残酷

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.

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影片中的多杰和格桑，是两个具有强烈责任心和爱的年轻人，他们的故事令人敬佩。

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如果外包是主角，这才是整个好戏！先抛个结论，先说前半部有多好。因为，太久没在中国的电影院看到中国当下的生活状态了。票房好算个屁。能在公司附近的电影院看点公司不让说的事儿，才是刺激的电影吧。《年会不能停》做到了，所以是个好戏，票房十亿起，算上中国电影希望所在。继续夸！包袱都轰炸在虚伪的中层、冷血的高层、唯唯诺诺的底层上。确实是喜剧多年未见，上次还是姜昆的相声虎口脱险，冯巩牛群的小偷公司。这样说明，职场生活已经惨到如此丰富多彩，其中的细节居然撑得起一部分钟的电

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其实做电影和写论文差不多，从读一篇paper的角度来看，这部片子的idea确实不错，即将一个只杀女人的男人和一个只杀男人的女人放一起会发生什么故事，很有意思的idea，但是在我看来，也就idea有意思这一个优点了。在我看来，本片有两个主要问题：第一，太假了，道具像是上世纪《豚鼠系列》那种质量的道具，血浆、碎尸块啥的都太假了，这导致后期需要总是遮遮掩掩地加滤镜和剪辑，作为一个年的电影，我觉得不应该在带来这样的观感。男主重击女主脸部的镜头、刀子或者螺丝刀插头的镜头都不是直接镜头，要么是

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看完这季，才大概搞明白了整个故事。人啊，不是简单的黑白善恶就可以形容的，人是很复杂的，复杂又多情。代入感越来越强，我就像莱农，当然我没有她的聪明和坚韧，只是像她一样，我永远在观察，在思考，在疑惑，也会像她一样总是“羡慕嫉妒”我的朋友。当然，她们幸福时，我也发自内心为她们开心。最后两个人拥抱的场景，我永远也不会忘，那一刻太让人羡慕了，她们陪伴了彼此，她们即将纠缠更久，她们的人生已经绑定了，可以离开男人，但离不开对方。还有莱农读大学时，妈妈来看她那个场景。羁绊啊，全是羁