certain elements and plot devices, limiting its ability to explore other promising directions and leaving many aspects of the story underdeveloped.

Director Arun D Jose effectively used chaos to display a humorous series of events that unfold in the film. The humour in the first half especially lands well and keeps the audience hooked to the screen despite having moments when the screenplay seems a little stretched out. The second half, however, proves to be a slight let down—even though the gags are funny—as the plot loosens and the climax feels rushed.

From a technical standpoint, Akhil George’s cinematography is a major plus, capturing Bromance’s youthful vibrancy with a well-thought-out colour palette. The editing by Chaman Chakko ensures that even when the story wobbles, the pace doesn’t. Govind Vasantha’s background score is good but often way too loud, almost yelling at the audience instead of enhancing the moment. Ultimately, this is the kind of film best enjoyed with your close pals in a packed theatre as a no-brainer. Is it flawless? Nope. Is it fun? Absolutely.

The major difference between this film from the previous directorial ventures of Arun D Jose is the style factor. Be it the credits song in the beginning or the fight sequence in the climax, there is this choreographed feel to most of the parts, and the presence of neon lights in frames sets the movie in that slightly unrealistic space. Most of this style change is visible in the first half, where we are mostly witnessing the introduction of several characters. Once the map is laid out, the treatment goes back to the director’s usual style, and there, you get to experience the fun side of things. And the good thing was that they were not overdoing it.