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The musician does his best in the role, but it quite simply doesn’t make much sense to cast one of music’s most creative and colorful figures as the most serious character in the film. Beyond the Mercer brothers themselves though, Four Brothers is filled with other recognizable faces having plenty of fun.

The only archetype that doesn’t quite work is Benjamin as family man and construction worker Jeremiah. Jack (Hedlund) is the youngest and most malleable. Angel (Gibson) is his right-hand man and enforcer. Wahlberg’s Bobby is the oldest and the leader of the Mercers.

André 3000 of Outkast, and one young actor who would go on to have a hell of a career in mostly supporting roles (Garrett Hedlund). The four actors are mostly superb in this film, falling into recognizable character archetypes that makes the plot go down smoother. The titular four brothers consist of two legit movie stars (Mark Wahlberg, Tyrese Gibson), one music icon (André Benjamin a.k.a. Outkast).

The star power of Four Brothers’ cast is probably what encouraged Paramount Pictures to greenlight it in the first place. Sadly, Singleton passed away in 2019 but he left behind great work like Four Brothers for future generations to discover.

When Evelyn is murdered at a convenience store in a robbery gone wrong, all four brothers return to Detroit to bury her, make sense of what happened, uncover a conspiracy or two, and crack a hell of a lot of skulls in the process. Despite Bobby, Angel, Jeremiah, and Jack’s rough upbringing, Evelyn loved her adopted sons and they loved her.

Four Brothers is a story about, well... four brothers. After all, not everything needs a fandom. Still, many more films appear to have all the elements in play for cult classicdom but inevitably end up in a DVD bargain bin or streaming service back page all the same.

Other movies are made with the sincerest aspirations to quality only to become fan favorites when they fall well short (see: The Room). Some movies have all the makings of cult classics, but then end up having so much mainstream appeal that they just become classic classics instead (see: John Wick).

A film becoming a cult classic is never a guarantee.

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