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.
啥啊。。。我虽然也蛮喜欢伍迪叔，但这片子确实不适合他，也难怪斯坦森会退出，可惜了原本能拍成一部还不错的R级爆米花，爽片沦为闹剧，大失所望。
凯文哈特一直是这个风格 生活中真遇到这类人 估计都得发疯 最后看结尾彩蛋 貌似还有续集 这类屎尿屁你敢信
就想看看山p退出j家到底去演了个啥电影…结果镜头加起来时长还没有他ig发的拍摄时候的各种视频长😅剧情真的无力吐槽，节奏也很奇怪，要不是一直没看到山p出场真的可能就看不完了
什么时候凯文哈特和瑞安雷诺兹能搭一次戏
拷问的时候吐在了对方身上真的是让我笑死了，但除了这么几个好笑的桥段，什么都没有了。
多伦多来的男人 明显是美版 盗钥匙的人或者人潮汹涌。很无语的是非得搞个真正的大boss打一架，还有一条感情线，以至于误认成 杀手保镖 也没脾气。身份互换肯定是好莱坞玩的最早，真假公主 之前应该就有。但日本人做的更含蓄一点，中国人又拍的更含蓄一点。好莱坞可欣赏不了这种东方的含蓄，改回张牙舞爪了。三版比较起来，还是凯文哈特对这个角色诠释的最好，或者不用叫诠释，他就是这样的大话痨。
用城市当作代号，用汽车代称爱人，樱花树开在车库，重武器藏在叶底。人性的慈悲让他犯下重罪，孤独的滋味让他赎清自我。总在错过的男人终点处总有人在守候，看似果敢的杀手在真爱前也需要耳光唤醒。习惯了向空气挥拳，就会忘记斗争的意义；总是向平凡低头，就会失去梦想的权力。
凯文哈特废柴尼哥系列何时休？继续说脱口秀好不好。
太搞了！哈哈哈哈哈！这才是我喜欢的伍迪！nf自带中文好评
这种鼠虎兄弟搭档的搞笑动作枪战片都要这么基的么？人物动机和转场都牵强的很。但那段健身房的伪一镜到底还是挺有意思的。
也就一个打斗的长镜头能看，其他全倍速看完，四倍速。
故事层面套路到实在没有什么会被我能提一嘴的记住。最后的高潮一镜到底动作戏将影片质量挽回到及格线上，山下智久你要笑死我哈哈哈哈哈哈哈。你说早早地把其他城市的杀手都叫过来，早早地开启大逃杀模式，不好吗？可能是因为处于控制成本才写的这样吧。另外这个迈阿密小哥，比其他人先出来这么久，怎么又是死得那么随意啊，我甚至一度以为他要被洗白帮忙呢。正想说好像很久都没看凯文哈特的rap喜剧，结果一查好想产量也不低啊，也都看了。
"Never box at me again without actually punching me in the face."
20200702 办公室炙烤。 打发时间不错，专业杀手和专业嘴炮的组合，靠着主角光环闯关打怪，最后都得到救赎。
前面还行，虽然男主演技全程飘忽不定，靠女主的表演还是很稳的推进剧情，观众不至于跳戏。但是，那是什么烂结尾，男主毫无诚意的轻描淡写二句，就糊弄过去和好了，结尾太草率了，本来还很期待。
纯粹为了看孙锡久。但女主我也喜欢。很轻松的一部电影，还不错啦。
黑白搭配，情节都很模版，周末打发时间一看，第二天回想内容都有些困难
失重堵窗炸飞机，旋转商厦打屁股，小镇杀手联合国，电锯板斧火箭筒，真爱列车飞银纸，天妇罗里是真的有个妇女老大；动作场面设计不错，比糟烂平庸的文戏要好笑得多
笑点一般，剧情也一般，如果像当初杰森斯坦森说的拍成r级片一定会好很多，不过拳馆的伪长镜头拍的真的很爽
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。
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