In the storied history of coming-of-age cringe dramedies, “Brian” is a warm, well-earned hug.
Like “Didi,” or “The Edge of Seventeen,” the perpetual suck of awkward adolescence is front and center in this indie, which made its world premiere at the SXSW Film Festival on Saturday. It’s a film dedicated to the cafeteria outsiders, the woefully unpopular and those of us who publicly failed to fake our way into any semblance of coolness. In director Will Ropp’s statement, he says, “Brian lives at the calculation between being yourself and socially safe.” So it does, with breathtaking honesty, in all the bathroom mirror affirmations and crippling panic attacks that Ropp molds into an unstoppably sweet testament to finding peace in individuality when existence seems to betray us by the hour.
“Karate Kid: Legends” and “The Long Walk” actor Ben Wang stars as Brian, a distressed high school senior with serious mental health problems. He sees his therapist twice a week (a soothing William H. Macy), but can’t prevent outbursts at the height of his discomfort, to the point where they become his personality signature. Every day is a new hell for Ben, yet he persists nonetheless. But something happens when Justin (Joshua Colley), an extroverted new kid in school, wants to be his friend. Ben feels … hope? This sets Ben down a path of self-discovery as he uncharacteristically runs for class president so he can spend more time with his crush Brooke (Natalie Morales).
Writer Mike Scollins, “Late Night with Seth Meyers” resident tank-top enthusiast and frequent “Surprise Inspection!” anti-hero, pens a heartfelt story that never sacrifices wholesomeness for cheap yucks. “Brian” hits home with a crude yet reaffirming authenticity, as the lead character stammers and stumbles through failed human interactions. Under Scollins’ jokes aplenty, there’s an inviting sense of hand-holding that doesn’t bludgeon Brian with self-sabotage or loner spirals for no reason. Downfalls all translate into learnable lessons, which Brian digests, as his growth moments sparkle with this lovely, rooting-for-you quality.
That said, the challenges our pouting protagonist endures are a constant source of chuckles. Wang nails the gun-shy fears and masterful deprecation of “Brian,” but it’s in his reactions to supporting characters that he shines. Whether that’s when cool-kid big brother Kyle (Sam Song Li) accidentally catches him mid-wank, or jesting in bleak therapy terms with Macy’s Dr. Reynolds. Ropp’s direction is subtly steady, never taking “Brian” too seriously, yet having its messages mean the world to audiences. The filmmaker cuts through the abject horrors of social suicide and always finds a saving gag, easily reaching the core heart of Scollins’ screenplay amid a bounty of pitch-black hilarity.
“Brian” is as laugh-out-loud as it is sentimentally fulfilling, thanks to its standout ensemble. Edi Patterson and Randall Park are Brian’s dorky, over-enthusiastic parents, but also the perfect support system in the right moments (and sublime improv partners). Joshua Colley stands out as Brian’s newfound companion, a gay teen who feels Brian’s ostracization and nails the whole superhumanly likable vibe. Actors make the most of their screen time, like Jacob Moskovitz as a future politician and Stephen Miller in training (Teddy), or Sophia Macy as Ashley, the “Feminazi” who steals many scenes with her fiery, protest-heavy dialogue (much to Teddy’s frustration).
What’s most impressive is how “Brian” is so composed as a first feature, whether Ropp’s directorial debut or Scollins’ first produced screenplay. There’s a surprising maturity and poise to it all, as well as a confidence in Wang’s performance that pays off tenfold. Ropp and Scollins don’t shy away from phallic humor or the stuff that made us giggle as teens, but they ensure there’s more to “Brian” than breaking points without catharsis. It’s a film that’s tormentuous yet tender, telegraphed yet thoughtful. A sensational title that can stand alongside “Booksmart” or “Eighth Grade,” nursing an open wound of a narrative instead of pouring salt and preying on a youthful downfall.
In “Brian,” we learn to love our broken selves all over again. Ropp and Scollins bury their mess of a boy under the weight of our cruel world and force him to dig himself out, for our benefit. Wang’s rising acclaim gains more steam thanks to a role that advocates for mental health awareness as much as it tries to save Brian from himself. It’s a crackerjack coming-of-age tale that hits on nostalgia we might not want unearthed, yet lets us revel in the loathing, only as a reminder of what we deserve to escape.
Despite Bowling for Soup’s lyrics, high school does, in fact, end — and like Bowling for Soup, “Brian” reminds us to embrace our flaws as the truest form of ourselves.
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