“Bruiser”

Movie Review

The film "Bruiser," which Miles Warren directed and co-wrote with Ben Medina and stars Jalyn Hall, Trevante Rhodes, Shamier Anderson, and Shinelle Azoroh, is about dads, families, and the consequences of fighting. As a result of Bruiser's meticulous approach to creating tension, a compelling image of youth in the uprising is created. Both the director and the story, written by Miles Warren and Ben Medina, are expertly crafted. The film is elevated to a whole new level by the tone and performers. Layers are added to the filmmaking by the pillar box, lighting, and cinematography. The plot knows exactly where it's headed and doesn't care if the audience follows along.

After spending a year at an affluent boarding school, Darius returns to his little town only to discover that he despises his former friends and does not get along with his stepfather Malcolm, who is portrayed by Shamier Anderson. When Darius tries to confide in his high school sweetheart, it is evident that she doesn't want to chat as much as he does. Darius gets into a fistfight with some old pals and his loneliness grows as he starts to feel more and more alone. He meets Porter, a boathouse-dwelling vagrant played by Trevante Rhodes, who offers him the friendship he so desperately wants while bleeding and nursing a bruised ego. Porter's involvement in Darious' life after the incident starts to annoy his mother Monica, who is portrayed by Shinelle Azoroh and causes conflict between Malcolm and Porter.

The virus of violence. It can spread more quickly than humans can contain it, and once it has a hold on someone, it is impossible to predict when they will act. By expanding on that premise, Bruiser creates a compelling family dynamic. The flame of aggression is carried from father to son and back again like a torch. Anderson and Hall resemble prizefighters. In contrast, Rhodes manipulates the notion of violence to train the young Hall and conjures up the real reality of violence to outsmart Anderson, his rival.

Hall excelled in Until, and he excels even more in Bruiser. Hall delivers a subtle but troubled portrayal that is both engaging and self-aware enough to give his scene partners some breathing room. As the cool mom whose son is unaware that he has a cool mom, Azoroh provides a touching performance. Yet it’s Rhodes and Anderson who steal the film. Even though they are experiencing the same internal conflict, the script cleverly puts them against one another. The audience will be immediately captivated by Rhodes' portrayal of the endearing wanderer with a sinister sparkle in his eye. In each moment, Anderson erupts like a volcano. He is either poised to blow or erupt offscreen, whether he is grinning while gasping on the phone with a student loan official or slapping a man in the face. His performance's uneasiness subtly and beautifully chaotically penetrates the audience.

The fact that Bruiser is a Black movie in the most authentic sense is its most amazing feature. A father's worry about getting his son into a school with a majority of white students is influenced by race. While two Black men brutally beat each other up, race is a factor, but Medina's script is completely cognizant of these topics while still avoiding making them the main focus of the narrative. The toxic masculinity shown in Bruiser is mysterious. Just as exciting is the process of making the movie. The lighting in several sequences is similar to that in horror films, which is ideal for this psychological thriller.

The traditional story of a father and son who are now at odds with one another is told in Bruiser. The risk is that children lack judgment and will in times of difficulty choose whatever is most convenient or enjoyable. A lost adult, though, might be just as frightening. The acting, directing, and screenplay are all outstanding. Robert Ouyang Rusli's score is moving and never ceases to astound me. One of the best films of the year thus far is Bruiser.

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