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😔rying to dirty up the film, it is😃 🙂🙄apparent😆🤐😴 i🤨😆😗t was shot on digital. T🙃he🤭😊\ $ cine:m🤪atography is also 😶😴😇a step above😚🤢😷 most =😐“G😚rin.😇😒😋😑dhous😉e😃🤩” prod🤣🤨😆😐u🤑😇ctions, 😗wi!$th Takashi Hirose p🤔roving he has talent behind🙃🙄- the c🤕🤔+ame]+ra. Ex😪🤫t🤣😴 erior sh😚$😌ots to those t🤥/@😍aking place in
+😷😝 small😉😄🤢 spa=,😷ces 🤒]😔are %:al)+😏😅l competently😅: 😇🤫;framed, li!t,😃 😂😝 and`%\)🤕 tra😄 🤐😋nsition\😀😁😁😴 well. The decision to ad🤭🤢😊d @😉🤐\an e😘ffect on top of
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*😶ven😷🤑-# gi😴😴😔*ves a sense of 😁😏despe%🤢ration to try 😃
😙]🤭to capt^😷ur😃🤪 e a certain type😁🤑 of nostalg🙄%🤕😐i😛😪😚
😪a?\ wit 😐😌h😶😅😛😄 the audien-😪 `$ce, instead🤒😛😉] of 😒relyi:😘ng *`:on its own streng😁🤐@ths. It is 😀😚unf!😀#ortunate when one 😴creative choice😘😉🤤_😆 ca😑😐n hurt a produ=%@ct🤭🤫:+🙃ion so😚😅 much.　`😒　The story of [😐“Br😴🤐^(utal🤮
🙄🤣” is 😀 🤫s😄`impl?😍e but ef?🙂fe😔🤕ctiv😙e, 😃(@it doe#🤥😙🙃😬s 🤪`😐attempt s+)ome sort of🤐[😚 so🤣=[cial comme?🤮😁ntary abo=%ut th😊😃😆e vi🤑.,#olent n.$😏ature of m😛🤣 en😃😐; a🤕😗😘😆:nd women, but it🤤🤨\ does
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🤫h😷😉_ depth😐😐 🤔(😝into t😝😃he subject 🤨to ju😉🤑😛stify the amoun😅^t of violence on display. The film🤪🤭😒% d🤐oe,s 😉#end_😄] on a stro🤐🤗ng🤐😃 no😇@te wi😜:😴th an interest😂#! 😴ing😶😂 t
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ut, 😌😗😀while`😊] gi😍ving others a🤩😔 chu🤒😝🙄🤫ck😂`😘l-e😬@+🤐. In 🤮#😶😌s😛 🙄pi🤣^te of its simpl_@e \] 🤑nature, those who enjo😒/😐,y film😂🤐😚/🤗s that make them somewh🥰😑?at uncomfo=rta,)🤩😁$ble😊😶 and enjoy 😊🤣th🤕🤩😪e c🤔🤤🙃😛hallenge ,🤗🤔o😉]😀f getting t🤨🤗🤫hrou😪!🤔gh some 🥰ultra-viol.😷;enc🤣e,😬 🤑 “Br)u🤑🤒😉?tal” p/@🤮oses a :😔😜🤪😂fun and entert🤥aining chal😁%:😚-lenge in that re`gard.