：Titanic enriches us with a romantic story of young love, passion and feelings, full of utopias and dreams, mother and child fighting for power and greed, idealistic and self-identified clashes within a consenting human ambitions society and victims of their own vanity and pomposity. This is one of the films that most shocked the general public in the last twenty years. The huge collections that are logical because they got obvious that Titanic has one of those stories full of strength and feeling, with great dramatic content. If we add the stunning beauty of the image, thanks to advances in digital technology, success is understandable. Very successful movie, which tells the story of the sinking of the ship, but in the background shows a passionate love story. It achieves a harmonious balance in that, in the mix of history and feelings, and makes it almost perfect.
中文为：
泰坦尼克号丰富了我们一个浪漫的故事，年轻的爱，激情和感情，充满了乌托邦的梦想，母亲和儿童战斗的权力和贪婪，理想主义和自我认同的冲突在同意人的野心社会和受害者自己的虚荣和傲慢。这是一部电影，最震惊公众在过去的二十年。巨大的集合，是因为他们有明显的逻辑泰坦尼克号的故事充满力量的感觉，非常引人注目的内容。如果我们把绝色美女的形象，由于数字技术的进步，成功是可以理解的。非常成功的电影，它讲述了沉没的船，但在背景中展示了一个充满激情的爱情故事。它达到了一种和谐的平衡，在混合的历史和感受，并使得它几乎完美。
罗马假日
heerfully charming romantic comedy in which reporter Gregory Peck falls
for a slumming princess, Audrey Hepburn. Bagged four Oscars, including one for
Hepburn in her first major role The picture that effectively introduce...
Cheerfully charming romantic comedy in which reporter Gregory Peck falls for a
slumming princess, Audrey Hepburn. Bagged four Oscars, including one for Hepburn
in her first major role
The picture that effectively introduced the world to Audrey Hepburn, this is
feelgood fare of the first order driven by good old-fashioned star power.
Hepburn is the poised but pampered princess on holiday in Rome. Weary of her
official duties, she bunks off and ends up in the arms of fast-talking
newspaperman Joe Bradley (Peck).
Hepburn's performance still looks brilliantly fresh and she gets surprising
comic mileage out of her girlish innocent abroad act. As the affair gathers
momentum, an initially prickly Peck puts professional considerations aside and
allows himself to be won over by her relentlessly cute allure. Their romance is
played out against the sights and sounds of a beautifully shot Rome, and in one
of the many memorable moments the couple visit the Mouth of Truth, where an
ad-libbing Peck pretends to have his hand bitten off. The focus rarely moves
away from the stars, but Eddie Albert proves a great comic foil as a highly
strung bohemian photographer.
Nominated for 10 Oscars, not even a teary conclusion can lessen the appeal of
this unfailingly lovely fairy tale.
呼啸山庄
If you've seen other films by Jacques Rivette, you might wonder, just as I do, what this Victorian novel adaptation was all about. If you've seen other films by this unique director - especially "Celine and Julie go boating" or newer ones like "Secret Defense" and "Histoire de Marie et Julien" - this mid-eighties try just doesn't fit.
Take the 1974 masterpiece "Celine and Julie" for comparison. In it, two very open-minded young women (both practitioners of different kinds of "magic") get tangled in a mysterious old-fashioned love triangle story, taking place in a archetypal haunted (Victorian) house. When they figure out that the 10-year old daughter of the house-owner is going to get murdered out of love madness, they decide to sneak into the house and rescue her.
The thing is, you know from the beginning that the pathetic melodrama in the haunted house is not real in the sense that Celine and Julie are. It's rather they invented the whole story just to kill time & have some fun with out-dated storytelling. It's essentially a illustration of what is called "deconstruction". The melodrama just serves as something that can be manipulated or even laughed at. Rivette (respectively, Celine and Julie) play very freely with a kind of narrative that doesn't seem to work anymore.
Unfortunately, "Hurlevent" has just the feeling of the haunted house sequences of the earlier movie - and that means, the characters are not likable, seem like marionettes, bloodless, dull. It completely lacks the light-hearted (though very intellectual) sophistication that made "Celine and Julie" so enjoyable. Maybe Rivette wanted it just like that. Even if this is so, it doesn't make sense for me.
魂断蓝桥
This movie has been remade several times and I doubt if in this day and age the old fashioned plot would succeed. This is because the plot is full of lots of melodrama and situations that today just seem too unbelievable. However, being a fan of older films, I was able to suspend disbelief and just watch the movie and accept it for what it was.
Ms. Leigh is a struggling ballerina in love with a rich guy about to go off to WWI. They are desperately in love and she ultimately gives up her career for him. Unfortunately, he goes off to war and is assumed to be lost and she has no income. His family is far from welcoming and so she is forced to sell her body to support herself! Now, most people today would think "yeah, she COULD just scream and yell and demand support from his family or why doesn't she just go out and get a job?" and this is the main problem with the film. Also, it's hard to reconcile the fine romance and romantic cinematography and music with her becoming a hooker. They just don't go together. These plot holes, it turns out, are a result of a massive re-writing of the script from the 1931 film of the same name--where the character Ms. Leigh plays is already a prostitute when she meets her love AND she never was a ballerina!! However, in spite of this, it's still an excellent film and is worth seeing.
乱世佳人
This movie has been remade several times and I doubt if in this day and age the old fashioned
plot would succeed. This is because the plot is full of lots of melodrama and situations that today just seem too unbelievable. However, being a fan of older films, I was able to suspend disbelief and just watch the movie and accept it for what it was.
Ms. Leigh is a struggling ballerina in love with a rich guy about to go off to WWI. They are desperately in love and she ultimately gives up her career for him. Unfortunately, he goes off to war and is assumed to be lost and she has no income. His family is far from welcoming and so she is forced to sell her body to support herself! Now, most people today would think "yeah, she COULD just scream and yell and demand support from his family or why doesn't she just go out and get a job?" and this is the main problem with the film. Also, it's hard to reconcile the fine romance and romantic cinematography and music with her becoming a hooker. They just don't go together. These plot holes, it turns out, are a result of a massive re-writing of the script from the 1931 film of the same name--where the character Ms. Leigh plays is already a prostitute when she meets her love AND she never was a ballerina!! However, in spite of this, it's still an excellent film and is worth seeing.
珍珠港
Pearl Harbor is a classic tail of romance set during a war that complicates everything. It all starts when childhood friends Rafe and Danny become Navy pilots and meet Evelyn a Navy nurse. Rafefalls head over heels and next thing you know Evelyn and Rafe are hooking up. Then Rafe volunteers to go fight in Britan and Evelyn and Danny get transfered to Pearl Harbor. And while Rafe is off fighting everything gets completely whack and next thing you know everybody is in the middle of an air raid we now know as "Pearl Harbor." Written by shoppingurl3
Set during the time of the Japanese bombing of Pearl Harbor, two friends (Ben Affleck and Josh Hartnett) are caught up in the events that draw the United States into World War II. One of them enlists with the U.S. Army Air Corps and the other flies for the British Royal Air Force, but they both find themselves in love with the same woman (Kate Beckinsale). Written by Anonymous
The classic story of the Japanese attack on Pearl Harbor is told through the eyes of two boyhood friends, now serving as officers in the Army Air Corps. Rafe is an energetic young pilot who is selected to fly with the British in Europe while America is still not at war. After Rafe is shot down and presumed killed, however, Danny comforts Rafe's former lover, Evelyn, and the two draw closer. But, when Rafe turns up alive, the two former friends become enemies, and it is through the turmoil of Pearl Harbor that the two may reconcile their differences. Written by Anthony Hughes {husnock31@https://www.doczj.com/doc/3112733889.html,}
Two childhood best friends, Rafe (Ben Affleck) and Danny (Josh Hartnett), grow up wanting to fly planes. When Rafe gets the chance to join the Royal Air Force during World War II, he takes it - leaving his new love, Evelyn (Kate Beckinsale), a dedicated Navy nurse, and Danny, also a pilot, behind. Danny and Evelyn are transferred separately to the idyllic paradise of Hawaii, where they eventually meet through a connection to Rafe, who has been declared missing. But just as the love triangle begins to get complicated, Dec. 7, 1941 arrives, changing all of their lives forever. Written by Sujit R. Varma
人鬼情未了
Oscars:Supporting Actress; Original Screenplay
Make no mistake about Paramount's "Ghost." It's formula-packed business as usual. In fact, it's double-packed, triple-packed, more: There's the afterlife love affair between recently deceased Patrick Swayze and earthly girlfriend Demi Moore. There's the beyond-the-grave odd-buddy-buddying between Swayze and spiritualist Whoopi Goldberg. It's also a tearjerker, along the sappy lines of "Field of Dreams." It's a murder thriller . . . .
And strangely enough, it's not that bad.
Now, hold it right there. I refer you to the low-light critical tariff one must apply to Hollywood's summer fare. In this artistically devalued summer of schlockbusters ("Days of Total RoboCop III"), it means Jerry Zucker's movie (he made "Airplane!" and "Ruthless People") is surprisingly entertaining and goes along nicely with the theater's air conditioning.
"Ghost" starts off in the kind of cheesy way that Paramount seems so peculiarly proud of. We're subjected to True Love Moments between Swayze and Moore, as she tells him she loves him and he says, wait for it, "Ditto." (This is what screenwriters commonly refer to as a "hook" and is important for later.)
But as soon as the couple is confronted by a gunman, the thriller elements of the movie kick in and the movie gets . . . interesting. A lot of plot elements can't be given away, but suffice it to say, when Swayze's spirit comes back from the dead, he finds out Moore is in great danger.
Unable to be seen by the living, Swayze finds out he can communicate aurally with Goldberg, a common-variety spiritual charlatan who discovers to her ESP horror that she is the real thing. Swayze has to enlist Goldberg to thwart the dangerous mystery man and pass the amorous word on to Moore -- words like "ditto," for instance.
Along the way, Swayze also learns, with the help of subway-haunting spirit Vincent ("One Flew Over the Cuckoo's Nest") Schiavelli, that ghosts can concentrate their psychic power into moving physical objects: making objects fly around the room, slapping bad guys around, that sort of thing.
Only in the leanest of movie-acting years would Swayze or Moore ever find themselves clutching Oscars, but they're very competent performers, certainly good enough to get through this mystery plot (decently scripted by Bruce Joel Rubin) without getting in your way. The best screen work comes from Goldberg, who puts spiritual oomph into an otherwise strained tea-reading role. Since her memorable performance in "The Color Purple," she's been mired in macho formula. But this movie, though it's still studio-ready stuff, may augur well for her future.
指环王
The enduring conflict between good and evil is the underlying theme of the trilogy, but Tolkien develops other themes in connection with it. He explores the positive and negative sides of
power, the nature of heroism, and the role of friendship. To Frodo Baggins, favourite nephew of the ring-finder Bilbo Baggins, is entrusted the task of saving Middle Earth from the control of the master of evil, Sauron. Frodo's task reverses the basic quest pattern: instead of finding a treasure, Frodo is sent to destroy what Sauron values above all—the One Ring. Sauron has poured much of his power into the One Ring to strengthen his control over the 19 Rings of Power. Of these 19 rings, only the Three made by the elves for themselves have never been touched by Sauron and his evil. The Seven, originally distributed to dwarf leaders, have been destroyed and do not affect events in the trilogy. The major concentration of evil confronted by Frodo comes from the Ringwraiths, OrNazgul, who are men enslaved by Sauron through the Nine Rings.
Sauron, having learned from Gollum the whereabouts of the One Ring, sends the Nazgul to recover it. Since the defeat in which the Ring was cut from his hand, Sauron himself can no longer assume a physical form. He can, however, act through those who have submitted their minds and wills to his service. The nature of the Rings of Power and of the Ringwraiths is made clear to Frodo before he accepts responsibility for destroying the Ring. The wizard Gandalf and Elrond, great leader of the elves of Middle Earth, determine who will accompany Frodo on his quest. To match the number of Nazgul, they include nine individuals in the Fellowship of the Ring, representing the people of Middle Earth: four hobbits (Frodo, his servant Sam, and two young friends, Pippin and Merry); the elf Legolas; the dwarf Gimli; two men, aragorn and Boromir; and Gandalf himself.
The fellows all demonstrate some aspect of heroism. Gandalf has an aura of supernatural power. He risks his life and his power when he is pitted against other supernatural forces: his fellow wizard Saruman, turned evil by desire for the Ring; the Balrog of Moria, who leads him to at least a symbolic death; and the Lord of the Nazgul, who is reinforced by the great strength of Sauron. Gandalf’s heroism is beyond human imitation.
Human heroes abound in the trilogy: aragorn, Boromir, his brother Faramir, the aged Theoden, Eowyn and Eomer (Theoden's niece and nephew), and the many warriors of Rohan and Gondor. Boromir at one point yields to the power of the Ring, trying to take it from Frodo, but he recognizes his weakness almost immediately and dies defending the younger hobbits, Pippin and Merry. aragorn, descended from two great marriages of elves and mortals, has a grace and power beyond that of mere human leaders. With this heritage he seems like one of the great epic heroes of the past, just as Tolkien's trilogy itself at times echoes the heroic epic world. aragorn plans, leads, encourages, and heals; he is always ready to risk his life for the salvation of others. When the royal line of the great kings of the West is returned to power by him, the free peoples of Middle Earth can again find justice and the age of men can begin.
T he most human heroes are the four hobbits. although at first they do not fully understand the dangers of the quest, their commitment grows in proportion to their knowledge of the nature of their enemies. Frodo undergoes the greatest test because the forces of Sauron concentrate their attacks on him. He is also tested by the Ring, by Gollum whom a lesser hero might have killed for his own safety, and by physical strain. although Frodo at the last moment yields to the evil pull of the ring, he is saved by his own virtue: the pity that had spared Gollum. Frodo carries a sword, but he rarely uses it, except when he futilely strikes at the Lord of Nazgul; his heroism lies more in endurance than in battle.
Sam, like his master, endures, but he is called to fight against Gollum, Shelob, and the orcs. He delights in hearing the orcs misidentify him as a great elven warrior. Sam's major role in the
trilogy is that of loyal friend. However, he is also the voice of normality, longing for the beauty of home, his family and friends in the Shire, his garden, and his pots and pans. Like Sam, Pippin and Merry exemplify friendship and heroism on a more attainable level. They are too small to fight the orcs who capture them, but they outwit them and travel with Fangorn and the ents to overcome Saruman. Back in the Shire after the destruction of the ring, Sam, Pippin, and Merry all share in the battle against more normal enemies: mere men.
Neither Elrond nor Galadriel participate in the quest, but they do contribute to its outcome. Elrond's power rescues Frodo from the Nazgul attack and his wound; and it is at Elrond's home that the fellowship is formed. Galadriel's gifts, especially Frodo's phial of light and the seeds of new life in Sam's box, symbolize the life-giving nature of the elves. When Galadriel later tells Frodo that the destruction of the One Ring will probably destroy the power of the Three Rings, it becomes clear how much the elves are sacrificing for the success of the quest. The 19 Rings of Power made by the elves of old had originally been formed as objects of goodness and beauty; it was Sauron who turned the rings he touched into sources of evil. Tolkien demonstrates how goodness can be perverted into evil, but he also shows that evil in turn can be overcome.
In his preface to the trilogy, Tolkien distinguishes between allegory and the applicability of works of literature to life. While he disclaims having imposed any allegorical significance on his story, he asserts the right of readers to apply the meaning of the story to their own lives as they see fit. In light of this disclaimer, it seems contrary to Tolkie n’s intention to interpret The Lord of the Rings as political or social allegory, as some critics have done. On the other hand, readers of all generations can apply to their own age some of the overall principles embodied in the trilogy. The fact, for example, that elves, dwarves, hobbits, and human beings can set aside major differences to work together for the welfare of Middle Earth can be extended to a hope that modern human races can set aside their differences, no more deeply embedded than the distrust between dwarves and elves.
Many battles take place in Middle Earth—often violent and bloody ones. The heroes fight bravely, sometimes against terrible odds, but the good characters do not rejoice in fighting, except perhaps when Fangorn and the ents delight in overthrowing the tree destroyers, Saruman and his orcs,or when Legolas and Gimli compete over the number of orcs slain. Before the Battle of Bywater, after the return to the Shire, Frodo directs his companions to avoid killing their enemies if possible. Even Saruman would have been spared if his own cruelty had not provoked the enslaved Grima to turn against him.
Evil is readily recognizable by its ugliness and by its fruits. Goodness is equally recognizable and its fruits are more lasting. The author does not preach, but his good characters exemplify in action the virtues of mercy, perseverance, generosity, and friendship. Sauron, Saruman, and the Ringwraiths all embody the vices of hatred, greed, and the thirst for power. The influence of Sauron on those who once were normal men demonstrates the pervasiveness of evil, as does the ugliness of Sauron's land, Mordor. While the destruction of Sauron and the Ringwraiths suggests that evil can be overcome, it does not imply that the destruction of a major source of evil eliminates all evil. The Southrons continue to fight after Sauron's power has collapsed, Saruman's petty destroyers of good continue their work in the Shire, and aragorn finds it necessary to establish guardians for his borders. Middle Earth after Sauron is no utopia, but it is a world very much like ours, one worth cultivating to bring forth beauty and goodness. In Gondor and in the Shire hope lives on.
美女与野兽
Once upon a time in a faraway land
a young prince lived in a shining castle.
Although he had everything his heart desired
the prince was spoiled, selfish and unkind.
But then, one winter's night
an old beggar woman came to the castle
and offered him a single rose
in return for shelter from the bitter cold.
Repulsed by her haggard appearance
the prince sneered at the gift and turned the old woman away but she warned him not to be deceived by appearances
for beauty is found within
and when he dismissed her again
the old woman's ugliness melted away
to reveal a beautiful enchantress.
The prince tried to apologize, but it was too late
for she had seen that there was no love in his heart
and as punishment, she transformed him
into a hideous beast
and placed a powerful spell on the castle
and all who lived there.
Ashamed of his monstrous form
the Beast concealed himself inside his castle
with a magic mirror as his only window
to the outside world.
The rose she had offered was truly an enchanted rose
which would bloom until his 21st year.
If he could learn to love another
and earn her love in return by the time the last petal fell then the spell would be broken.
If not, he would be doomed to remain a beast for all time.
As the years passed, he fell into despair
and lost all hope
for who could ever learn to love a beast?
Little town, it's a quiet village
Every day like the one before
Little town, full of little people
Waking up... to... say...
Bonjour!
- Bonjour!
- Bonjour! - Bonjour!
Bonjour!
There goes the baker
With his tray like always
The same old bread and rolls to sell
Every morning just the same
Since the morning that we came
To this poor provincial town...
Good morning, Belle.
Good morning, Monsieur.
Where are you off to?
The bookshop.
I just finished the most wonderful story
about a beanstalk and an ogre, and...
That's nice.
Marie! The baguettes.
Hurry up!
Look, there she goes
The girl is strange, no question
Dazed and distracted, can't you tell?
Never part of any crowd
'Cause her head's up on some cloud
No denying she's a funny girl, that Belle
Bonjour
Good day
How is your family?
Bonjour
Good day
How is your wife?
I need six eggs
That's too expensive
There must be more than this provincial life...
Ah, Belle.
Good morning.
I've come to return the book I borrowed.
Finished already?
Oh, I couldn't put it down.
Have you got anything new?
Not since yesterday.
That's all right.
I'll borrow... this one.
BEAUTY AND THE BEAST is a contemporary retelling of the classic French fairy tale. Once upon a time, there was a handsome but heartless prince, whose selfishness caused an enchantress to turn... BEAUTY AND THE BEAST is a contemporary retelling of the classic French fairy tale. Once
upon a time, there was a handsome but heartless prince, whose selfishness caused an enchantress to turn him into a hideous beast. He had only one hope for freedom: winning a woman's love despite his ugliness. The years passed; the Beast remained alone. Then one day, Maurice, a poor inventor, accidentally stumbled upon the Beast's lair. The angry Beast instantly swore to kill him -- until he saw Belle, Maurice's lovely daughter, who had come to to the palace to fight for her father's life. The Beast promised not to harm Maurice on one condition: Belle must stay with him. And so began Belle's lesson in the true meaning of beauty... a lesson that would bring her love and happiness ever after.
西西里的美丽
The film is set in 1940 during World War II just as Italy enters the war. Malena's husband, Nino Scordia, leaves to serve in the military. Malena feels sad and tries to cope with her loss, as the town she has just moved to tries to deal with this beautiful woman who gets the attention and lustful stares of all the local men, including the 12-year-old Renato. However, in spite of the villagers' gossip, she continues to be faithful to her husband. Renato becomes obsessed with Malena and starts fantasizing about her while masturbating.
The silent, distractingly beautiful outsider learns one day that her husband has been killed. Renato continues to watch as she suffers from loneliness and grief. Malena is shunned by the townspeople and the unattractive, jealous women of the Italian village, who begin to believe the worst about her, simply because of her beauty.
She visits her father, an almost deaf professor of Latin, regularly and helps him with his household chores. When a slanderous letter about her sexual morals reaches his hands, their relationship suffers a catastrophic blow. In the meanwhile, the war worsens. The village is bombed and Malena's father is killed.
She falls on hard times and eventually has no money. The wife of the local dentist takes her to court, but Malena is acquitted. The only man Malena does have an innocent romance with, an army officer, is sent away because of the trial.
Malena's poverty finally forces her to succumb to the greed and malice of the town and she becomes a prostitute, making the wives' fantasies about her a reality. When the German army comes to town, Malena gives herself to Germans as well. Renato sees her in the company of two German officers and faints.
His mother and the older ladies of the town think that he has been possessed by the devil and take him to church to exorcise the "demons." His father however understands that he is suffering from sexual hunger and takes him to a brothel; Renato has sex with one of the prostitutes while fantasizing that she is Malena.
When the war ends, the women of the village gather and, out of jealousy and hatred, publicly beat and humiliate Malena, who shortly after leaves for Messina. A few days later, Nino Scordia returns to town, to the shock of all the residents. He finds his house occupied by people
displaced by the war. Renato tells him through an anonymous letter about Malena's whereabouts.
Nino goes to Messina to find her. A year later, they return. The villagers, especially the women, astonished at her courage, begin to talk to "Signora Scordia" with respect. Though still beautiful, they think of her as no threat claiming that she had wrinkles near her eyes and put on some weight.
In the last scene near the beach, Renato helps her pick up some oranges that had dropped from her shopping bag. Afterwards he wishes her "Buonafortuna, Signora Malena" (good luck, Mrs. Malena) and rides off on his bicycle, looking back at her for a final time, as she walks away, with the retrospective thought that he has not forgotten her, even after a few years. He said, "Of all the girls who asked me if I remember them, the only one I remembered is the one who did not ask." The audience is left not knowing if Malena ever realizes Renato's feelings for her.
勇敢的心
Set in the late 13th century, 'Braveheart' is the story of one of Scotland's greatest national heroes Sir William Wallace. leader of the Scottish resistance forces during the first years of the long, ultimately successful struggle to free Scotland from English rule...
Crucially charismatic in the title role, Gibson plays the heroic figure and emerges as a remarkable hero with wit and romantic soul, determined to rid his country of its English oppressors...
Wallace's revolution was set in motion, with great obstacles from his countrymen... Many Scottish nobles lent him only grudging support as most of them were more concerned with wealth and titles than the freedom of the country... In fact, the Scottish leaders are in favor of revolt-or not-depending on English bribes... Wallace, by comparison, is a man of honor, incorruptible and righteous... He was knighted and proclaimed 'guardian and high protector of Scotland,' but as much as he railed against the Scottish nobles, submitted to Edward I, King of England, he was astonished and in shock to discover the treachery of the leading Scot contender for the throne—Robert, the Earl of Bruce—to whom he confided , 'The people would follow you, if you would only lead them.' Sophie Marceau is exquisite as the distressed princess Isabella of France who ends up falling in love with Wallace, warning him out of several traps...
Catherine McCormack is a stunning beauty who ignites Wallace's revolution...
Patrick McGoohan is chilling, brutal, and vicious as the ruthless Edward I, known by the nickname 'Longshanks.' This king remains simply the embodiment of evil...
While Angus McFadyen moves as a nobleman torn between his conscience and political aspiration, and Brendan Gleeson brings strength and humor to his role as the robust Hamish, David O'Hara is very effective as the crazy Irishman who provides much of the film's comic relief from even the most tensed moments...
Mel Gibson has reason to be proud of 'Braveheart.' It is a motion picture that dares to be
excessive... Gibson presents passionately the most spaciously impressive battles (yet staged for films) even excessively, and it is his passion and excess that make the motion picture great... The horror and futility of massed hand-to-hand combats are exciting rather repulsive... It is epic film-making at its glorious best...
Gibson's 'Braveheart' focuses on the human side of Wallace, a character so immense, so intelligent, and so passionate, exploring the definitions of honor and nobility, pushing us to follow the hero into his struggle against injustice and oppression...
妈妈咪呀
Set on a colorful Greek island, the plot serves as a background for a wealth of ABBA songs. A young woman about to be married discovers that any one of three men could be her father. She invites all three to the wedding without telling her mother, Donna, who was once the lead singer of Donna and the Dynamos. In the meantime, Donna has invited her backup singers, Rosie and Tanya
Journey to the Center of the Earth（地心游记）2008 There is a part of me that will always have affection for a movie like "Journey to the Center of the Earth." It is a small part and steadily shrinking, but once I put on the 3-D glasses and settled in my seat, it started perking up. This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it. If I had seen it when I was 8, I would have remembered it with deep affection for all these years, until I saw it again and realized how little I really knew at that age. You are already familiar with the premise, that there is another land inside of our globe. You are familiar because the Jules Verne novel has inspired more than a dozen movies and countless TV productions, including a series, and has been ripped off by such as Edgar Rice Burroughs, who called it Pellucidar, and imagined that the Earth was hollow and there was another world on the inside surface. (You didn't ask, but yes, I own a copy of Tarzan at the Earth's Core with the original dust jacket.) In this version, Brendan Fraser stars as a geologist named Trevor, who defends the memory of his late brother, Max, who believed the center of the Earth could be reached through "volcanic tubes." Max disappeared on a mysterious expedition, which, if it involved volcanic tubes, should have been no surprise to him. Now Trevor has been asked to spend some time with his nephew, Max's son, who is named Sean (Josh Hutcherson). What with one thing and another, wouldn't you know they find themselves in Iceland, and peering down a volcanic tube. They are joined in this enterprise by Hannah (Anita Briem), who they find living in Max's former research headquarters near the volcano he was investigating. Now begins a series of adventures, in which the operative principle is: No matter how frequently or how far they fall, they will land without injury. They fall very frequently, and very far. The first drop lands them at the bottom of a deep cave, from which they cannot possibly climb, but they remain remarkably optimistic: "There must be a way out of here!" Sure enough, they find an abandoned mine shaft and climb aboard three cars of its miniature railway for a scene that will make you swear the filmmakers must have seen "Indiana Jones and the Temple of Doom." Just like in that movie, they hurtle down the tracks at breakneck speeds; they're in three cars, on three more or less parallel tracks, leading you to wonder why three parallel tracks were constructed at great expense and bother, but just when such questions are forming, they have to (1) leap a chasm, (2) jump from one car to another, and (3) crash. It's a funny thing about that little railway: After all these years, it still has lamps hanging over the rails, and the electricity is still on. The problem of lighting an unlit world is solved in the next cave they enter, which is inhabited by cute little birds that glow in the dark. One of them makes friends with Sean, and leads them on to the big attraction -- a world bounded by a great interior sea. This world must be a terrible place to inhabit; it has man-eating and man-strangling plants, its waters harbor giant-fanged fish and fearsome sea snakes that eat them, and on the further shore is a Tyrannosaurus rex. So do the characters despair? Would you despair, if you were trapped miles below the surface in a cave and being chased by its hungry inhabitants? Of course not. There isn't a moment in the movie when anyone seems frightened, not even during a fall straight down for thousands of feet, during which they link hands like sky-divers and carry on a conversation. Trevor gets the ball rolling: "We're still falling!" I mentioned 3-D glasses earlier in the review. Yes, the movie is available in 3-D in "selected theaters." Select those theaters to avoid. With a few exceptions (such as the authentic IMAX process), 3-D remains underwhelming to me -- a distraction, a disappointment and more often than not offering a dingy picture. I guess setting your story inside the Earth is one way to explain why it always seems to need more lighting. The movie is being shown in 2-D in most theaters, and that's how I wish I had seen it. Since there's that part of me with a certain weakness for movies like this, it's possible I would have liked it more. It would have looked brighter and clearer, and the photography wouldn't have been cluttered up with all the leaping and gnashing of teeth. Then I could have appreciated the work of the plucky actors, who do a lot of things right in this movie, of which the most heroic is keeping a straight face. 1
第一篇：100部英文电影 100 部超级好看的英文电影 1,魔法灰姑娘〔超级推荐〕（安妮海瑟薇主演） 2,贱女孩〔超级推荐〕（林赛罗汉主演） 3,灰姑娘的玻璃手机〔超级推荐〕 4,美人鱼〔超级推荐〕（里面音乐也很好听） 5,舞出我人生〔超级推荐〕（励志的！刚出了第二部） 6,录取通知书 7,水瓶座女孩 8,倒霉爱神（林赛罗汉主演） 9,儿女一箩筐 10,冰雪公主〔超级推荐〕 11,我的朋友是明星〔超级推荐〕 12,辣妈辣妹〔超级推荐〕（林赛罗汉主演） 13,物质女孩〔超级推荐〕 14,疯狂金龟车（林赛罗汉主演） 15,平民天后〔超级推荐〕 16,公主日记(不用说勒)〔超级推荐〕（还有第二部哟！） 17,歌舞青春〔超级推荐〕[很热的电影！（ⅰ和ⅱ都喜欢） 18,律政俏佳人 19,麻辣宝贝〔超级推荐〕 20,恋爱刺客 21,美少女啦啦队〔超级推荐〕 22,12月男孩〔超级推荐〕（哈利波特演的哟）
23,足球尤物 24,魔法双星 25,超完美男人〔超级推荐〕 25,劲歌飞扬〔超级推荐〕 26,纽约时刻 27,奶牛美女 28,穿prada的恶魔〔超级推荐〕 29,天生一对 30,高校天后〔超级推荐〕 31,像乔丹一样 32,牛仔裤的夏天〔超级推荐超感人～〕 33,初恋的回忆〔超级推荐欣慰～〕 34,甜心辣舞〔超级推荐〕 35,花豹美眉 36,女兵报道 37,女生向前翻〔超级推荐很立志！〕 38,小姐好辣 39,欧洲任我行 40,留级之王 41,风云才女(希尔顿酒店继承人之一尼克?希尔顿首部主打影片！这是一部有关大学女生校园生活的喜剧，影片描述大学校园里一群正处于青春叛逆期、蠢蠢欲动的特权阶层少男少女平日里生活的点点滴滴……有点点sex)〔超级推荐i love hilton sisters〕 42,谁领风骚〔超级推荐女生的可怕和可爱〕
Titanic, "not only because it is a successful commercial film and, more importantly, it brought about the end of the century a wave of nostalgia: the Titanic sank in the early 20th century is a tragedy, the film has to The facts add up the true love story, set sail Tai Tanni will be less than 5 days of love, friendship and a disaster at the end of the century before this generation, it told us a truth: that we must cherish life. Short of climbing aboard a time capsule and peeling back eight and one-half decades, James Cameron's magnificent Titanic is the closest any of us will get to walking the decks of the doomed ocean liner. Meticulous in detail, yet vast in scope and intent, Titanic is the kind of epic motion picture event that has become a rarity. You don't just watch Titanic, you experience it -- from the launch to the sinking, then on a journey two and one-half miles below the surface, into the cold, watery grave where Cameron has shot never-before seen documentary footage specifically for this movie. In each of his previous outings, Cameron has pushed the special effects envelope. In Aliens, he cloned H.R. Giger's creation dozens of times, fashioning an army of nightmarish monsters. In The Abyss, he took us deep under the sea to greet a band of benevolent space travelers. In T2, he introduced the morphing terminator (perfecting an effects process that was pioneered in The Abyss). And in True Lies, he used digital technology to choreograph an in-air battle. Now, in Titanic, Cameron's flawless re-creation of the legendary ship has blurred the line between reality and illusion to such a degree that we can't be sure what's real and what isn't. To make this movie, it's as if Cameron built an all-new Titanic, let it sail, then sunk it. Of course, special effects alone don't make for a successful film, and Titanic would have been nothing more than an expensive piece of eye candy without a gripping story featuring interesting characters. In his previous outings, Cameron has always placed people above the technological marvels that surround them. Unlike film makers such as Roland Emmerich and Dean Devlin, Cameron has used visual effects to serve his plot, not the other way around. That hasn't changed with Titanic. The picture's spectacle is the ship's sinking, but its core is the affair between a pair of mismatched, star-crossed lovers. Titanic is a romance, an adventure, and a thriller all rolled into one. It contains moments of exuberance, humor, pathos, and tragedy. In their own way, the characters are all larger-than- life, but they're human enough (with all of the attendant frailties) to capture our
Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1
小王子电影观后感英文版 本文为小王子电影观后感英文版范文，让我们通过以下的文章来了解。 Recently, I read a fairy story book, Little Prince. This book tells the adventurous experiences of little prince from his planet to the earth. Little prince comes from the outer space and he is hurt by a rose. So he leaves there and travels into space. He comes to the earth and be the friend of a fox. The fox tells his secret to little prince and he helps a pilot in the desert. In the end, he dies under the help of a snake and his soul goes back to his planet. This book is very interesting and teaches me a lot. I like little price adventures. He teaches me to be honest and love others. All of us should never loss the pureness of childhood. This is a fairytale whose distribution volume is only second to The Bible. It’s been translated to versions of many other languages. And I gather there must be something special, something really great about it. It’s this conviction that drove me to read it at the first beginning. Well, with due respect to the author, I failed to see how this fairytale be worthy
Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1
看英语电影观后感英文版 电影大家看过许多了，观后感大家也写过许多，那么偶尔看一 看写一写英语的观后感也是不错的。下面是的关于英语电影观后感， 希望对您有所帮助 ! Avatar is directed by James Cameron.The two main characters are Jake Sully,played by Sam Worthington,and Neytiri,played by Zoe Saldana. Clones named Avatars are sent to Pandora Pla to persuade people there to leave the pla so that human beings can exploit a rare mineral.Jake is sent there to control his Avatar.However,he es across Neytiri and they fall in love with each other.Jake begins to see that nature and the pla should be protected.At last he and the people there work together to defeat human beings and send them back to the earth. 3D technology and the beautiful natural scenery are the two highlights of the film.The message of the film is simple — human beings should protect nature and live in harmony with it. am honored today watched the United States ， 3D cartoon animated film The story is the old manCarl and his wife Eliza has always been thought of children in South America
The Pursuit of Happiness（当幸福来敲门）2006 With a title like The Pursuit of Happiness, you expect the characters to get to the promised land. They do, but if the journey matters more than the destination, this is a movie to skip. The Pursuit of Happyness is long, dull, and depressing. It expands into two hours a story that could have been told more effectively in one. This is not the feel-good movie of the season unless you believe that a few moments of good cheer can redeem 110 minutes of gloom. Sitting through The Pursuit of Happiness is a chore. Downbeat movies aren't inherently bad (in fact, many are powerful), but this one provides artificial characters in contrived circumstances. How is it that movies "inspired by a real story" often feel more fake than those fully embedded in the realm of fiction? Will Smith has generated Oscar buzz for his portrayal of Chris Gardner, the real-life guy whose rags-to-riches story forms the basis of the movie. (Impoverished guy becomes capitalist poster boy.) While it's fair to say that this is one of the best straight performances of Smith's career, it didn't blow me away. In and of itself, the acting, while effective, is not Best Actor material, but it wouldn't surprise me if the movie's prestige factor and Smith's popularity earn him a nod. Meanwhile, his female co-star, Thandie Newton, isn't going to be considered for any award. Newton spends about 90% of her screen time doing an impersonation of a harpy: screeching, bitching, and contorting her face into unpleasant expressions. Smith's son, Jaden, is okay as the movie's child protagonist; it's unclear whether his occasional deficiencies are the result of his acting, Steven Conrad's writing, or Gabriele Muccino's direction, but there's not much personality behind the cute features and curly hair. Chris Gardner (Will Smith) is down on his luck. It's 1981 San Francisco and his self-employed business of selling portable bone density scanners isn't doing well. His wife, Linda (Thandie Newton), does nothing but yell at him and give him a cold shoulder, and the lack of domestic harmony is impacting the disposition of his beloved son, Christopher (Jaden Christopher Syre Smith). That's when Chris' life turns into a country song. His wife leaves. He is evicted from his home. He goes to jail, neither passing GO nor collecting a much-needed $200. He gets hit by a car. He is robbed. He makes his son cry. He alienates a friend over $14. He gets to spend a night in the cleanest public restroom in the history of public restrooms. But there's a bright spot, although you need a dark-adapted eye to find it. Despite having no experience, Chris applies to enter an internship program at Dean Witter. He would appear to have no chance to get in until he amazes the head of the program (Brian Howe) by solving the Rubik's Cube puzzle in the back of a taxi cab. It's a blessing that the movie doesn't use a stock villain to impede Chris' herky-jerky trip to the top, because that would have tipped the movie into the empire of the unwatchable. However, the lack of a strong conflict makes the two-hour running length seem very long. Thankfully, there's also not much in the way of overt melodrama, but that could be a byproduct of having characters who are not deeply realized and have narrow emotional ranges. It's tough to connect with Chris and his son. Although they are played by a real-life father and son, there's no chemistry between them. We're constantly told how desperately Chris loves Christopher, but it takes a long time before we begin to buy it. Most of the time, Christopher seems like an annoying piece of baggage that Chris drops off at daycare when he has other things to do. The film's most compelling scenes are those that show Chris struggling to enter the rat race. Granted, this is no Glengarry Glen Ross, but it shows the pressure these salesmen are under and how important the contact lists are. In the overall scheme of things, however, these sequences are background noise. They are neither plentiful nor lengthy. The movie spends more time following Chris on his futile sales rounds for the bone density scanner than it does accompanying him during his broker training. The moral of the story is as trite as they come: don't let anyone convince you to give up on your dreams. Disney animated films have been doing this better for decades. The Pursuit of Happyness concludes with a caption that tells us what happens to Chris after the end of the movie; it promises a better story than the one we have just watched. The film is also marred by a persistent (although not verbose) voiceover that adds nothing to the story while frequently jerking us out of the experience of watching it. I don't need Will Smith telling me: "This part of the story is called 'riding the bus.'" This is the English-language debut of Gabriele Muccino, who has made a name for himself in Italian cinema. The Pursuit of Happiness has the kind of slow, drab tone one occasionally associates with a director raised outside of the Hollywood system. What can be an asset in some circumstances is a detriment in this one. The Pursuit of Happiness isn't enjoyable, and its meager pleasures, including the eventual "payoff," aren't enough to justify the unrelenting misery. The Pursuit of Happiness is competently made and gets lots of the details right, but when it comes to the emotional core of the story, it loses the pursuit and misses the "happiness."