Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder.
“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much.
The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.
好久没看老白的电影了-剧中男主发现彩票漏洞可以中大奖，可他并没有闷声发大财，而是拉上了全镇的人一起投资改变生活，这种事情貌似只会发生在电影里面，片中没有更多的纸醉金迷、一夜挥霍，但这部片子绝对是对很多属于极度欲望购彩人的一种另类嘲讽…
安迪真的会因为这样一个电影而去买巴斯吗？很抱歉如果我是安迪，我真的不会。
除了前面一次一次义无反顾的前往有点动人之外，后面都太套路了
我的天看完巨上头，除了铺垫有点长，另一位女主出场后太好看了。沙滩的亲密戏太美了。女主让我想起了年轻（？）时的自己，热情到没头没脑，在感情中喜欢“强求”——然而看看电影吧朋友们，这样的“强求”才能获得/延长幸福，理智的大人们只会流着泪离开。（然后一直走不出去hh
我以为是年龄大了所以冷漠了，所以看皮克斯动画没有共鸣，翻了一下评论好像是电影本身没有达到期待的水平
他们的阔绰在于思想，一般人都只是为了自己发达而已。
我真的很喜欢巴斯光年，但是这个故事没有我想象中的这么宏大………Toy中巴斯光年的人设更讨喜一些。
这彩票公司太老实了，换了体彩和福彩发现了会让你这一期彩票有100个同时中奖的……剩下99个都是彩票中心主任的。
让我想起了去世的爷爷，以前家里抽屉里一叠叠彩票，一本本彩票计算书，可惜生活不是电影，允诺的新房子，也只是自以为会中的彩票奖金，成为了美丽的谎言。
这电影最精彩的不只是捏把汗看老白（不是）研究彩票，彩票存在bug也好，反正彩票公司永远都是赚的！！！
迪斯尼收购皮克斯之后，皮克斯就不是皮克斯了……
7.0分/ B+。有人陪伴一起“疯狂”才是最令人羡慕的。以及还是根据真实事件改编。
#Cinemania2021# 不知道为什么，观影过程中禁不住和The Worst Person In the World反复比较，再次确认女性导演approach类似的议题时果然态度和视角要自洽的多。Anaïs 的care-free mentality是这个时代最理想的urban feminist状态，几套look也很好capture了那个夏天的魅力。本来以为只是夏日的fling（Valeria Bruni-Tedeschi的气质太好了），没想到最后热情又被再次点燃，即使我们知道夏日总会过去，但那想要触到却又收回的动作和亲吻时微微闭上的眼眸却永远不会说谎。
尽管你可以说新意上不足，到这温暖又有趣同时又有表达不就是皮克斯的特点嘛，与时代接轨，领导者变为黑人女性，同时还是拉拉，然后的搭档女三代延续这个人设，不光衣服上有彩条，连超时空飞行拉出的光尾都画成了彩条。也讲时空穿越与平行宇宙。表达上既讲信念使命，个人价值。又讲团队合作，群体的理解包容配合，映射当下。片中全部埋的梗都给你圆上，同时还Q了玩具总动员1里巴斯光年高光时刻。看的人满足感爆棚。片尾有三彩蛋，先一个，出完字幕有俩个，最后一个应该表示还有后续……
彩票商战版《犬屋敷》、老年退休版《克莱德和邦尼》、《论二项分布忽略的另外两个factor》。It’s never about math, it’s about people.
这电影最精彩的不只是捏把汗看老白（不是）研究彩票，彩票存在bug也好，反正彩票公司永远都是赚的！！！
这电影里所有男人发现一个女孩在撩另一个女孩的时候，都认为自己能搞三人行，笑死
不好看，也就是给孩子看个热闹吧，大人可以选择不看了
心中的喜剧片，好看没得说
心中的喜剧片，好看没得说
Copyright © 2015-2023 All Rights Reserved
