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.
比2020好那麽一点，但真的就只是一点而已。(全片唯一我觉得说得对的就是，2021的人都没从2020吸取一丝教训)
2022.1.2 收着历史的烂摊子，百废待兴。逆全球化、去多元化，世界范围内的开倒车，降智与割席。我羡慕这些白人熟练而精准的讽刺，因为他们真正参与了历史的进程。比起赤裸面对文明的创痛更无力的是再没有人会为我们记住苦难，如果不是我们自己。
这一部的表演感比2020年更加重了一些，在我中国来讲，2021好像并没有什么铭记于心的大事可以从这一部电影里引起共鸣……而从美国来讲，或许是比2021的社会更加撕裂了
人们没有从2020得到教训，此片可以结合《Don't look up》一起观看。
2021持续糟心，题材上很安全地迎合了主流的政治正确，便没有反讽的内核了。话说回来，每一年的烦心事都这么多，因为这些事就给自己偷懒找借口，可就白活一年了。2022加油！
没想到《2020去死》还有续集，看来只要新冠还没结束，这电影还能一直拍下去。电影非常讽刺，但是谁又能说现实不是如此魔幻呢？
明明同在一个地球上，却一无所知而且无法理解的2021大事件。世界上除了美国以外的地区也会有同样的感受吗，还是只有我被蒙在鼓里？
比2020更魔幻，或者说每年都比去年更魔幻；我在2021学到的便是人们不会从2020学到任何东西；如果观察者网能有这吐槽一半水平，便是外宣无忧了
4. 社媒的能力是 monetize anger & despair
2020也去死，2021也去死，世界持续魔幻中，伪纪录访谈片，最主要例举了米国全年魔幻大事件。
22_021。不行，打着sm的名号，啥也不敢拍，在韩国拍这种题材还是不行吧，更何况两个都是偶像，虽然男主承担了各种束缚被打被踩的戏份，但两人可谓是毫无cp感，zero！zero！因为本身演技也不太行吧。只能说男主角挺拼了，滴蜡束缚球捆绑都试了，也就是这样吧
为什么会有人觉得一年拍一部这个是一个好主意
2021领悟到的东西就是，人们并没有从2020学到什么。这一部果然还是不喷老拜，民主党剧无疑了。
本来以为2020是谷底，2021只是告诉大家去年只是开始……
十分有趣的美国人看世界的纪录片，2021真是既糟糕又混乱，充斥着越来越多的对立和消极情绪，不过我觉得这并不妨碍人类走入更加糟糕的2022。
把職場性別壓迫放在sm關係中倒置解放，想法還是蠻有趣的
Netflix这么富明年能不能让多个地区国家拍一遍？平行叙事，浮生一年。
两件事很impressive. 比电影制作的制作效率和剧本里密密麻麻的笑点。
4. 社媒的能力是 monetize anger & despair
但从另一个角度看，当今世界意识形态真的是超级割裂...
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