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.
死亡小学生的剧场版真是我每年四五月的开心果
不愧是法国版城市猎人团队出品，一本正经的恶搞，把超级英雄黑了个遍，哈哈
3.25星吧，八个蛋是剧场版永远的主角。警校五人组的群像塑造甩开隔壁神奇动物3八条大马路。相较之下，去年的赤井秀一一定是得罪编剧了…
女主很美，情节上也有多处翻转，但是笑点不是很多
电影普通通，但回忆杀的安室透和松田太好看了吧
法国人挺会恶搞世界上的一切的，包括他们自己…
上一部炸了新加坡，这一部拯救涩谷。最后大球出来那会儿，也太尴尬了，哈哈
柯南为什么会俄语…..想找个柴犬➕杜宾犬混合体的男友了（bushi
偶有亮点，大部分时间尴尬。像极了粉丝自制的网络视频。
比前几年的好一点了，我想看的都有了。警校五人组是我永远的痛，看到最后一幕安室一个人在家里喝着酒看着五个人的照片的时候我差点绷不住了，好难受
真是不咋地，看有人说2022最好笑法国电影才看了看，原来是拍给大傻子的电影。。。平均15秒一个笑点抛出，结果只有3个镜头笑了，实在太尴尬了。大众审美令人恐惧。
佐藤这动不动扇人耳光的臭毛病能改一改吗？当自己威尔史密斯啊？ 也许是因为没有很期待，反而觉得这部还可以诶！警校5人组的回忆衔接也算自然不做作了。 剧情比前几部好一点，凶手那个涩谷放炸弹诡计我觉得蛮有想法的但我老公直翻白眼哈哈哈哈 但小五郎下线太早了，本五郎亲卫队长伐开心😤 槽点当然也是很多，日本战狼方舱古董椅子就很看不懂🤷🏻♀️ 最后的足球我和我老公一起翻白眼翻上天了🙄就想出这脑血栓方法的柯南是觉得涩谷没有下水道口还是咋地… 还有就，俄语很好学是吗，你们全员都在夏威夷学过了？那我斗胆盲猜一个是浦思青兰教的🙄特别小兰，是拥有了撒贝宁的照相机记忆大脑？ で、最後は、「会いたかったぜ、シェリー」
时隔多年，早已变成烂片代名词的柯南剧场版，居然一夜回春了！我的青春又回来了！
和水岛前辈在台场看的，安室几次大跳跃飞冲，到对面楼和直升飞机，很酷炫。南瓜红蓝混合炸弹！在会场看过上白次的预告，每次出现都心一抖。3年前の11月6日安室さんは……
看完评论区觉得樱井武晴这几年的pua非常成功。案件动机都说得过去，但是松田把口香糖掏出来摁进炸弹的瞬间我觉得我还是觉得编剧在侮辱俄罗斯美女杀手。顺便两只手的安室透打不过一只手的炸弹狂魔，日本公安还是不如战斗民族呀...希望明年黑衣组织能够出人手解决掉阿笠·领先人类两百年·材料学之神·牛顿再生父母·柯南背后的男人·谐音梗王·博士。
超出预期了吧反正，给四颗星，虽然依旧可以说毫无推理
we can be heroes, just for one day~
现在柯南剧场版不但推理越来越弱化了，连动作戏都越来越敷衍了是吗？看到后面我直接在电影院座位上翻白眼。另外柯南他们到底生活在哪个平行世界？到处贴着感染症对策的海报，可是没一个人戴口罩。
以为自己是超级英雄，结果发现小丑竟是我自己。
感谢世界通用语言俄语和没有下水道的涉谷又一次摧毁了恐怖势力
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