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The Man Without a Face

The Man Without a Face

Drama · 1993

Justin McLeod is a former teacher who lives as a recluse on the edge of town after his face is disfigured from an automobile accident ten years earlier, in which a boy was incinerated--and for which he was convicted of involuntary manslaughter. Also suspected of being a paedophile, he is befriended by Chuck, causing the town's suspicions and hostility to be ignited.

Movie details

The Man Without a Face

“A fatherless boy had almost given up all his dreams... until one man believed in him enough to make them come true.”

1993 Drama 1h 55m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

Justin McLeod is a former teacher who lives as a recluse on the edge of town after his face is disfigured from an automobile accident ten years earlier, in which a boy was incinerated--and for which he was convicted of involuntary manslaughter. Also suspected of being a paedophile, he is befriended by Chuck, causing the town's suspicions and hostility to be ignited.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Man Without a Face?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Mel Gibson

Written by

Malcolm MacRury

Mel Gibson

Mel Gibson

Justin McLeod

Nick Stahl

Nick Stahl

Charles E. 'Chuck' Norstadt

Margaret Whitton

Margaret Whitton

Catherine Palin

Fay Masterson

Fay Masterson

Gloria Norstadt

Gaby Hoffmann

Gaby Hoffmann

Megan Norstadt

Geoffrey Lewis

Geoffrey Lewis

Chief Wayne Stark

Richard Masur

Richard Masur

Prof. Carl Hartley

Court is in session

Put The Man Without a Face on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.