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.
关于西藏支教的影片。
喜欢这样风格的电影，特别是藏区的大草原，有生之年一定要看看，现在电影里看过了，等现实里一定要走一遭
虽说我从故事的开始就看到了结局，但这部电影我愿意看下去，并且一直期待他的内容，果然没让我失望
若是上无老母，下无妻儿，谁会不愿意燃烧自己的青春呢，支教很好，可是压力太大了，没有金钱的维持，家庭都要垮掉，但是会尽我所能帮助山区孩子及老师
韩松老师的情景表演法授课调动孩子的学习积极性，课堂气氛非常活跃，教学效果也会相当好。
生活中一部分的美好就是来自于像朗措和老师这样的人 甘于奉献不求回报
感觉这里面的人都太好了，好人最后的结局也并没有太美满让我有点难受，不过可能这就是现实吧。
在这部电影里面，只看到了质朴的人们和无疆的大爱，韩老师的结局虽然看起来很难过，但是对于他来说，他的一生应该很幸福吧！
韩松这一生很值得很羡慕，找到自己想要奋斗的目标并用一生去实践，想成为这样的人
看这个电影，不禁让我想起多年前看的同题材电影——《美丽的大脚》，应该说两部电影相同点很多，后者展现的中国偏远地区，那种贫困更深刻一些；前者则展现的时间跨度更大，反映出在一批批支边教师的努力下，偏远地区教育状况的改变。
有好几次我都担心韩老师不会在回藏区了，最后果然放心不下孩子们，终于回来了
故事发展有点快，男主也好像一下子茅塞顿开成长决定奉献了，细节刻画的再多点就好了
电影这看了后，民间的演员多，内容有点小，这样下去，我觉得还是导演多了解少数民族文化特异。
条件真的很艰苦啊，韩松是真男人，在这样的环境里带出那么多孩子，还为藏区做贡献
而老师虽然开头自述援藏是为了走一条捷径，但是提前主动询问学生情况，第一次见面就可以喊出每个学生的名字。也在与孩子日常的相处中感受到一种责任，爱上这群孩子，爱上这个家庭，爱上草原。于是自愿拿出工资给孩子加菜，母亲离世后毅然回到学校，与喜欢的姑娘终老在青青草原。
关于西藏支教的影片。
许下承诺很容易，但是坚守起来却很难，如果换成绝大多数人，都会坚持不下去吧，韩松老师却做到了，真的很了不起。
电影这看了后，民间的演员多，内容有点小，这样下去，我觉得还是导演多了解少数民族文化特异。
每个剧情的发现都是在意料之中的，但是又觉得挺感动的
感觉这部电影里面体现的全都是大爱，没有小情小爱，剧里的女主也是在三年之后才决定在一起的
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