Director Arun D. Jose's third film Bromance Follow Binto (Mathew Thomas), he set out to find his missing brother, God. The relationship between the two brothers becomes complicated in a simple process. There is real love between them, but Binto has been living in the shadow of what he calls perfect siblings – unfair and constantly comparing.
Binto is summoned by his friend Shabeer (Arjun Ashokan) to Shinto's Kochi apartment, who breaks the news that his brother is missing. The rest of the film is about Binto and Shabeer's journey to find Shinto, which includes a Ragtag search party composed of Shinto's ex-girlfriend Aishwarya (Mahima Nambiar); Courier Babu (Kalabhavan Shajohn), a local fool, lends money to Shinto; and Hariharasudhan (Sangeeth Prathap), a moral hacker who helps the team make money. The following is chaos and sometimes fun, tracking the journey of the missing brothers.
Although Kalabhavan Shajon and Arjun Ashokan all five of the search groups have raised their weight in the story almost the same way. Mathew Thomas returns to the core role and performs well as a grumpy younger brother. The rest of the cast – Mahima Nambiar, Sangeeth Prathap, Binu Pappu and Shyam Mohan – rejected what is needed, but don't leave too many marks.
While many movies have proven so far that a compelling script is enough, Bromance cannot implement the formula even if the plot is simple. It relies heavily on actors, and even then, it doesn't give them enough material to come up with their skills.
(Spoilers ahead)
Although the plot is about Binto's search for finding his missing brother, it's also about an image of idealization with nature. As the journey progresses, so is the truth: Shinto is far from perfect, and perhaps the most redeemed quality is his love for his younger brother.
The first half failed to strike the right balance between comedy and suspense. The second brings the story to Kurg, and Binto is on vacation with his friends before searching for the party. What follows is the lively plot twists, action sequences and even the budding romance.
However, the portrayal of the Kodah ancients tends to stereotype, laughing in an exaggerated and deaf way.
Govind Vasantha’s music, while pleasing, doesn’t do much to lift emotional or dramatic rhythms, and it lands when it should soar.
Finally, Bromance has a moment of charm and humor, but the unskilled script returns it. It is observable, sometimes interesting, but far from memorable.
