A medieval reenactment troupe find it increasingly difficult to keep their family-like group together, with pressure from local law enforcement, interest from entertainment agents and a growing sense of delusion from their leader.
The young executive of a publicity agency Henry Creedlow is a man that has repressed morbid thoughts and is walked over by most of his acquaintances: his wife is cheating on him with his boss and stealing his investments with help from his best friend; his housemaid is frequently stealing from his house and insulting him in Spanish; even his annoying poodle does not respect him. While in his daily morning routine listening to a talk show on the radio, he hears a man committing suicide live because he had been felt miserable and disrespected for a long time, and Henry feels impressed with the tragic story. The next morning, he wakes up to find his face covered by a white mask, changing his personality and letting him seek revenge against those who have humiliated him. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
According to George A. Romero and his wife Christine Forest on the DVD commentary on Dawn of the Dead (1978), the distributors of Bruiser (2000) sold it as a Romero horror film (example of that is the poster with the gashes on the white face). Both Romero and Forest felt that it wasn't just a horror film but more of a story of a man who is going through difficulties in his life. The fate of selling this movie as a horror film was this movie ended up going to video instead of theaters. See more »
All things considered, this film is another example of just how talented a director George Romero is. It deals with what appears to be a favourite theme of his: identity (Also explored in Martin and The Dark Half).
It tells the blackly amusing tale of Henry Creedlow, a man who throws no punches, does as he's told, acts as little more than a doormat for those around him to walk over. Although he could never stand up to anyone in real life, he constantly fantasizes about brutally murdering those around him, including his wife, rude passengers boarding a train, and himself. It is fair to say that Henry makes no mark on his or anyone else's life.
Until one morning Henry wakes up to find his face, the one thing made him unique, has disappeared and has been replaced by a blank white mask. Everything has been taken from him, and he uses his newly-acquired anonymity to read between the lines of his former life and as such starts to see the cracks appearing: His supposed best friend who has been taking care of his finances for years turns out to be little more than a thief; His wife, who claims she has 'F****d her way to the bottom' by marrying Henry is having an affair with his sexist boss (Played hilariously by Peter Stomare). Although never fully descending into madness, Henry takes a violent revenge on those that have wronged him, and who he blames for his loss of identity.
The movie is peppered with Romero's brilliantly dark sense of humour (I found myself laughing out loud when a man committed suicide on national radio towards the beginning), and he uses the blank mask of Henry as the basis for some amazing imagery. Add to this the brilliant performances (particularly Stomare and star Jason Flemyng, from Lock, Stock and Two Smoking Barrels), and the awesome horror-punk band the Misfits playing at the film's climax, you're in for one amazing movie.
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