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.

《残酷》在线完整观看免费蓝光版

喜剧是高级的创作，而非段子的堆砌。至少本作在这个标准上是达到及格线的，超越了这两年开心麻花的所有作品。本文从以下三点说说这部喜剧的创作。一、大鹏的身份猜测与公司群像。大鹏从一个平庸的钳工误打误撞变成了白领。这里为了刻画他的身份，让其合理了起来，主要有几点：白客作为hr经理尊敬他，是因为怕他背后的关系。（对大鹏鞠躬，“您好，以后你就是我的下属了。”）吕子乔，作为大经理也是尊重领导的决定。用看似更高的思维，塑造了大鹏的形象：“这是套我们话呢，听见了吗，这是让我们以后对外

残酷在线播放超高清版

潘斌龙饰演的杨武是一个有趣的角色，他充满幽默感，善于用幽默的方式化解紧张气氛。他的幽默感与石振邦的沉默形成鲜明对比，为电影增添了一些轻松的氛围。同时，杨武的角色也展现了社会底层人物的现实处境，让人对社会现象有了更深刻的认识。

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看完这季，才大概搞明白了整个故事。人啊，不是简单的黑白善恶就可以形容的，人是很复杂的，复杂又多情。代入感越来越强，我就像莱农，当然我没有她的聪明和坚韧，只是像她一样，我永远在观察，在思考，在疑惑，也会像她一样总是“羡慕嫉妒”我的朋友。当然，她们幸福时，我也发自内心为她们开心。最后两个人拥抱的场景，我永远也不会忘，那一刻太让人羡慕了，她们陪伴了彼此，她们即将纠缠更久，她们的人生已经绑定了，可以离开男人，但离不开对方。还有莱农读大学时，妈妈来看她那个场景。羁绊啊，全是羁

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《狗神》是吕克·贝松执导的，并且在平遥国际电影节的评价很好，我一直很期待。但是在众多热门电影的挤压下，《狗神》的排片实在是少得可怜，附近的影院甚至都没有排片，于是我冒着天津接近历史记录的低温，在雪地里走了两公里去一个有：排片的影院。还好电影没有辜负我的期待。今年上映了好多关注边缘群体的电影，《河边的错误》、《涉过愤怒的海》……《狗神》也是一部关注边缘群体的电影，讲的是被家暴、被虐待、被囚禁的儿童，也就是电影中的主角道格。但是《狗神》跟其他电影不太一样，在《狗神