恐怖买家

　　6月6日凌晨6点，美国外交官罗伯特•舍恩（Liev Schreiber 饰）刚出生的儿子不幸夭亡，在斯派尔多神父（Giovanni Lombardo Radice 饰）的建议之下，他收养了一个出生不久母亲便过世的婴儿，并为其取名戴明。
　　戴明（Seamus Davey-Fitzpatrick 饰）在罗伯特的家中健康成长，从未生病。与之相对，各种怪事也不断在周围发生。罗伯特的妻子卡瑟琳（Julia Stiles 饰）再次怀孕，她发现戴明竟然对尚在腹中的婴儿心存恶意。在布莱南神父的指点下，罗伯特得知戴明竟然是恶魔之子，他必将不断壮大，为害人间……
　　本片为1976年同名作品的翻拍版。

　　当红女歌星（李惠敏饰）随剧组到一荒凉小岛上为新歌的MV拍摄取景，坐在船中休息时总觉得水中有异物。
　　小岛上住着为数不多的几户居民，民风淳朴却也相当愚昧。
　　随着拍摄进程的不断，剧组内开始怪事不断。剧组人员周围总会突然莫名出现一奇怪的黑衣男子（古天乐饰）不断打探“阿莹”的下落。与此同时，荒山野岭内常有一长发怪人身影出没，嚎叫不断，让人毛骨悚然。
　　一日，女歌星与导演再次撞到黑衣男子，大胆询问之下，男子道出了岛上的一段往事......
　　本片宣称没有黑夜的鬼片，所有外景都是在白天完成，有其独特之处。

　　过度执迷工作以致神经衰弱的保罗（Ezra Godden 饰）经常为一个恐怖美人鱼的噩梦所困扰，为缓解压力，他随女友芭芭拉（Raquel Meroño 饰）以及好友豪尔（Brendan Price 饰）、维琪（Birgit Bofarull 饰）乘游艇来到西班牙度假。
　　在海上，他们听到附近印波加小岛传来的神秘歌声，随后一场特大暴风雨袭来，游艇触礁，维琪受伤。保罗和女友乘救生筏前去小岛求救，而留守的豪尔与维琪却遭到不明生物的袭击。保罗他们在岛上见到身体怪异的居民，为营救好友他们被迫分开，而噩梦就此开始……

　　A murderous religious cult is way-laying travellers and stealing goods in nineteenth century India. As the disappearances mount and trade becomes difficult, the British East India Company is forced to act. But they give the job to an upper-class officer completely out-of-touch with the country rather than the obvious candidate who has been in India for years and well understands the people and culture.

　　来自小农场的年轻人卡利伯遇到了吸血鬼梅，她要卡利伯加入其族中。领导者杰西及手下并不能轻易接受这个青年，然而由于一次意外，卡利伯救出了暴露在阳光下的吸血鬼，由此得到了认可。而对死亡，卡利伯无法拒绝永生的诱惑，于是他和那些以血充饥的杀人同伴们开始了在美国中西部的生活……

　　林小楼与祖父为茅山南派的传人，潜藏在北派的道观偷偷习武。大岛尤加里之父、妹亦为南派之人，为道观住持所害；于一偶然机会认识林小楼祖孙，三人遂结合对抗道住持，于是展开一场茅山道术大斗法……

　　玛戈特出身于贵族家庭。她继承了一座城堡，和脾气暴躁的丈夫迪特前去视察。当他们抵达城堡，理智被逐渐侵蚀，两人的关系受到了考验。

　　电影分为三个短片。
　　《财》：契娘遭到了一对夫妻的背叛，不仅失去了财物，还丢掉了性命。在杀死契娘不久之后，怀孕的妻子开始分娩，不小心将鲜血滴在了契娘的尸体上，令契娘化作厉鬼附身婴孩进行复仇。
　　《淫妇》：一对偷情的男女设计杀死了丈夫，两人将尸体弃于大海之中，丈夫的冤魂化为水怪屡屡捉弄奸夫淫妇。
　　《刘天素》：一代神医因遭人嫉妒而惨遭陷害最终被推上了断头台，神医是刽子手孩子的救命恩人，于是在行刑时，刽子手暗中施展了血遁大法，令神医的魂魄可返回阳间七日料理自己的后事。

　　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.