Bruiser (2000)

Instant Favorite.

The film never slows down or bores, plunging from one harrowing sequence to the next.

This film is so real. It treats its characters with so much care and sensitivity.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

This film seems to suffer primarily from improper promotion. Not a typical horror/Ramero feature whatsoever...Lovely things about this film include: bitingly clever scrip with many satisfying full circles, ridiculous attention to detail in even the most trivial shot, energetic and convincing performances, and cavernously deep themes on identity, shame and self determination. Life is hard when you've been conditioned to bow down and look past and live with the unforgivable .This might very well be American Psycho mixed with Vanilla Sky, for the romantic SOB. Beautiful film. Gosh darn those flaws, but keep in mind it's not no slasher flick. It's a delving deep within, to a place in which we can all in some way identify. Watchable multiple times, tasty each. Cheers, E

"I'm not in the media. I'm in the face business"Henry is a "nobody" whose life sucks ass. He works at a magazine company, with a lousy sleazoid of a boss, has a house that he cannot afford (and is unfinished, still needing renovations) and a gold digger wife who married him because she thought he was on the fast track to success, and, worst of all, awakens to find that his face is *gone*. Soon Henry discovers that his wife is screwing his boss, his best friend has been stealing money from him (Henry's wife was the one responsible for coming up with the scheme to siphon away hubby's income behind his back!), and his maid is taking the silverware while cleaning the house! Losing your face, your identity, in turn, causes Henry to lash out at those who have victimized him, saving the boss for last.George Romero's "Bruiser" (the film's title comes from the name of Milos Styles' magazine company) has another message that is less-than-subtle and has been considered the director's worst film by many of his fans. I have read for years how awful "Bruiser" is, but I didn't really find it too lousy, although there's nothing remarkable present either.The film condemns the wealthy, or at least the magazine industry, as soulless, heartless snobs, who seem to exist solely to remain profitable and successful. Styles, as evoked by Peter Stormare, is a despicable, crude, noisy clown who has a brash, poisonous air about him that wouldn't appeal to anyone if not for his position in life thanks to his magazine. One scene has Styles getting masturbated by Janine(Henry's wife) during a party at his home as Henry peers from afar in appropriate disgust.The film seems to insinuate that as Henry gets even with those who wronged him, his identity will return, to stop being a victim you can regain your dignity. I'm a bit indifferent towards the message: to use violence against those who have wronged you, to "stand up for yourself" (as Henry mentions at the end), you are no longer a "nobody", the blank face vanishes and a real human lies underneath. Flemyng, whose face isn't hidden under the white mask the first part of the movie, provides us with a somewhat sympathetic character who allows himself to be mistreated and duped by his wife, boss, and best friend, a film-flam man seemingly disabled of any desire to "climb the ladder" and rise above mediocrity. It's only when he takes a stand, that he can resurrect himself.The film ends with our "hero" once again in a lower level office position, which has me rather clueless as to the point Romero was trying to make to start with (sure he's not taking any crap from loud, debase employers who belittle and rip into their employees, but remains a lackey pushing a mail cart). Tom Atkins is ever so welcome as the cop out to catch the "faceless killer".A suicide victim, who shot himself while talking to a smart aleck radio DJ, is a recurring reminder to Henry that he can either remain where he is (always a victim) and put a bullet in his mouth, or no longer remain a member of the downtrodden. Leslie Hope is Milo's artist wife who puts up with his belligerent ways, but Henry spends time during the movie trying to convince her to leave him (she is also a suspect in the murder of Janine). The mask for Flemyng I thought was rather eerie, kind of reminded me of the Phantom of the Opera. Nina Garbiras is Henry's acid-tongued wife, Janine, with Andrew Tarbet as Henry's no-good friend (whose nice car, Henry soon learns, was purchased using the swindled cash). The finale is a showcase for the band The Misfits as Atkins and other police are trying to catch Henry, among the crowd of costumed freaks and goth/punk types congregating about as our hero pursues Milos (quite a laser light show; one particular laser can actually cut).

Odd George Romero film that barely was released originally and barely written up until home video is change of pace for the horror master, but its also a clear indication of Romero's limitations as a director. Feeling more like his misfire There's Always Vanilla/ Season of the Witch this is the story of a magazine executive who is being raked over the coals by everyone in his life. Waking up with a featureless mask for a face he decides to get revenge on those who wronged him. Feeling unremarkable and like almost any other independent film this is a cookie cutter film. Frankly had Romero not directed it I don't think it would have gotten any notice what so ever. The craft of the film has no spark and is extremely run of the mill and unimaginative. Watching it its clear that Romero directed it, there is something about the way his films look and feel,and comparing this film to his other films makes everything else he's done all the more surprising. Why do many of his other films work and this one doesn't? I don't know. Removing his Stephen King adaptations and zombie films I think its pure dumb luck that everything comes together. Here he's got an intriguing idea but how Romero tells the story just lays on the table like a dead fish. Its not a complete waste of a film, there are some interesting ideas about identity and the cast is good, but its also really dull. Lower tier Romero and for fans only.

Aside from this being another well written and well directed film by Mr. Romero, having Tom Atkins (Night of the Creeps, Halloween 3) and The Misfits (The Michale Graves Era Misfits) makes this movie so much more cooler. The story follows the main character who even as a adult is still greatly picked on and belittled. He wakes up one morning without a face and decides to go after those who have wronged him. Call it a revenge film if you want, I call it fun.If you watch the DVD of Bruiser, be sure to watch the music video Romero directed for The Misfits. All the Misfits are zombies and are attacking a hospital. Very cool.