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.
看大佬飙戏太舒适了，期待nino和小9都能熟成了西岛叔这样的宝物
好甜哦，甜度超集中，笑点也很出色，虽然有点凑时长，但平平淡淡的爱情就超美啊。人到中年不可避免会谈到生老病死，一起做饭，一起旅游，会吃醋也会为对方担心，为了对方向父母表态，真的太美好了。可惜最后都没有亲到啊，可恶！
年度十佳😭谢谢煮饭夫夫，随时随地治愈我😭😭最理想的生活好搭档状态：合伙吃，分房睡，有老人各自养，有烦恼一起扛。（看来他俩不光没有性生活，连kiss在史朗这里也是🈲
从开头的京都到结尾的花见，虽然全片都没什么冲突，但是看着看着就能让人微笑起来，真好。
剧版还没看，但理解没啥问题哈哈。好笑的地方是真的好好笑，我也有在认真记菜谱
虽然还是温情好看的，但剧场版还是太松散平淡了，还是喜欢电视短剧这样形式的日常。
昨晚就看完了，補標一下，真的是美景美食“美人”，好讓人流口水。看的過程中一直腦子在想“哇，這道菜的做法好像很簡單，我要學”，結果手告訴我：學不會。😢
贤二有着宽厚的同理心和包容心，在影版中他的委屈和隐忍被史朗消解；而史朗慢慢抛弃他的钝感，以美食之名完成对贤二的承诺以及与父母的和解。
好适合夏天看的平淡流水账，就当做俩大叔搭伙过日子也很可爱
倒是亲一个吧啊啊啊。
影片有个五星的开头，有我最想去的京都，最想去的，最想。同性的表现方式，让人麻酥酥，怪舒服。可惜影片接下来相当拉胯，衔接生硬，剧情寡淡，让老夫难免失望，仍看完，带着微笑。
其实我是当这部是美食番来看的，如果作为一部爱情剧，讨论爱的地方实在太少，又或者表现爱的地方都存在于生活点滴细节中，而不在任何亲密行为中，但作为爱情第二基调如此淡化实在少见，主题围绕着中年生活与困境，作为lgbt群体与家庭的关系，浅入浅出没有什么过于深层次的地方，仅仅打发时间倒是不错的下饭剧。
大龄基佬美食弄得这么小清新，是只属于同人女的幻想吧。有现实的部分，不过三次元的男人总归还是男人。。比起秀恩爱，不如看京都美景完事了。另外就是也许相互理解，但没办法成为家人，这种人之间的微妙距离和感觉吧。主动划分关系边界的同时也为之赋予意义，残酷和温柔本就一体两面。
喜欢不仅仅是因为展现同性生活的舒适状态 更因为故事有自己生活的一部分，所以更感同身受。
两星都给演技 拍摄也太平庸了吧 和剧版几乎没有任何变化
3.5。擦玻璃甜死了，感觉西岛一直在笑场。居然有正常态的矶村出现！
七顿饭，把面对面一起吃饭的人，变成肩并肩地感叹“真美啊”的人。老成这样真不错啊！
谁会嫌时长长呢，就算把电视剧抻成电影又如何，我倒希望可以一直拍下去
一万次被西岛秀俊笑出一脸褶子的脸迷死！一百次想把家里装成同款厨房和客厅。这一次，有认真的回看菜谱。
两位大叔的相处依然自在舒展，美食也依旧令人身心愉悦，遇到的难题依旧没有解决，但，这不就是所有人的日常嘛。PS，要常常回归啊，拜托了！
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