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.

一个不知名的男人不断地在猎杀和遭受幻觉的折磨，这种幻觉驱使着他的暴力本性，一个无名的男人正在抓捕女人并野蛮地殴打她们致死。与此同时，一个女人正在用她的刀引诱男人走向暴力的结局。在同样的力量驱使下，让异性受苦，凶手的命运纠结在一起。两人必须在一场殊死搏斗中决一死战，在这场战斗中，他们不得不揭露自己沉迷于谋杀的可怕真相。《野蛮》在视觉效果上采取了一种有趣的手法，从西方的“磨砂屋”电影中汲取了大量的影响，使用了滤镜使画面看起来颗粒状、受损，并伴有光线和颜色的波动。不幸的是，视觉风格最终感觉被误导了，因为除了应用过滤器之外，它没有模仿“磨坊”风格的任何其他方面。尽管试图弄脏这部电影，但很明显这是用数码相机拍摄的。这部电影也比大多数“磨坊”作品高出一步，Hirose Takashi Hirose证明了他在镜头背后有天赋。对那些发生在小空间的外部拍摄都是完美的装裱、照明和过渡良好。在作品之上加上一个效果的决定伤害了影片的形象，甚至给人一种绝望的感觉，试图抓住观众的某种怀旧情绪，而不是依靠自己的优势。不幸的是，一个创造性的选择会对作品造成如此大的伤害。“野蛮”的故事简单但有效，它确实试图对男性和女性的暴力本质进行某种社会评论，但它没有提供足够的深度来证明所展示的暴力数量。这部电影以一个有趣的转折结束了一个强烈的基调，一个必然会让一些人感到恶心的揭露，同时也给了其他人一个笑声。尽管《残酷》的本质很简单，但那些喜欢让自己有点不舒服的电影，并享受通过一些极端暴力的挑战，《野蛮》在这方面提出了一个有趣和娱乐性的挑战。

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