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.
印度电影几十年如一日，在观赏性和娱乐性上面下足了功夫，这部超高投资的大片更是做到了极致！它根本不管违反了多少物理学定律，违背了多少生物学常理，忽略了多少逻辑学要理，唯一就是要爽到底，爆米花就要爆到喷泉般狂涌！肾上腺素就是要爆表！管人家文艺闷骚骚出金熊金狮金棕榈，咱就是只想引燃全场，燃燃燃---RRR！
我再也不说咱们手撕鬼子那样神剧了比起这部片长三小时的宝莱坞巨制史诗电影来说那都浮云。宝莱坞歌舞为我们抒写了可歌可泣的抗英大戏就如《赛德克·巴莱》剧情加歌舞和夸张武打效果真阿三脑洞也领我佩服，升格实在太多了！
如腹泻一样酣畅淋漓，哦不对，应该是自恋自己的臭屁臭屎~~~~
21.1.22 Netflix 剧情挺一般的 就看这豪华的卡司了
死到临头，还在追寻不切实际的梦想？
如今是一个荷尔蒙稀缺的时代，多一点荷尔蒙的电影挺好
如果不把这部电影当成讲历史的来看，基本合格，但是你就是个反映历史的片子。
乔治麦凯演完《1917》又演了慕尼黑会议，之后会演二战片吗？不得不说麦凯这几年选片质量还不错，这部里也可以get到他的颜了，之前老觉得他的脸丧丧的，这部里很有英国绅士味道。如果休和保罗遇到的不是张伯伦而是更主战的丘吉尔，又会是什么结局。
以及如此特别的共吸一根烟
续集拍战争开始后的英国情报官和德国间谍行吗求你了求你了求你了求你了求你了
别的都很好，只是英国人，电影可不可以不要也这么蓝。和兰心大剧院有一点异曲同工之处，兰心的原著小说马后炮得很离谱，本片很克制。兰心的角色，尤其是女性角色，比较生动，本片的女性角色好多工具人。就是说能不能合拍一个，求求了。
1.查兰这B装的可不好啊，你这是卖国贼啊！中国人最恨卖国贼了！
燃啊，印度人真的是掏空心思和想象力，还有真金白银来取悦观众。我是被这种目空一切只为酷炫的态度给吸引住了，完完全全看进去了。嫌3个小时太短，麻烦再长一点，让苦闷的生活远离我。
阿三是世界上唯一适合做アニメ真人化的，尬的光明正大，荡气回肠
前半个小时看得困到睁不开眼 幸好Paul和Hugh见面后气氛突然紧张且立体起来 后面故事讲得还是不错的
三星半，扣分的全在政治戏。看完原著马上来看电影，如果说原著是严肃正经的政治辩论穿插少量个人情感，那么电影完全就是纯粹的抒情诗……电影比原著感性太多，所有给我留下深刻印象的段落都是和牛津三人组的过去和现在有关的，车里goodbye和片尾让我想哭。反而是和历史事实本身有关的叙述节奏太过仓促了，书里一番周旋反复拉扯才艰难达成的决定，电影里一句话就ok了，书里严谨缜密的秘密活动，电影也安排的如同儿戏……保罗的政治立场似乎也被改了一点，啤酒馆争论直接把他写成了希特勒的拥护者，一直是一副情绪不稳定的模样，battle那里实在吓到我了，用力过猛属于是。不过帅是真的帅，直接给加一星！感觉原书描述的passionate melancholy在电影中忧虑多思的一面表现得更多。
看了很多评论,了解到真实的历史,电影拍得不错,不过内容有失偏颇,实属遗憾
张伯伦为欧战赢得了时间？难道德国不也多准备了一年？要这么说，如果战争再迟一些爆发，是不是德国就先拥有核武？洗地不是这样洗的~
虽然剧情非常狗血、歌舞也很多余，但音乐和特效不错。讲真的，不考虑地心引力，有的动作场面拍的比漫威的好看。
历史的大潮浩浩荡荡，奔流不息，细小的插曲有时候不足让其改道。
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