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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.
挺浪费我的爆米花的，这种类型商业片里的文戏一向都是随便应付的，但我没想到这部电影居然连打戏也这么敷衍，《古墓丽影》都比这个强，别怕第二部了浪费钱，还坏了荷兰弟口碑（虽然口碑早就无了）
作为游戏粉自带滤镜怎么看都顺眼，在原创和改编之间找到了平衡点，游戏元素融洽地布满全片同时又对普通观众友好，把自己定位成无脑爆米花电影的同时，比较其它同类游戏改编作品的优势在于四部游戏原作有适合电影改编/参考的丰富素材库，比如片中最后那场“飞船戏”完全符合游戏原作夸张又刺激的动作戏气质。当Nate穿起那件枪套背心响起原作旋律时我还是相当不争气的泪目了（想看第二部（为什么荷兰弟和沃尔伯格站一起有种twink & daddy即视感…
“寻宝”类电影，没有让人拍案的高潮，比较平庸。而且这个故事有个极大的漏洞：十八恶人又不是不知道黄金藏在哪儿，需要费那么大劲才藏那张地图吗？
杨幂应该把这些角色让给新一代青年演员，自己都多大岁数了应该尝试演演符合年龄的剧吧！
还不错，好看好看好看好看好看好看好看好看好看
再加上两个小时爬山、攀岩的段落才对。几乎一无是处。
做着夺宝奇兵和加勒比海盗的梦，但电影里并没有琼斯博士和杰克船长，哪怕小蜘蛛一脱再脱也无法改变你还是个孩子的事实。
即便是游戏改编也没能以新意开局，简单无脑，冒险刺激感不够，还埋个续集尾。荷兰弟演技还需加油啊。
好烂哦…… 破坏文物原来可以这么不爽的吗哈哈哈哈！制片的感觉就是：“看看我好爱这系列”然后每部东拼西凑了出了个“前传”。讲真，holland演12岁nate可以，25岁nate就不对了。以及明明是关于找哥哥的故事，为什么孤儿院爬楼顶只拍了一点点？那才是精髓好吗！
PS.到哪儿都要随身带着胡子先生的维克多猛刷好感度，毕竟没有人能拒绝布偶！
那一刻，我仿佛看到了麦哲伦的船扬着黑珍珠的帆！
真的特别喜欢这个漫画，但是一想到杨，但是一想到杨幂要演，就真的好烦，就真的好烦，瞬间就想弃剧了
探险叙事都是开挂无脑驱动，阻碍因素是外部抵抗力量，缺少卡关和解谜的细节，本子很粗糙过时。奇观场面能看，飞机和古船空中大战很有动作娱乐想象力，也扣紧了主题，强化了人物塑造。两位女性角色都有很强的masculinity意味，还都有反派负面色彩，荷兰弟和马克CP最终确立的方式是一人干掉她们中的一个，这符合好莱坞的政治正确吗
班德拉斯出演超过两分钟纯属暴殄天物。
没那么不堪，也没那么出彩。爆米花罢了，看就完事儿
夺宝冒险电影，荷兰弟的参演，还有教堂跑酷，不过在最后出现海盗船，中间缺了点什么，没有像《夺宝奇兵》那么精彩。
玩过游戏，对这一部比较失望。故事主框架是一普通寻宝探险片，无语的是对各人物背景介绍少之又少，好像电影里这些人就是凭空出现在世界上然后开演一出烂戏。荷兰弟的娃娃脸根本撑不起德雷克，安东尼奥一言不合杀老爸，白头翁反派女毫无预兆又杀老大，其他雇佣兵就乖乖听其号令，实是令人瞠目结舌。
开年至今被国产片憋疯了，这种青黄不接的冷档期，能在影院吸一口资本主义爆米花电影，就像推开封闭已久的窗吸一口霾一样亲切。
He'd be proud.of you.
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