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.
虚拟+现实，自嘲+反讽，艺术上的喜剧+现实上的悲剧。
继承上一部death to 2020的风格，只有这种介于真真假假直接，荒诞的喜剧才能让人笑对又一操蛋的一年。
各种对美国的反讽。2021虽然很乱，但应该不是人类历史上重要的一年。
把SM拍得这么唯美、纯情，这是类型电影的极致啊
没有新意 再看第二次就会有点厌倦 这一次的讽刺力度也小了一些
把SM拍得这么唯美、纯情，这是类型电影的极致啊
看片名以为忙内学坏了，其实没有你们想要的画面
2021 只是又一个人类不断重复错误的年份。
美國的2021。本質上同《不要抬頭》撞橋了。
death to 2020的续集，但不如前者好笑
感觉比上一部好点儿，讽刺的点更有趣了。如果想知道米国去年有啥热点看这个就好了。自嘲的精神值得学习。what did I learned is 2021? I learned that nobody learned anything in 2020.
疫情给了我们太多的变化，我们需要慢慢接受慢慢解答
4. 社媒的能力是 monetize anger & despair
结合Don't Look Up一起看，一时分不清哪个更现实。都是现实。
2021年和2020年的区别是希望越来越渺茫。
类似于金秘书，你要甜也好，小白也好，那就认真搞不要故作矜持，还有最重要的是颜值要过关。另，想看露点的，你怕是有病，走错片场了。。
如果说我们从2021中学到了什么，那就是我们从2020里什么都没学到
Comedy Central 年度总结吐槽大会，个人觉得比Don’t Look Up更加犀利，毕竟现实这编剧魔幻多了～～
75/100 相比五十度灰更加稚嫩愉悦的质感，却是更加高级的视感和性感
确实是《不要抬头》的互文，但看完这两部就更觉得现实更为闹剧和极端，而这些黑色幽默和讽刺反而显得有些无力和嘴碎。2020和2021都好像停滞了一样，但实际却又比往年更加速前进着割裂了彼此，我们尚未熟悉的世界已经加速离我们而去。好在片长合适，不强行加戏。
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