Their banter includes petty fights and jealousies, discussions of family dynamics and fond memories of a shared childhood. In fact, what is best about “Harry and Max” is that the two main characters behave very much like brothers. It should be noted that the dark-haired Harry and the blond Max look almost nothing alike, which makes their affection for each other-shown through various sex scenes––less shocking than it otherwise might be. In this case, they happen to be lovers and brothers, and Munch addresses the taboo tastefully. These guys could be any two lovers––or any two brothers––grappling with a rivalry involving sex, careers and parental affection. “Harry and Max” dexterously navigates this treacherous territory by emphasizing-not exploiting-their unconventional relationship. This is complicated by Harry’s increasingly more obsessive sexual interest in his sibling. Both are at a crossroads in their lives, and Max distracts himself by exploring physical love with his brother.
Munch makes these siblings two sides of the same coin. Max, in contrast, is a pop star who recently had a hit album and now deciding whether to go to school or re-enter the music industry.
Harry is suffering from career angst about a new album, and dealing with the unhealthy rigors of show-business life. Harry (Bryce Johnson) is a singer in a musical group who has arrived to take his younger brother Max (Cole Williams) on a weekend camping trip.
