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.
Charlie长得太像陈坤了，像到打了个冷颤的程度。其它的倒是不难看。WYT
量产品，人物扁、剧情死、视听僵、发展和主题全靠台词，刻板形象多得可唯恐同。 我太和Will共鸣了，不懂美国流行文化、只见过阿莫多瓦，但我还在为此自卑
这部《捉鬼敢死队》的续集《超能敢死队》，整体风格延续了前作，有致敬也有创新，视听效果在7500万美元的制作成本下，还是有保证的，动作场面虽然不多，但也足够精彩。“蚁人”保罗·路德的加盟，为影片增加了不少看点。
选了最安全的方法来炒冷饭。情怀都卖到这份儿上了，也没什么好指责的了。Mckenna 是真的可爱。Who you gonna call? Mckenna Grace!!!
天啊。我就没看过含GAY量这么高的电影。SUPER SUPER GAY。里面的帅哥让我头皮发麻。还没看完就可以打分了。高潮了。。。。
没有真实的生活刻画，只有烂俗式的拙劣浮夸与充斥的迎合式刻板印象
中规中矩的类型片，女主小姑娘挺可爱的，最后来了一出情怀杀。
我宣布，火烧岛是我看过最欢乐最可爱的同志片！其实根本不用那么苦大仇深嘛！感觉挺真实的啊，就像身边的朋友们。生活就是需要一些浪漫泡泡的调味啊，大家就是很在意旅行的所得啊，世界上就是有人自己搞不定还很捉急朋友的未来，比如我。
gay版傲慢与偏见，属于第一眼就知道贫穷男主遇到的高富帅男人会是良配。在充满美好肉体的火烧岛，遇到一个愿意和自己坐下来聊艾丽丝门罗的拥有美好肉体的男人，真是幸甚至哉。
两星半 贩卖情怀的代价是年轻观众真的很难喜爱
作为喜剧片不合格，作为冒险片也不合格，作为青春片同样不合格，直到最后前作的主角之一显灵，我也知道这是逝者的女儿追思的某种寄托，不禁感慨用一部不合格电影来寄托思念是多么的情怀，不推荐任何没看过八十年代前作的观众
道具场景很用心，剧情虽然一般但是顺畅，特效可以，boss也都出来了，沃尔玛那一段棉花糖变成红色的估计就要变恐怖片了，可想而知又会成为营销号剪辑的片段，老妈变身那段莫名喜感，很多老演员一看都是第一部的演员，还有两个彩蛋，原来黑人才是有钱大佬！前面音效配合乡村场景有几幕感觉像在看宫崎骏
这部应该算正统续作吧？老敢死队都出来了。剧情比较老土但热热闹闹开开心心看完就差不多了吧，算不上多好，但也不至于差评。
还是太偏向小孩子看的风格了，后面的大boss也是太弱了
一个多小时不好好好谈恋爱又不打炮，枯燥又无聊，我不敢相信会有同性恋看完后觉得浪漫。
《怪奇物语》异世界电影版。前半个小时有点无聊，但是看下去还是很有趣的，捉鬼敢死队的确是胡逼的片子，但是他们的小玩意儿真的蛮有趣。对我而言，小时候在电视上看到的巨大棉花糖人是最早的关于电影的记忆也是最早的童年阴影。小女演员长的好看，演的也不错，加一分。
整部作品诞生于为哈罗德献出的挽歌，结尾真的很感人，算是各种系列作品中对已逝演员的怀念中的典范了
Bill Murray出场的时候我出戏到<迷失东京>
把罐头砸出瘪并不用觉得丢脸，吃甜筒冰淇淋也不会显得没有男子气概。应该羞愧的是有直饮水却非要瓶装污染，不经对方许可就上传了性爱视频。在意你的人可以在斗舞台上跳过时僵硬的舞蹈，守在浴缸里醉酒的你身边为你揉背。种族阳刚腹肌在圈内将个体分出高低，在黄昏码头跳一支到白头的舞才是幸福的标准。
Gaysian representation matters. I know...可能作为rom-com这片剧情非常老套，台词毫无营养，角色处理也十分刻板化，但就是能在荧幕上还原如此鲜活、立体、积极而又接地气的 gaysian 形象实在是太太太太太难得了...
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