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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.

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其实快到结尾都感觉没有惊艳或者治愈的，直到美的妈妈说，“你一直努力让所有人开心，却对自己太苛刻了。如果这是我教你的，对不起。不要为任何人犹豫不前，你往走得越远（抛下迎合的包袱），我越会为你骄傲。”第一遍还没理解，但眼泪就那样流出来了。倒回去看第二遍，思绪游离，想了想。其实我挺早前已经放下、不期望我的母亲会说这种话，哭不是因为曾经没被满足的需求跳出来刺痛，放下就是不会有什么因他人产生的刺痛了，而是感觉看到了曾经的小睿，看到她们会经历很难挨但现在再回想也没什么心绪起伏的重塑

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喜逢《沙丘》在内地上映，我终于赶在电影上映前把买来吃灰了十年的原著小说日夜兼程给看完了。本文基于原著小说及注释，并结合网上部分评论进行整理，旨在为大家观影提供一些背景知识和剧情的辅助理解。文中译名采用四川科技版。文章涉及部分剧透，请大家酌情阅读。由于我平时科幻读得较少，这次又是临时抱佛脚，所以文中若有讹误，也欢迎大家留言指出：）事件篇【巴特兰圣战】又称大骚乱，爆发于宇航公历公元前，是一场人类对抗已产生自主意识的人工智能的全面战争。圣战持续了约年，以人类的

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朴素的剧本，不意外的情节，稳定输出的演员们，片尾曲很赞。作为反煽情星人，这次还是在影院哭得毫无障碍，真情实感。程兵的执拗已经很少见，最后的结果更是堪称奇迹，是对所有相信好人应该有好报、恶人应该有恶报的人的救赎。因为现实里这样的事太少了，实在太少了。等了年的朱令就没有等到天理昭昭。比鬼邪可怕的，永远是人心。

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文/Evarnold首先声明，我没有在这之前接触过任何跟《沙丘》有关的东西，原著没有，林奇版电影也没有。《沙丘》于我也就是一个顶着如雷贯耳之名的烫手山芋而已。这有可能不利于我更好地享受这部《沙丘》，但毫无疑问，我从中获取的快乐已经足够多，多到作为卡神的忠粉，我不断回忆对比年前第一次看《阿凡达》时的感受，然后不得不承认，维伦纽瓦也做到了神做到的事情。《沙丘》已经开启了一个时代，告诉世人好莱坞终究还是好莱坞、电影终究还是电影。在《沙丘》之前的十年里，好莱坞的商业巨制几乎堪称“