Film

Brad’s Status


Brad’s Status (2017)
★★★ / ★★★★

Some reviews will claim that in order to have a complete appreciation for the whip-smart comedy “Brad’s Status,” written and directed by Mike White, one would have to be middle-aged because the topics it tackles requires considerable life experience. But I say anybody who constantly checks in with themselves will be able to connect with and enjoy the film for its searing honesty and ability to remain in touch with both the humor and the drama of a situation depending on one’s mood, personality, or general perspective when it comes to how life works. This film is clearly made for observant viewers.

The titular character, played by Ben Stiller, is most unhappy as of late because he constantly finds himself dreaming forward and regretting the past, rarely choosing to be present in the now, appreciating the great things in his life, and relishing what he has accomplished thus far. Although I do not relate to Brad’s suffering, despite his neuroses, I recognized this character right away: he is a colleague at work, a stranger walking down the street, a family member who puts on a fake smile during reunions. I empathized with him, but I did not feel sorry for him. The material is interested in dissecting differences between seemingly similar emotions.

Stiller fits the role like a glove. Observe how he expertly navigates a series of thoughts and feelings, often in one sitting and in quick successions, that run across Brad’s face. Couple the performer’s craft with an energetic screenplay that courageously combines daydreams, flashbacks, and scalding reality in a blender, what results is a highly watchable, entertaining, and surprisingly insightful look at a privileged man who has everything he needs yet still finds himself wanting for more. He doesn’t exactly know why he craves more, it’s just that he does.

He claims he is envious of his former college friends (Michael Sheen, Jemaine Clement, Luke Wilson, Mike White) because they possess power, ludicrous amount money, women, and fame, but notice how Brad, someone so detail-oriented when it comes to his yearnings, fails to describe what he would actually do if he acquired such things. Why is this man creating the pandemonium in his mind? Does he find pleasure in putting himself through mental agony? Does he have a mood or mental disorder? Is it his way of coping with the fact that his son (Austin Abrams), a gifted musician, is soon moving away for university? I enjoyed that the writer-director is not afraid to introduce possibilities thereby making the work layered, consistently worthy of exploration from different angles.

Perhaps the best moments in this sharp and humane film involve the father looking at his son and weighing whether the boy in front of him would become competition, whether the boy would eventually make him feel small, insignificant, like a loser—just like the way his former friends “made” him feel throughout the years. It is during moments like these that “Brad’s Status” is at its bravest and most uncomfortable—which makes it so worthy of our time because it forces us to look inwards, recognize, and perhaps even come to terms with some of our own monsters.

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