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.
中规中矩到没什么亮点，故事很标准，如果拍成R级会更好吧，哈特话痨到起耳茧
凯文哈特还是很好笑，情节太随便了，山下智久太酱油了。。。
伍迪·哈里森代替了杰森·斯坦森，与凯文·哈特一起主演动作喜剧Man From Toronto。光头斯坦森坚持该片要拍成R级，而索尼拒绝，好在伍迪哈里森喜剧演技也很在线。尤其GYM大乱斗配合躁动的Rock动作戏非常精彩！以为小打小闹没想全篇还是舍得烧经费炸飞机✈️！迈阿密男相当喜剧的一个杀手角色……funny！
画面镜头充满了粗制滥造感，但是太他妈傻逼了哈哈哈哈哈
挺无聊的。到底是最近几年的爱情电影都不行，还是我确实已经不是这类型的受众了？
全钟瑞，她好迷人好有魅力，灵动又性感。和孙锡久气场很合。很轻松的电影
从冷兵器到热武器 竟然毫无准头可言🌝
这个剧本怎么能拿到百想最佳呢…全钟瑞和孙锡久都属于很有个性的演员，各有各的性感，搭在一起有点勉强。而且孙锡久哪里像搞文学的…不过全钟瑞美得让人移不开眼
傲娇杀手和唠叨推销员的温暖兄弟情（脑子里都是：完蛋了他坠入爱河了）
伍迪·哈里森其实更适合这个角色，另外凯文哈特实在太逗了，我喜欢他的电影，看到这俩人，不禁又想起成龙了
33min女主管问“我们怎么会跟丢他”？你这问题问的，前线就一个人跟着男主能不丢？那帮在博物馆监视的人在干嘛？别人离场了他们还在博物馆是吧
所有的内容都有浓浓的似曾相识感，用阴差阳错的巧合来构造喜剧框架，凯文哈特的话痨是最大的看点了吧，偶尔的笑点也能博人一笑，作为喜剧片还是勉强够格了
跟奇异博士2对比之后觉得
typical凯文哈特，制作上比以往更精良一些
5.3分。帕特里克·修斯怕是忘记了当年《王牌保镖》的成功来自雷诺兹+杰克逊的化学反应加上曾经的流行金曲，而非导演或是故事深度有多么的好。而在续集的主角重心偏转+故事复杂化也让口碑大幅度下滑。这部《多伦多》里仍然企图复刻《王牌保镖》的成功，效果是真的差，不将剧情精简化就注定了这部Buddy Comedy的失败。
一个碎嘴和一个不杀人的杀手，本来以为又是烂俗的失忆后互换身份，没想到是合作了一次。佩妮算是个小惊喜，最后那场打斗也还可以，其他的一般
气质流畅但沙雕，工业流水线，要啥自行车🚴🏻♀️
凯文哈特可以和所有的硬汉和伪硬汉演员都来这么一部片子，他都用一个人设连台词都不用换
我居然最喜欢男主角的女上司，气场十足，逻辑满分😂
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