Mel Gibson with a lot of makeup. He's a horrifically scarred recluse, shut away in his two-story seaside sanctuary with his poetry, his classical music, his paintings, but distantly hounded by nasty rumors and nastier nicknames: "Hamburger Head," "Pizza Head," "Puke Head." And then one day a backward junior-high student cottons on the fact that the recluse used to be a teacher, and pesters him into giving a private tutorial: sort of a combination Phantom of the Opera and Dead Poets Society. Gibson's directorial debut begins ill-advisedly with a dream scene ("a John Wayne Meets Hugh Hefner philosophy of life") and proceeds from there to bludgeon us mercilessly with his sensitivity. Nick Stahl, Margaret Whitton. (1993) — Duncan Shepherd
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