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.
2022年了我竟然还能看到这么俗气的电影OMG
(片中的朋友们聚会时的感觉真好, 我也要加油啦, 向着拥有这样的一群朋友们的方向飞奔而去吧
想营造一个理想前沿的气氛，但仍在崇尚“排他”与“延续”，就还是不自由，就还是旧世界的价值观。
因为是2021.12.31看到2022.1.1
韩国好像每年都会拍这么一部 这个阵容是真的强 虽然故事很一般 但最后还是有些感动的…我志旼欧尼真是太美了…
7.0 可喜欢韩志旼了，李阵郁是我觉得斯密达里吻戏太可的前三。李光洙…终于演了经纪人，小迷糊也终于发达了。最后一直在等允儿出场，是美丽的，和姜河那得那条线也是搞笑的
很想复刻Love actually但是非常拙劣的故事
和2020年上映的同類型電影《新年前夜》碎片化故事穿插不同，這部聚焦在飯店展開故事線。劇情尤為平淡，每條線都無功無過，李棟旭元真兒這條灰姑娘線甚至有點多餘，姜河那的角色故事相對有趣些。剩下的就看看快成暖男專業戶的金英光和唱歌的徐康俊了。希望2022年跨年檔電影能夠好看些。
就当给李栋旭，韩智敏，元真儿，允儿加个油吧
打发时间看看可以，但是看完又觉得些许浪费时间……
还好是2021最后一部烂片而不是2022第一部
没有传统的完美大结局，就跟我们的生活一样，总是抱有遗憾，才会倍感珍惜吧。
韩版致敬真爱至上（？）老套的甜甜爱情，下饭可以～
尽管最后元真儿和李栋旭真的吻得很硬，但看到一大票我喜欢的卡司们还是度过了愉快的两小时。
所有的故事都落俗套，但是在这个辞别旧岁的冬夜，就是需要这样的温暖感动。
几条线融合得比较自然，但是剧情有点牵强。特别是李栋旭那一对。
演员们都好好看啊，可是电影全程快进看的。。毕竟一个导演，今年又是野蛮女友上映20年，不觉得梗旧，反而让我勾起了那个回忆！另外唯一喜欢的是韩智敏唱祝歌那段，她在这部剧里变的好漂亮啊~
因为你做了那些选择，所以你成了你。
导演原来是郭在容，又听到了《卡农》。李东旭到底演过多少酒店管理人哈哈，韩智敏真好看。
我觉得比咱们的元旦档电影好看，至少非常养眼
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