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.
不知是不是第一部里小黄人单干没有卑鄙的我系列效果好的原因，所以第二部又把Gru加回来了，剧情确实要丰富一些，还多了一个新小黄人otto。本来想打和前几部一样的三星，多的一星是小黄人们用无辜大眼求来的
生不逢时的遗憾续作，原20年暑期上，遭疫情重创巴黎制片关停，进度难赶后延2年上映，时隔8年出续集换导演编剧明显改变方向，搞怪搞笑不减，小Gru戏份变多斗坏人，但最明显变化是加入大量华文化元素，小黄人闯闹唐人街，华人表演大游行春节文化舞龙灯笼，展示华人区的迎新春文化，大量中文字和中式装饰、音乐，中式武馆习武练功，十二生肖变怪兽混战等，甚至致敬成龙动作喜剧设计，关键道具翡翠金链也是中式，非推广某国文化，只是加入新文化、新看点吸引年轻观众，而幕后也用心，请来杨紫琼配音功夫大师以及歌手王嘉尔与邓紫棋加入音乐插曲，但对比《功夫熊猫》系列仍有差距，可惜的是Stuart“乱开飞机”，Kevin“垂直落地”，之前的成片剧情已有，非后补加入，不巧撞正或联系到某国特大 灾难事故及特殊时期的 问题，大陆不上
可爱是小黄人的通行证，卑鄙是格鲁的墓志铭。
好多中国元素啊，我真的惊了，现在绝对已经是流量密码。。虽然我不知道这个是不是换成另一种文化的zodiac是不是也能行，但是咱就别要求一个动画片做到什么文化团结✋
理所当然的， 小黄人是N 个男一号。。。。先是乔装改扮机务人员飞三藩市 后台三小只独闯唐人街 少林功夫独步天下 最后李小龙黄色运动服很经典
比第一部好笑很多，猫鼠游戏的梗，有很多中国元素
一锅炖大杂烩，为了卖萌而卖萌，为了搞笑而搞笑
牙套萌神是亮点，主要看他憨憨的执著。其他有小黄人的内容都很好笑。但是故事本身真没啥深度，而且大部分时候都过于夸张、嬉闹。特别是当男主角一心想当坏人时，如果没看过之前的电影，真的有点难跟孩子解释，这个片子里究竟
卖萌合法且有效，剧情有些散，不带脑子看还可以。
中华元素满满，小黄人这么正能量这么萌还不够好吗
中国味儿越来越重了 只差盗墓的时候点蜡烛了
比隔壁巴斯光年有诚意，故事讲得好，技术细节有问题也可以忍，故事本身讲不圆，细节处有亮点也救不了。继续卑鄙的我的扭曲价值观，但是扭曲中有真情哈哈。片中中国元素加得也不算突兀，片头音乐居然还是一首中文歌。
十二生肖之萌宠 vs 猛兽🤭一开始以为是盗墓笔记，后面发现是唐人街探案😆小Gru好可爱！
小屁孩们的初心就是有一群不离不弃的伙伴，然后一起给这个世界捣蛋
三线叙事中最爱看公路旅行那对，一开始进放映厅以为走错了，全是成年人
中国元素加一分！一开场就是中文我也是没想到，一行小伙伴都发出了声调的“啊？” 。可爱。
牙套萌神是亮点，主要看他憨憨的执著。其他有小黄人的内容都很好笑。但是故事本身真没啥深度，而且大部分时候都过于夸张、嬉闹。特别是当男主角一心想当坏人时，如果没看过之前的电影，真的有点难跟孩子解释，这个片子里究竟
好像真的从疫情导致影院停摆后才开始注意电影在我们生活中的意义。讨论了那么多电影语言，文化意义，影院的在场属性，都不如今天在满座的影院看完一场合家欢，出门后在canada day躁动的大街上再看完一场烟花更让人对电影，对生活感到感激。
平静写“容止雅量”可能更好?
总之世界上怎么会有小黄人这么可爱的东西，观影途中被萌到喉咙里嘤嘤嘤的声音特别自然就冒出来了，太可爱了！！安利大家都去看呀！
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