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.
去掉情怀，算是比较不错的了，可怜杜伊终是死了，如果还有续集，期待值也低了
我不理解爸爸这种赌马赌到倾家荡产的人设为什么可以洗得好像这一切都不是他的错一样
为什么要把奥斯汀改编成另一部流水线爱情电影…please show some respect并且不是所有影视作品都适合打破第四面墙
1）除了角色名字一样，这部电影和简奥斯丁的《劝导》一点关系都没有。2）让主角对着镜头说话的展现方式真的是新时代的傻瓜拍电影法和傻瓜观影法了。3）亚裔男二实在是太迷人了，比男主迷人太多。4）都2022年了还在骂有色人种casting的人真的是让人无法理解。
如果没有看或者忘记前几集了，会不会觉得这部更无聊了。
刚开始觉得男主的选择clearly是个错误 🤦🏻♀️ 男二号也太charming了，很shiny但有点mean，本来喜欢又不喜欢了，相比之下，男主的朴实真诚打动了我。然后最后wtf with 男二。。。有的人说这部片子被演绎得太轻浮，我倒很喜欢这种轻松的氛围。还好是个happy ending
是不是如今重启作品不调侃下影视行业和之前几部都不算重启，编剧恐怕借鉴《黑客帝国4》剧情开展从回忆杀抓住老粉心情之后掺杂当今主流消费者思路。本来无脑片如今改成剧本杀版无脑片，换汤不换药的做法这系列能做一辈子还是坐等《惊声尖笑》吧
金惠允的演技绝了，推土机里最后那下眼神炸裂
Don't let anyone tell you how to live, or who to live. I learned the hard way
全程殷端午一条线走下去，有钱人可以尽情的把没钱人蹂躏，这个世界存在很多像女主这样的家庭，看电影的时候特别是女主被男学生殴打的时候，真希望有人站出帮帮她。
好久没有出现能打动我的故事了，推土机算一个
Mary writes a letter that says she is ill and uses the sad face of two dots and a downturned mouth. The happy/sad face doodle was first used yakubd.net in the mid 20th century not the early 19th century.
为撒这些经典IP都要重启毁形象…[捂脸]
不得不赞叹金演员的演技，但故事后半部的推进稍显不足
有点像新《自杀小队》，本次重启项目想要的效果大概是“以意想不到的方式循规蹈矩”，但这不意味着整部电影要全面降格为（导演水平严重不足且不得精髓的）玩梗和致敬。这个系列从未像这样彻头彻尾地自我重复过，这可是《惊声尖叫》，而不是《月光光心慌慌》《十三号星期五》或者其他什么别的系列！把第一部的名场面挪后半小时就叫“惊喜”了？粗暴挖空原作内核就叫“反elevated horror”了？还好意思打出"For Wes"，简直是对此前四部杰作的侮辱，世上《惊声尖叫》的模仿者有太多，哪怕是嫡子嫡孙，也根本不缺你这一个。
2011年后再度回归，双重反转，各种老梗新梗，对新千年粉丝也很友好。这片和Halloween系列是最像的，钱赚的多重启的也快。主角们经历4次血的洗礼对各种套路也很熟悉了，所以战斗力提升了不少，但最后反派死于话多和智商下线还是落入了俗套。（我居然在片头就猜到了Jack Quiad是凶手，但没想到还有第二个女凶手）
那些坚强、果敢、野蛮、硬撑、裹泪、粗旷的灵魂，谁想这样？！还不是因为这操蛋且卑微的生活和这无理且凉薄的世界。封它于文艺却裹挟于商业，探讨于卑微却激昂于讲述，没有伦理的束缚，只让你知晓人微言轻的困顿。卑贱的百姓面对肮脏的政权，推土机是内心最后的倔强！QJ
正视历史时间线，别再在这种题材里插政治正确了，五颜六色的演员等于出戏
不得不赞叹金演员的演技，但故事后半部的推进稍显不足
除了一堆黑人有些出戏外，还不错！最重要的女主漂亮！！！
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