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.
连着看了几部所谓大女主动作片 哎 都是工具人罢了
爽片还行，就是剧情给人公式感太强的意思，其它还好。
女主喝的是核废水吗，所以中了辐射而死#谷阿莫
情感贯彻的很深入，把全篇都巧妙地穿了起来，一点也不过分，与其说是杀手电影，不如说啊文艺片只是加了一些打打杀杀
如果主演换成男的，这片子早就被喷出翔了。但现如今只要套着个女性主义的题材，甭管多么塑料廉价的剧本、动作和表演，都能被捧出花来。你说制片方是为了流量和资本，这么鸡贼可以理解，但作为观众有啥可开心的？以前大街上看耍猴你知道喊一声残忍，现在进了马戏团就觉得这是艺术了？说到底不过是把“女性视角”和“猎奇”划上了等号，换种方式继续消费而已，本质上还是逗你玩，这种态度莫不如说是对女性更深层的侮辱。
210911.★★★★★.雷奇制片/导演作中品质羸弱观感糟心之最（放低预期和要求，前五十分钟体验流畅度尚可，往后是断崖式的坠落。），不论是武指（！）、节奏、配乐，还是主角倒霉悲惨不得善终的遭遇+注定越战越弱的设定，与一票关键配角那未能辅助补强主角完整性因设定而必然产生的空缺 的拙劣塑造或表演（国村隼除外）。NONE OF YOU DDESERVE MY SISTER WINSTEAD AT ALL（泪）。另，本片唯一无可诟病的贡献是一段年度（搁过去几年不见得有能出其右者（也就头号玩家略胜一筹））最酷炫/赛博的［飙车］场面。
全程半死不活，打半天不如老头那三刀干脆拉轰
老套的故事就不说了，就有一段日式餐厅打斗堪称精彩，其他画面都有拖沓之嫌，精炼一些会更好
这个女杀手在行动窗口期非要到酒吧喝酒被陌生人一搭讪就上床，因此被设计中了放射物质的毒；这个女杀手非要用手枪去捣药，因此在杀人的关键时候遇上了枪械故障。这个电影再次证明，女杀手都是废物，再摊上屁话死多屁事不少的小屁孩就成了死废物。
女主是挺酷的，但被自己人暗算再复仇的戏码真的看腻了。ps：霓虹跑车不错
小女孩Ani很亮眼呀 剧情就很一般了 一开始就能猜到后面 但为什么不给我们看照片嘛
血腥暴力的动作片，儿童不宜。
朋克风爆棚，居酒屋那段非常cult，血浆飞溅的暴力美学，致敬杀死比尔，比她上一部猛禽小队好看
问题在于，这是一部杀手主角的动作片，但Mary的气质完全不搭，她怎么看都是爱情喜剧片的好脾气女主角，追车场景倒是拍得不错，导演不如来拍头文字D
这种片面临的困境就是，要是不够爽不够爆，真就一文不值。。还有开头那追车戏全程是粗糙到爆的绿幕是怎么回事？
赛博东京舞美尚可，动作戏设计别致，从快切到升格，以镜头语言放大女主一日生命凋零之旅，剧本不拉胯甚至能给到四星的爽快之作，可惜拉了，而且不给伍迪哈里森一场动作戏？
太喜欢女主演员了，基本上有她的片我就没打过低分
霓虹街巷极道肉搏枪斗百人斩，黑白会馆断指插喉洒热血，厨房冰箱炊具单挑功夫牛郎，激光瞄准写字间火药派对武士刀国村隼vs浅野忠信……导演剧本都不太行，混血日本妞的演技烂得有点可怕，靠几个老戏骨把文戏撑住，让黑社会来聊《四谷怪谈》之深意顺带批判西方列强殖民主义也只有国村隼才能演得像那么回事；但武指和服化道优秀，特别是前几场打斗；整体观感稍逊《火药奶昔》吧
有几个亮点，比如日料店里的血腥插刀，砸碎玻璃杯cos金刚狼造型，最后大战女主黑帮老大式登场，还有选用的J-POP。但总体故事还是很俗套，死亡倒计时的复仇女杀手怎么也没有《怒火攻心》带劲。当然这些年所有的杀手片都不能和John Wick比。
不可否认，疾速团队在动作设计上很用心！故事尽管老套，但是我可是冲着场面来的，几段打戏不会失望！疾速、怒火攻心、杀死比尔等等电影的影子，女主还是李小龙粉丝吧，鬼冢虎标配！
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