18歳の青木いずみ(加来見由佳)と恋人の真一(阿部雅彦)は、お昼のワイドショーの視聴者参加の素人ベッドシーン(! )を見ながらセックスをしていた。燃え上がった二人はこの番組に応募しようということになって、カメラの前でも恥ずかしがらずに必死にセックスを頑張った。ところが翌日の新聞には、18歳の娘がテレビで本番セックスをやったと大騒ぎになっている。それがきっかけとなって、いずみは芸能プロにスカウトされた。さっそくコンドームのCM出演の仕事が舞い込む。芸能人としていずみが売れ出しすと、真一とのデートはどんどん減っていく。ある日、久しぶりにいずみとセックスを楽しんだ真一は、一人取り残された苛立ちから、彼女の膣中に射精する。いずみは製薬会社の宣伝担当の部長八城(大林丈史)と料亭で会う。そして泣きながら抱かれるのだった。こうしていずみが気に入った八城は、専属に決める。一方でスナックに勤めることになった真一は店を手伝っているよしえ(渡辺良子)を力づくで犯し、うさ晴らしをしていた。いずみの方はCM撮影に、さらにドラマ出演の話とトントン拍子で売れっ子に。そんなある日、いずみは現場で気分が悪くなり、倒れてしまう・・・。

戏剧院的悲惨三级喜剧演员阿奇被瘟疫蚕食，然而他却幸存下来，变得目中无人和唯利是图，他许久，开国际玩笑，说冷笑话，大声谈论性事，对政治豪放厥词。阿奇还引诱自己的父亲提前退休后拿他的退休金恶意投资，最终还是全军覆没，这样像狗屎一样的人生，他在用自己的方式演绎一个社会中的普通人，然而把他放大来看，其实他只是社会中的一名艺人而已。

18歳の青木いずみ(加来見由佳)と恋人の真一(阿部雅彦)は、お昼のワイドショーの視聴者参加の素人ベッドシーン(! )を見ながらセックスをしていた。燃え上がった二人はこの番組に応募しようということになって、カメラの前でも恥ずかしがらずに必死にセックスを頑張った。ところが翌日の新聞には、18歳の娘がテレビで本番セックスをやったと大騒ぎになっている。それがきっかけとなって、いずみは芸能プロにスカウトされた。さっそくコンドームのCM出演の仕事が舞い込む。芸能人としていずみが売れ出しすと、真一とのデートはどんどん減っていく。ある日、久しぶりにいずみとセックスを楽しんだ真一は、一人取り残された苛立ちから、彼女の膣中に射精する。いずみは製薬会社の宣伝担当の部長八城(大林丈史)と料亭で会う。そして泣きながら抱かれるのだった。こうしていずみが気に入った八城は、専属に決める。一方でスナックに勤めることになった真一は店を手伝っているよしえ(渡辺良子)を力づくで犯し、うさ晴らしをしていた。いずみの方はCM撮影に、さらにドラマ出演の話とトントン拍子で売れっ子に。そんなある日、いずみは現場で気分が悪くなり、倒れてしまう・・・。

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.

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.

A team of spelunkers, when investigating a system of caves beneath a small town, come across a hideous creature that can move through walls.

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.

Adrift in a lush, nocturnal urban landscape, Nick is a post-modern urban hero asserting his anarchistic agenda on the endless maze of virgin exterior walls that comprise downtown Seattle and Portland. For writer/director Bolton's lonely "tagger" protagonist, the vast wall surfaces of deserted alleys and trainyards are at once a daunting symbol of capitalist oppression and a texturally rich, seamless tableau ripe for exploitation to amplify his artistic dialectic of anger and rebellion. His own virtually anonymous existence seemingly only secondary to the painted surfaces and "rupture the system" manifesto which more poignantly evidence his presence, Nick's prodigious solo graffiti output is interrupted by friendship with another young tagger. Their communication begins as less verbal than a kind of shared graphic tour de force; their enormous collaborative graffiti murals appear to emerge as the unmistakable offspring of their kindred spirit. But eventually their assumptions about one another are disproved as political, emotional and ethical issues arise which cause their relationship to dissolve into the background of urban detritus, and the artists themselves emerge only further atomized and alienated by the experience. Compelling themes, sensitive performances, and luscious visuals define this film which is a revealing immersion into the experiential reality of those daring to make their art in a socially condemned arena. For a film ostensibly focusing on manipulated surfaces, Bolton's cinematic artistry probes deep into the consciousness of the "tagger" and "graffiti artist" sub-culture.