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.
是最多情的一集了，没想到英伦庄园里人人心中都有一段浪漫故事。浓浓的时代氛围感，轻松自如的笔法勾勒新旧交替时的尴尬，默片转有声的拍摄场景令人如同搭乘时光机器，一窥划时代影像的诞生全程……全片最为人动容的不是时代的新老交替，而是老伯爵夫人Maggie Smith的那场谢幕演出，以及被删减的LGBT情节（饰演男主角的男演员与唐顿庄园的男仆本有段缘分，可惜大银幕上只可意会不可言传）。年轻时一段露水情缘，却让多情男人终身念念不忘，以至于要以南法海景别墅相赠（羡煞旁人），垂垂老矣的麦格教授深情款款回忆似水年华——无论经历了什么，开始我们大家都不喜欢，渐渐也都习惯了，而这就是生活。愿可爱的老奶奶健康长寿。
电影版会有第三集吗？我觉得够呛，应该到此为止了。
第一次面对十二鬼月级别的鬼。
唐顿可以说是旧时代里的理想国了，主人们温和豁达包容大气，仆人们尽心尽力不卑不亢。对新时代和新事物，都努力学习和接受。最后拍电影仆人们衣着华丽坐在桌边，主人们开心的旁观，真是很可爱。老夫人安置了一切，稳妥得离世，富贵一生子孙满堂，人生的最后，竟然还出现了一个默默爱了自己一世的男人，老夫人好福气啊。
没有了大表哥，片子的可看性下降了一半不止……情节转折和进入都太快了，比如导演莫名其妙就突然上头，像把电视剧调成了三倍速的效果。服化道也不如电视剧版。
天时地利人和八卦
新贵与旧贵族
像老友叙旧，说起来也没什么大事，但聊着聊着还是唏嘘不已，慨叹时光流逝时代变迁，尤其默片到有声电影的转变。加一星给情怀。
老夫人去世有一种唐顿庄园落下帷幕的感觉，还好Lady Mary完美地继承。
If there were a next, I want the dowager back.
最喜欢的是所有仆人一起拍电影的那段。 有多重时空交错的感觉。 莫斯利求婚那段非常感人
唐顿真好，于我而言是夏尔一般的存在。伴我长大，仿佛是平行世界里的人，不管世界如何动荡变化永远温暖善良。
老爷在第一部大电影首映之前的采访中说了会有三四五六部居然是真的？？？？
莫斯利先生才华横溢啊
本吃瓜群众代入感强，老夫老妻的长篇小说桥段很受用，满意。
PS. 那个片头的演员表顺序是什么鬼？看着像是打乱重排的，但是也不像是按照咖位的，难不成是按照片酬么？这样的话Laura Carmichael好牛逼啊
TV版动画11-14集的合辑篇，主要内容就是三个主角第一次相遇，而后在一个会各种转换的房子里，炭治郎打败了下玄鬼，之后休养生息，准备前往蜘蛛山，相比较于原本的TV版，这个特别版并没有加入什么新内容
我记得第一部电影版挺好看的啊，这部怎么能做到从头尴尬到尾的...
比前作更明显和遍在的自我颠覆，虽然解构本身多少就意味着是自恋的。A decent British ending; though I’m using both adjectives in a way I’m equivocal about right now.
气质接近 S2 圣诞特辑；叙事密度与效率皆胜电影前作。Through the unexpected, “be as happy as our cruel world allows you to be.” 新潮旧梦砥故园。敬船长一杯。
Copyright © 2015-2023 All Rights Reserved
