Evan Staley 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

merklekranz When you view a film by George A. Romero that misses the horror mark by a wide margin, there is the distinct possibility that it was never intended as horror, but something more, beyond the slice and dice genre. "Bruiser" is such a film. It has elements of "black comedy" throughout that bring to mind dark classics such as "Ms. 45" (annoying little dog and costume party finale). Peter Stormare is great as the bruiser boss from hell, and the acting throughout is good for this type movie. Visually it is classy and interesting. The story itself of "milktoast" getting revenge on his abusers while far from original, holds interest. - MERK

writenact There were a couple of hooks that got me to watch this film. First, it was a chance to see a George Romero film that wasn't a "Living Dead" film. Then there was the poster with the faceless face; it looked very stylish. And best of all, it was free on On-Demand! Well, you get what you pay for. This film has a lot of visual style, but like many of the characters, zero substance. The plot had some good basics, but was often confused and muddling. Henry wasn't much of schlub; he was too good looking, had too much material wealth and didn't seem sympathetic enough. Mr. Romero should have taken some notes from some of the classic Twilight Zone episodes (anything w/Burgess Meredith for example). The rest of the cast is only fleshed out partially. For a visual film, I didn't get enough clues to let me know who's who. The one exception is Milo, who is WAAAAY over the top.The are some good points in the film, most notably the Misfits being in the film and the use of the mask. The latter, is what sets Romero's Living Dead series apart from the rest of the genre. He makes a statement (living dead = mindless masses)with the film; in this case the faceless people who go through life being ignored and exploited. When the film touches on that theme, it comes alive and draws you in. Unfortunately, they are too few to make this film worthwhile.Normally, I despise remakes, but I think this film would be a good one to revisit. As it stands, I give it 4 out of 10.

Scarecrow-88 "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).