英文影评目录
英文影评：《刺杀希特勒》(Valkyrie：历史) 2009 (115 min) 2英文影评：阿凡达（Avatar）3英文影评：哈利波特与混血王子4英文影评: 千与千寻(Spirited Away) 7英文影评：《功夫熊猫》（Kung Fu Panda）8英文影评：海上钢琴师（The Legend of 1900）10英文影评：角斗士（Gladiator）11英文影评：飞屋环游记英文影评(Up English Review) 12
英文影评：《刺杀希特勒》(Valkyrie：历史) 2009 (115 min)
What becomes of a movie star when the career hits a
hiccup and the lustre starts to fade? If the movie star is
smart, they go back to basics, reconnecting with the fire
of their formative years. What drove them back then?
What first made them strive for greatness? "When I was
a kid I always wanted to kill Hitler," Tom Cruise revealed
recently. "I hated that guy and all he stood for."
Valkyrie, then, is not just the latest Tom Cruise action
thriller. It is the fruition of a dream; a boyhood fantasy writ large; a Hollywood blockbuster that provides an opportunity that was denied him in life. Inevitably he bungles it.
Bryan Singer's picture casts Cruise as Claus von Stauffenberg, the Wehrmacht colonel who spearheaded the 20 July 1944 plot to save the fatherland. Wounded in battle and sporting a natty eye-patch, von Stauffenberg has grown sick of war. He wants to "show the world that not all Germans are like Hitler". He hates that guy and all he stands for.
The obvious sticking point here is that (spoiler!) von Stauffenberg did not actually kill Hitler. The plot failed and the conspirators were executed. Played as a tragedy, or a stark study of failed ambitions, this might not have been a problem. Except that Singer opts to frame Valkyrie as a high-concept wartime suspense thriller, inviting us to suspend our disbelief and go along for the ride.
The 1944 plot was at least fiendishly planned and generally well executed. Singer's, by contrast, seems flawed and foolhardy from the start.
But what of Singer's co-conspirator? Valkyrie paints von Stauffenberg as the archetypal "good German", a model of elegant disenchantment. And yet Cruise, for all his skills as a performer, does not do disenchantment. For all the anguished moments of doubt, the constant stares into the mirror, his von Stauffenberg is essentially Top Gun with an eye-patch.
The film's curious melange of dialects only underscores this
quality. Von Stauffenberg's cohorts are played by British
actors (Bill Nighy, Terence Stamp, Kenneth Branagh) who
deliver their lines in English accents. The villainous Nazi is
portrayed by German actor Thomas Kretschmann who speaks
English in a German accent. And then - standing separate and
apart - is Cruise himself, intoning his lines in pureblood
American. He might as well have been dropped in from an
Allied plane; a gung-ho Hollywood hero sent in to clean up a
very European mess. He couldn't manage it as a kid, and he
can't quite do it now. Hitler one; Tom Cruise nil.
对应中文翻译：
什么成为一个电影明星，当职业生涯击呃逆和光泽开始褪色？如果是聪明的电影明星，他们回归本源，重新与消防的形成时期。是什么驱使他们回呢？第一次是什么使他们争取的伟大？“当我还是孩子的我一直想杀死希特勒，”汤姆克鲁斯近日透露。“我讨厌那个家伙和他主张。”
北欧女神，那么，不仅是汤姆克鲁斯的最新动作片。这是取得成果的一个梦，一个儿时的梦想令状大;好莱坞大片，提供一个机会，这是剥夺他的生命。不可避免地，他bungles它。
布莱恩辛格的图片蒙上克鲁斯的克劳斯冯施陶芬贝格，在国防军上校谁带头1944年7月20号阴谋拯救祖国。在战斗中受伤，并身穿整洁眼补丁，冯施陶芬贝格增加患病的战争。他希望“向世界表明，并不是所有的德国人喜欢希特勒” 。他讨厌那个家伙和他主张。
最明显的症结是，（扰流板！）冯施陶芬贝格实际上没有杀死希特勒。阴谋失败，阴谋被处决。打一场悲剧，或形成了鲜明的研究没有野心，这可能不是一个问题。但辛格选择框女神作为高概念战时悬疑惊悚片，邀请我们停止我们的怀疑和凑凑热闹。
1944年阴谋至少极为普遍得到很好的规划和执行。歌手的，相比之下，似乎有缺陷的和愚蠢的开始。
但是歌手的同谋？女神油漆冯施陶芬贝格作为典型的“德国好人” ，一个优雅的模型觉醒。但克鲁斯，他的所有技能，作为一个演员，不会觉醒。所有的痛苦的时刻，毫无疑问，不断地凝视到镜子，他的冯施陶芬贝格基本上是壮志凌云的眼睛修补程序。
影片的好奇混杂的方言不仅强调了这一点质量。冯施陶芬贝格的同伙正在发挥英国演员（比尔奈伊，特伦邮票，肯尼斯布莱纳）谁提供的线在英语口音。纳粹的罪恶所描绘的是德国演员托马斯克莱彻曼谁讲英语的德国口音。然后-除了常设单独-是克鲁斯本人，他的线intoning美国在pureblood 。他可能也已下降盟军飞机从一个长庚浩好莱坞英雄发出清理非常欧洲一团糟。他无法管理它作为一个孩子，他不能做到现在。希特勒之一;汤姆克鲁斯为零。
英文影评：阿凡达（Avatar）
First and foremost, Avatar, as promised,
unquestionably represents the best visual
use of performance capture and 3D
technology in cinema to date. It has also
been treated to one of the best marketing
campaigns. Somehow, t...
First and foremost, Avatar, as promised,
unquestionably represents the best visual
use of performance capture and 3D technology in cinema to date. It has also been treated to one of the best marketing campaigns. Somehow, the phrase that found its way into every pre-release report, article or outright puff-piece was game changer - and that was before anybody had seen any footage. To get everybody talking about your latest project as a film that could change the face of cinema is a difficult thing, but not
nearly so difficult as living up to the expectations that bravado creates. 'King Of The World' James Cameron does love a challenge.
So, is it or isn't it? Has 'the game' been
changed? The answer really depends on
what game you're playing. If we're talking
about what a film can achieve visually (and
in terms of box office receipts), Avatar is
unequivocally a game changer. If the game
you're interested in is the older art of
storytelling, character and dramatic
narrative, it is not. Looking back at
Cameron's own oeuvre, the experience of
reading the scripts of Terminators 1 and 2
and of Aliens is engaging in its own right, before you add any visuals. The same can't be said of Titanic and True Lies, but they do undeniably provide great opportunities for some spectacular action set pieces. Avatar, while more ambitious, leans towards spectacle over script: the story is no dud, but you will come out of the cinema talking about what you've just seen, rather than quoting the instantly classic lines of Terminator/Aliens.
It may not be crammed with soundbites, but boy, does Avatar look good. The 3D technology is the best it has ever been, and unlike gimmicky 3D where an audience might lean away from something that appears to project out towards them, 3D in Avatar is overwhelmingly used to create a sense of depth - we're looking into an open window on another world, stretching out in front of us. And what a world it is. The fruits of Cameron's audacious imagination could not be more psychedelic and
eye-boggling if Mother Nature decided to reboot our ailing planet with some lush, trippy creations and commissioned a prog rock cover art specialist to make it so. Planet Pandora is awash with colourful critters and a forest of flora straight out of a botanist's acid trip.
Wonder at the bio-luminescent forest, culled
straight from James Cameron's deep sea diving
expeditions. Boggle at the six-legged horse beasts.
Thrill to the glowing pink tree, guardian of ancestral
memories. Sigh over the motile dandelion spores,
giant touch-sensitive plants and rainbow pterodactlys.
Coo over the many-hued sunsets. Then of course,
there's the stars of the show, the blue,
environmentally low-impact Na'vi whose land is threatened by a nasty corporation. If it all sounds one crying unicorn away from New Age poster art, that's because it is, but not in a bad way - most of the time it looks so glorious the sheer beauty of the thing browbeats your cynicism into submission and leaves it lying battered and bruised, face down in a pool of shimmering ethereal phosphorescence.
英文影评：哈利波特与混血王子
Describing what actually happens - and why - is something of an irrelevance in reviewing the latest entry in the cinematic behemoth that is the Harry Potter series. This time around it's 'Harry Potter
And The Half-Blood Prince' making the transition from bestselling book to blockbusting film, and since you're likely either a fan who knows the book inside out already, a general cinemagoer who's along for the ride regardless of plot, or a Potter-hater who won't be going at any cost, let's skip an onerous narrative recap. A skimpy summary then: the clouds of darkness are gathering (again) but they do rather seem to mean it this time, with a thoroughly grown-up looking Draco Malfoy (Tom Felton) tasked with a dark deed and Professor Snape (Alan Rickman) swearing a big bad
Unbreakable Oath to Helena Bonham Carter's satisfyingly crazed
Bellatrix Lestrange.
A different kind of storm is brewing for our rapidly maturing
heroes, who are caught in a raging hurricane of hormones.
Thankfully, said heroes are on much more likeable form these
days, having successfully navigated past that really slappable
mid-teen phase - there's a lot less sulking from Harry (Daniel
Radcliffe) in particular, while Ron Weasley (Rupert Grint) dealing
with the amorous attentions of a lustful Lavender Brown (Jessie Cave) verges on a Carry On Wizarding skit.
Looked at as an addition to the franchise as a whole, director David Yates' second turn in the driving seat is a much more confident, fun-loving effort than damp squib Order Of The Phoenix. While it won't convert muggles who've thus far remained immune to the magical charms of Hogwarts, this is one of the higher quality instalments in the series. Hampered only by a bladder busting 153 minute runtime, there's more genuine humour on offer here, and less reliance on magical gubbins - witness a refreshing lack of Remembralls, Floo Powder, Pensieves and other such pun-laden paraphernalia.
Granted, Harry's got a Horcrux to deal with this time around, and despite sounding like a condition contracted in a dubious massage parlour, it's a bit more serious than Chocolate Frogs and Butterbeer, being part of Dark Lord Voldemort's soul, splintered into seven and stored in different locations, like a kind of black magic insurance
scheme against death.
This provides the motivation for the most Lord Of The
Rings cribbing sequence yet, with
Gandalf/Dumbledore (Michael Gambon) and
Frodo/Harry travelling to a remote rocky outcrop to
destroy the trouble-making trinket once and for all,
amidst epic trials and a decently spooky sequence
involving several hundred Gollum-esque creatures.
However, all this is merely a prelude to the film's money shot, the much-touted death of a major character, which in case you've somehow avoided the spoilers, we won't ruin here.
Lest you run away with the impression that The Half-Blood Prince could compete with The Bitter Tears of Petra Von Kant for Least Laughs in a Motion Picture, it can't be stated too clearly that what sets this one apart is having a decent sense of humour about itself.
There's a welcome irreverence for the material on display this time around: finally, Harry is anticipating Dumbledore's perennial grave warnings. "Harry, once again I must ask too much of you" is greeted with wry weariness, while instead of opening the film by whisking a terrified Harry from Privet Drive amidst spluttering from the Dursleys, this time around, The Boy Who Lived is in the middle of a cool coffee shop flirtation with a teenaged Pam Grier-alike when Dumbledore interrupts proceedings.
Other aspects of the magic Harry Potter formula are of course present and correct. There's a new tutor, Horace Slughorn, played by veteran Jim Broadbent, who this reviewer interviewed in 2006 - at the time, he said he'd turned down an early offer of a role in one of the first Harry Potter films, wistfully commenting "I don't suppose they'll ask again." They evidently did, and to decent effect: he plays the kind of weak, easily flattered teacher whose penchant for devoting all his attentions to his
more glorious and talented charges
resulted in a bit of a clanger when
teaching a certain Tom Riddle dark
secrets back in the day.
Saving the best for last, the crowning
glory of the film, as ever, is Alan
Rickman as Professor Snape.
Rickman continues to channel a less
manic version of his inimitable
Sherriff of Nottingham (Robin Hood:
Prince Of Thieves), which is, needless to say, all to the good. Spitting average-on-paper lines like "How grand it must be to be the chosen one", his venomous line delivery has all the mesmeric precision of a poisonous but exquisitely crafted canapé; the attention to the texture and tone lavished upon every syllable is rivalled only by the equal care he gives to ensuring his devastating pauses are also worth a thousand words. Not for nothing did he appear in a 2009 stage tribute to playwright Harold Pinter, famed for his attention to silence.
We can only hope that Harry Potter And The Deathly Hallows: Part 1, scheduled for release 2010, maintains the momentum, focussing on character, humour and drama, and leaving the House Elves and Boggarts to the earlier films. Daniel Radcliffe, Emma Watson and Rupert Grint are growing up: that the films finally seem to be matching them is no bad thing.
Verdict
Too deep into the saga to win over any Potter virgins, this is payback for those who've followed the series from the start, with some of what was best about the books finally making a comfortable transition to screen.
英文影评: 千与千寻(Spirited Away)
Animated feature from Japanese master Hayao Miyazaki. A young girl finds herself trapped in a mystical realm, where she must find a way to save her parents - who have been turned into pigs There's something almost criminal about the way Spirited Away took over two years to reach Britain after its original Japanese release. In Japan, Hayao Miyazaki is both commercially successful (his films regularly beat box office records) and highly respected (Akira Kurosawa said: "I am somewhat disturbed when critics lump our works together. One cannot mimimise the importance of Miyazaki's work by comparing it to mine."). In Britain, however, his work has barely got more than a few cursory
arts venue screenings. At least Spirited Away -
which took the Berlin Golden Bear in 2002 and
the Best Animated Film Oscar in 2003 - made it.
Better late than never.
After the stress of making his last film, 1997's
Princess Mononoke, Miyazaki had a breakdown
and retired. But he came out of retirement when
an idea to create another, lighter film began to
take shape. Princess Mononoke was an
action-packed epic that ranged across 15th century Japan. For Spirited Away he returned to the quieter - but no less serious - themes that he addressed to a degree in 1988's My Neighbor Tortoro. Both films feature a family moving house, girls getting used to upheaval, and elements of 'Alice In Wonderland'. But where the 1988 film used a few specific motifs from Carroll's book (a plunge into a 'rabbit hole', a version of the Cheshire cat), Spirited Away casts its 10-year-old protagonist, Chihiro (H?ragi; or Chase in the US dub), fully into a Wonderland, a mystical otherworld populated by animal spirits and gods. Chihiro arrives in this realm by accident. Her parents, heading for their new home, take a road that leads into the woods. Arriving at a dead end, they walk down a corridor through a building and emerge in what dad takes to be "an abandoned theme park". It's something like a Japanese Portmeirion, but eerily deserted. While her parents greedily help themselves to food, Chihiro wanders off and meets Haku (Irino; or Marsden), a boy who warns her to leave before dark. She's too late though - a lake has appeared, blocking her route, ghostly forms have populated the town and her parents have turned into pigs. She's trapped.
The only way to survive, Haku tells her, is to get work in the bath house that dominates the town. Here "eight million gods rest their weary bones", according to Yubaba (Natsuki; or Pleshette), the witch who runs the establishment. Chihiro makes her way to meet Yubaba with the help of Kamajii (Sugawara; Ogden Stiers), a multi-limbed codger who runs the boiler house, Lin (Tamai; Egan), a serving woman with a taste for "roasted newt", and even a 'Radish God', a giant sumo of a chap with tuber-like appendages. Yubaba is hardly forthcoming - her realm is "no place for humans" - but
she's forced to give Chihiro work, thanks to an oath she swore. Chihiro gets work helping Lin. But the management give them the worst jobs - such as assisting a hideous oozing creature they take to be a "Stink God; an extra large stinker at that". It's an entity so foul its smell makes food rot instantaneously, while its suppurations fill the room with a noxious gloop.
Chihiro - or Sen as she becomes when Yubaba takes her name as part of her contract - does get by in the bath house, but it's not without further incident. She may lose her identity, but she retains her decency. One act of kindness results in a dangerous spirit, No Face, getting into the bath house and wreaking havoc by playing on the greed of the other employees ("Gold springs from his palms!"). She even gets involved in an adventure that reveals her mysterious bond with Haku. But can she save her parents? It's often said that Katsuhiro Otomo's Akira (1988) is the greatest anime ever. That's as maybe, but every one of Miyazaki's films is a masterpiece, so it's hard to pick just one that stands out. It's also tricky to compare his works with the more traditionally received notion of anime
(giant robots, demons with phallic tentacles, telekinetic fighting,
atom bomb-style explosions etc).
Although Miyazaki insists it's not his role to be didactic, all of his
work (notably his second feature Nausicaa Of The Valley Of The Wind
and Princess Mononoke) has strong messages about ecology and
the human relationship with the natural world. But he's also
fascinated with coming-of-age stories, notably about how girls (many
of his protagonists are young females) can not only face up to adult
responsibility, but also how they can become strong, principled
members of society. Here Chihiro is forced to grow up fast, but the
process, while gruelling, is not without real benefits, as her
understanding of the way society functions and experience of adult
emotions develops exponentially.
Some aspects of the film are likely to be too foreign for Westerners - we're ignorant of Japanese belief systems, with their hierarchies of entities - but Miyazaki's work has the power to transcend such culturally specific elements. While many of his earlier films drew on European stories (such as 1986's Castle In The Sky, from Swift), the folkloric features he reworks are often universal. But most of all, his team's animation - here utilising more digital techniques, while still being grounded in 2D traditions - is always beautiful and, in places, breathtaking. Locations are atmospheric, details are immaculate (you can identify the flower species in the gardens) and characters are diverse. Yubaba, for example, is a bizarre creation, a stocky woman with a huge head and even bigger hairdo; the bath house itself is stocked with all sorts of weird and wonderful creatures, from a Kermit-like assistant, to creatures reminiscent of his cuddly woodland deity from My Neighbor Tortoro, to
troll-like beasts that look related to Maurice Sendak's 'Wild Things'). The only factor that could be seen as mildly misjudged is J? Hisaishi's score, which is overbearing in places.
Verdict
It's no wonder the likes of Pixar's John Lasseter (who executive produced the US dub) are so full of praise for Miyazaki. He's a true genius, an artist and great filmmaker who happens to work in animation - a medium often belittled as childish in the West. Spirited Away is wonderful.
英文影评：《功夫熊猫》（Kung Fu Panda）
THE GENERAL IDEA
The synopsis for Kung Fu Panda looks something like this: “A clumsy panda bear becomes an unlikely kung fu hero when a treacherous enemy spreads chaos throughout the countryside in this animated martial arts adventure featuring the voices of Jack Black, Dustin Hoffman, Angelina Jolie, and Jackie Chan. On the surface, Po (voice of Black) may look like just another portly panda bear, but beneath his fur he bears the mark of the chosen one. By day, Po works faithfully in his family’s noodle shop, but by night he dreams of becoming a true master of the martial arts. Now an ancient prophecy has come to pass, and Po realizes that he is the only one who can save his people from certain destruction. With time running short and malevolent snow leopard Tai Lung (Ian McShane ) closing in, Furious Five legends Tigress (Jolie), Crane (David Cross ), Mantis (Seth Rogen), Viper (Lucy Liu), Monkey (Chan), and their wise sensei, Master Shifu (Hoffman), all draw on their vast knowledge of fighting skills in order to transform a lumbering panda bear into a lethal fighting machine. Now, if the noble Po can master the martial arts and somehow transform his greatest weaknesses into his greatest strengths, he will fulfill his destiny as the hero who saved his people during their darkest hour.”
THE GOOD
“The most important element” in any film will vary according to its genre. For a film like Kung Fu Panda clearly the most important element it needed to pull off was comedy. If a film like this one doesn’t make you laugh… then there isn’t much left to fall back on. Thankfully the movie succeeds quite well on this level. I can’t recall any more than 1 hard belly laugh (usually a decent comedy
needs much more than that), but it felt like it at
least always had me smiling or giggling through
the run time. Almost none of the joke were home
runs… but then did all work. The end result was I
found myself entertained
almost all the way through.
Coming up with a good villain in a kids film is no
easy task. The character has to be menacing, but
at the same time you can’t give kids nightmarish
visions and make them crap themselves. I mean come on… it’s Kung Fu Panda… you can’t exactly have Violator (from the Spawn comics) showing up can causing kids across the nation to spontaneously crap themselves in their theater seats… then requiring therapy for the next 3 years to make the nightmares go away! It is a fine and delicate balance… and the villain in Kung Fu Panda, Tai Lung, was PERFECT. He was certainly menacing… but at the same time easy enough for the kids to handle without needing pampers. I think the presence of such a villain really helped the film work.
Doing good action in an animated film is also no easy task. I mean, it’s easy enough to DO… just not so easy to do WELL. However, Kung Fu Panda and the folks at Dreamworks really did pull of some BEAUTIFUL animation with complex yet extremely smooth kung fu fighting that was a treat to watch. It was also a lot of fun seeing how each character had a totally different fighting style in keeping with which animal they were. I mean come on… how on earth do you animate a snake doing Kung Fu and have it look cool? Well… they found a way!
THE BAD
There isn’t a lot to complain about in this movie, but I will raise a couple of issues. First of all, some of the voice casting felt completely wrong. I worship the ground Dustin Hoffman walks on… but him as the voice of the sage Chinese Kung Fu master that trains the furious 5 and Po??? It just didn’t fit. Seth Rogen as one of the fu rious 5? I hope I’m not just being picky… but whenever these guys spoke (especially Rogen) it just kinda pulled me out of the movie. It was just really conspicuous.
I would have liked to have seen more about
the furious 5 characters (the tiger, crane,
monkey, viper and the mantis. I think
Jackie Chan had like 2 lines… but I mean
more in the sense of seeing even just a 2
minute segment of where they each came
from and how they ended up at the temple
in the first place. Not a major complaint…
but it did keep popping into my head as I
was watching it.
英文影评：海上钢琴师（The Legend of 1900）
Tim Roth stars in the first English language film by Cinema Paradiso
director Giuseppe Tornatore. A fantastical, historical fable about a gifted
pianist born and raised on a cruise ship
Though Italian director Giuseppe Tornatore's Oscar-winning Cinema
Paradiso was one of the surprise hits of the 80s, subsequently his
profile has been low. Perhaps in an effort to rectify this, here he
presents his first English language film, a lavish and unashamedly
sentimental fable based on a monologue by Italian writer Alessandro
Baricco. Given a ruthless studio edit before its release, more than once
it threatens to drift off into whimsy, but remains on course, thanks to the
firm presence of Tim Roth in the title role.
Told in flashback, it's the story of Danny Boodmann TD Lemon 1900 (Roth), so-named because he was found as an infant in 1900, lodged in a crate of lemons aboard a luxury cruise liner. Growing up at sea, it swiftly becomes apparent that 1900 is a gifted - possibly even genius - pianist. His legend spreads and jazz giant Jelly Roll Morton (Williams) even comes aboard to hear him play. Years later and narrator/former band member Max Tooney (Vince) is pawning the trumpet he blew alongside 1900 when he hears the ship is to be sunk. Could it be that 1900 is still somewhere on board, mooning over a mysterious beauty known only as
'The Girl' (Thierry) while working up a lonely rag?
To an extent it's a film uncertain about its own
destination and some wobbly dialogue means
1900 himself remains a bit of an enigma. En route,
however, are some great set-pieces such as 1900's
knuckle-busting keyboard duel with Morton and
his ride round the room on top of a piano. Ennio
Morricone's score ensures the music is at least as
important as the sumptuous visuals, and is supplemented by some great jazz piano numbers by Scott Joplin and (the real) Jelly Roll Morton.
Verdict
By turns compelling, confounding, and occasionally just downright odd, Tornatore's ocean-going epic contains much to admire. True, there are moments when it threatens to sink beneath a tide of sentiment, but an understated performance by Tim Roth and the music which forms the film's heart make this an unusual but worthwhile venture.
英文影评：角斗士（Gladiator）
Ridley Scott revives the Roman epic with computer generated imagery and a mighty performance from Russell Crowe. Not to mention the last stand of the late Oliver Reed
Hulking great buildings, hulking men, hulking
utterances are the blocks that Ridley Scott's film is
constructed from. But at the heart of Gladiator's epic
recreation of the ancient Roman world sits an
effectively simple tale of loyalty and love.
Maximus (Crowe) is a respected warrior, a general
loyal to the visionary emperor Marcus Aurelius (Harris).
However, when Marcus Aurelius dies, Maximus is
double-crossed by the dangerous, nay deranged, new emperor Commodus (Phoenix). All Maximus wants is to avenge his family.
After being sold to gladiator trainer Proximo (Reed, serving up his final role with brute nobility), the experienced soldier fights his way up the gladiatorial league charts until he's the darling of the Colosseum. The David Beckham of bloodshed. Soon he gets a chance to face the father-murdering, sister-loving cause of his woes - Commodus.
Ridley Scott's best film since Blade Runner, Gladiator magnificently revives a genre that seemed to have expired with Cleopatra in the mid-1960s.
Although it's essentially cobbled together from 19th century neoclassical paintings, Spartacus and The Fall Of The Roman Empire, Gladiator is given added oomph with judiciously-applied CGI, a solid script from David Franzoni (Amistad), John Logan (The Aviator) and William Nicholson (Shadowlands). Plus, in Maximus, Russell Crowe found his best role. The supporting cast is impressive too.
Verdict
Meaty and satisfying, Gladiator is a modern classic and worthy of its awards.
英文影评：飞屋环游记英文影评(Up English Review)
With the dialogue-free first act of WALL-E, Pixar challenged the
assumptions underlying family animated movies. The little robot's
courtship of EVE had the physical aplomb of a silent movie, each
character constructed out of the minimum of elements required to
make us love them. The achievement was recognised with an Oscar
for Best Animation. With Up, Pixar and Disney continue their
adventure in pared-back storytelling, repudiating the pernicious
received wisdom that what children require from a film is the
discharge from a blunderbuss of pop culture gags,
demographically-engineered characters, infantile wisecracks and
celebrity voices.
Excess is a sign of anxiety, of uncertainty about what works. The
mission to strip out superfluity begins with the opening short film, Partly Cloudy. Where do babies come from? A stork delivers them in a bundle. Every child knows that. Walt Disney used this parental euphemism for the opening of Dumbo. Here the Pixar-Disney team build around the premise, with clouds creating life and then handing it over to the weary storks to deliver. Not a word is spoken. These shorts are proving grounds for the studio's upcoming talent: the remit is to return feature film animation to its roots, as a universal form of storytelling, reclaiming it from the sassy motormouth of the Shrek era.
Up begins with a downer. A quiet boy called Carl is
befriended by tomboy Ellie. "You don't say much," she
notices, tellingly. Carl and Ellie are in thrall to the daring
explorer Charles Muntz, whose adventures in the lost isle
of Paradise Falls are captured in black-and-white
Movietone reels. Carl and Ellie pledge to go on adventures
of their own. But love gets in the way. They get married. They do up their house and decorate the nursery. Then in one heartbreaking moment, we realise they can't have children. The film is presented in 3-D, which requires the audience to wear special glasses. They don't work very well when your eyes are full of tears. Car
l and Ellie grow old together, and then she dies.
Carl is left alone in their house, surrounded by a
building site. A developer wants him to move. He
refuses but then his anger gets the better of him. On
the day they show up to take Carl away, he unfurls
thousands of balloons, and he and his house float up,
up and away. But he has a stowaway. A tubby boy
scout called Russell. The adventure of this odd
couple begins.
风雨哈佛路观后感800字 风雨哈佛路>观后感 这两节课上，老师给我们欣赏了《风雨哈佛路》，但前几分钟，我压根就没看懂是什么情况，但即便是这样，我也收获了不少道理。 这是一部简单的电影，时间跳转较快，小莉兹，生长的环境可谓是绝对的逆境，但她却从社会的最底层不断努力奋斗进入了世界级的高校——哈佛。这种身陷逆境却永不言败的态度值得我们学习。要是让我在这种逆境中生存的话，我恐怕一天都呆不了，直接就找个墙给撞死了。 这世上没有谁可以不经历风雨就能见到彩虹的。我们总会遇上那些人生路上必备的绊脚石，大多的人都向苦难，向自己的命运所妥协，极少的人可以像利兹一样，克难迎上，他们不认输，不愿向逆境低头，他们相信只要努力了但不是尽力，而是拼命，只有这样做了，就会改变自己现在的生活处境，改变命运。在这个世界上大多都是失败、贫庸的人，而只有极少数是战胜逆境的“王者”。 有句话给了我很深刻的印象：“我要改变我的生活，我要尽力拼搏，不让自己落入社会的最底层，我不能终日沉静在迷茫彷徨之中，认定我现在的生活，如果，如果，如果我更加努力呢？别人可以做到的事，为什么我不能做到呢，人生是可以选择的！”因为影片中主人公利兹尽管身处逆境，却仍能有如此坚定的志向与理想。而我们呢！环境更优越不知多少倍，但我们对自己所想要的，所寻要的都是茫目的，不能坚持锁定目标与志向。我们正是缺少像利兹那么坚定的信念，不是吗？虽然做到像她那强烈的目标感很难，但我们至少可以试着去学习，去努力，去尝试，只有这样，我们才会有源源不断的动力和追求的力量。 这根她的态度也相关。因为一次的作业值得了A-，因此去找老师，并询问为什么只得了A-。试问我们，我们能做到这一点吗？（就算有这个心，但哪个鬼有这个胆儿啊！去了不是讨抹吗！）虽做不到，但我们可以在平时遇到难题去向老师咨询咨询也不是不行。能做到这一点，对学习也是有帮助的。 最后呢，我只想说：随时的理性和冷静，这也是我们所需要的至宝，所谓“不以物喜，不以己悲”我们不要因短暂的成功而欣喜若狂，也不用因短暂的>挫折而沉沦消极，不应该做到宠辱不惊，心如止水，不要因个人得失而大喜大悲。只有这样，我们才能在成功的路上做得更长远。《>风雨哈佛路观后感800字》
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〕
【风雨哈佛路观后感英文】风雨哈佛路观后感100字 前段时间从周工的空间看到二十部经典励志大片，非常好奇，特意发飞信到自己的手机上。今天出来上网，感觉内心特别的虚，对人生，对前途，对未来都充满着不确定性，不安感，不知道人生该通往何方，怀疑自己，怀疑世界。于是想到了这二十大片，于是就找到了风雨哈佛路. 其实对于这部片子，原来是不抱什么感觉的，自以为不就是和自己以前看过的一样么，通过奋斗然后获得一个好的结果。只是看了这部片子，对自己对人生，对未来又充满了斗志。 从小到大，因为父母忙于赚钱，忽略了对我们的教育，同时因为我是家里的第一个小孩，他们应该也不具备教育小孩的经验吧，所以，懵懵懂懂的长大，老让父母觉得不如他们的意，不听话，脾气强，个性强，超自尊，还老爱生病。 长大后看了很多的书才明白，那时的自己特别渴望父母的关爱，而太小的孩子是没有办法表达自己的这种情绪，父母又不明白，所以，当发现只有在自己生病的时候，父母才特别疼爱自己的时候，只要渴望父母的关爱的时候，就会没病装病，就会老是这里不舒服那里不舒服，打了很多的针，吃了很多的药，慢慢的，老是生病，父母也懒得管，于是自己照顾自己，以为自己病了，自我纠结，想着世界不公平，父母不爱自己，社会很阴暗，于是自己的世界，内心也是暗的。幸好，我是白羊的人，悲伤都是藏在笑容里，所以，越是笑得越灿烂，自己越清楚，原来自己越难过，只是羡煞旁人，不明白这孩子怎么老是一
副长不大的样子，怎么老是很开心的样子 风雨人生路的丽丝，女主人公，小小的她，在本不属于她的年龄该承担的时候，承担了太多太多的东西，相比起她来，我这算得了什么呢?我有什么理由来怨我的出身，怨我的父母??他们健康的让我成长，他们给了我一个温暖的家，他们让我拥有了一个快乐不用操心的童年，他们牺牲自己，换取我们生活的美好小丽丝她还要照顾她的母亲，她还有一个让她无法摆拖且需面对的不堪家庭，一切的一切，当故事最后一个记者问她是怎么面对这一切的时候，她回答：我为什么要觉得可怜，这就是我的生活，我甚至要感谢它，它让在任何情况下都必须往前走，我没有退路，我吸能不停地努力向前走，我为什么不能做到?说真的，我觉得我自己很幸运，因为对于我来说从来都没有任何安全感，于是我只能被迫向前走，我必须这样做，世上没有回头路，当我意识到这点我就想，那么，好吧，我要尽我的所能努力奋斗，看看究竟会怎样! 尽我所能努力奋斗! 我是不是该发挥自己的每一份潜力呢，我别无选择!我希望和别人平起平坐，不想低人一等! 有谁能和生活讨价还价，我觉得既然我们活着，我们就应该尽最大努力。 世界在转动，你只是一粒尘埃，没有你地球照样在转动，现实是不会按照你的意志去改变的，因为别人的意志会比你的更强一些!生活的残酷会让人不知所措，于是有人终日沉浸在迷茫与彷徨之中，不愿意
黄文秀事迹观后感范文【精选3篇】 我来自广西贫困山区，我要回去，把希望带给更多的父老乡亲，为改变家乡贫穷落后的面貌尽绵薄之力!”这是黄文秀2016年在北京师范大学硕士毕业时所保持的初心和梦想。她义无反顾的选择当一名定向选调生，回到自己的家乡广西，扎根基层，服务自己的家乡父老!几天前，一场突如其来的山洪，让她30岁的年轻生命永远定格在扶贫路上。关于黄文秀事迹观后感，小编精选了以下优秀范文。 【黄文秀事迹观后感一】 黄文秀的生命定格在了30周岁。6月16日晚，这位广西壮族自治区百色市乐业县百坭村的第一书记，在驱车探查暴雨灾情时，所乘车辆被山洪卷走，不幸遇难。 2018年3月，黄文秀主动请缨到百坭村担任驻村第一书记，当时的百坭村，472户中还有103户未脱贫，贫困发生率达23%。 在黄文秀服务百坭村的1年多里，她帮助百坭村发展电商，将当地的砂糖桔等土特产远销全国各地;她为百坭村申请通屯的路灯项目，让村民走夜路不用再打手电筒;她挨家挨户走访全村建档立卡户，清晰地记录每一户的致贫原因。 这名来自百色市田阳县农村的姑娘家境十分困难，2016年，她从北京师范大学硕士毕业后，选择当一名定向选调生，回到广西基层时，她家刚刚脱贫。 在百坭村的驻村宿舍，记者看到黄文秀曾居住过的10平方米左右的房间内，除了床铺，仅有简易书架和电脑桌，桌上放着她下村时戴的草帽，书架上摆着两本她的驻村日记。这一年多来，黄文秀在驻村日记里记录着她对百姓脱贫致富的期盼，也记录着她的每一步成长。 “从3月26日到现在，一共67天，我是我们村脱贫攻坚工作的第一责任人，我还不够勇敢。” “2018年7月26日，我们村产业园的牌子一直在努力中，5个致富带头人也在培养中。每天都很辛苦，但心里很快乐。” “2018年8月15日，我发现我的方言进步了，可以和贫困户完整用桂柳话交流了。” 百坭村村民班统茂曾是一名贫困户，在黄文秀的帮扶下，他成了村里的致富
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
《长征》电影观后感精选范文5篇 大家有没有去观看过电影长征，有没有写过关于长征的观后感。以下是整理的观后感范文5篇，希望可以分享给大家进行参考和借鉴。 长征观后感范文(一) 星期五午时，教师带着我们在学校一齐观看了电影《长征》，这是个真实感人的故事。 在长征途中，红军艰难地翻越雪山过草地，在翻越雪山时，有一个红军战士身上背着沉重的行军锅，很多人劝他不要背了，可他不一样意。因为太疲乏了，他一不细心摔下了悬崖。看到那里，我悲痛地流下了眼泪。还有的红军战士在过草地时，因为没有东西吃，很多人都饿死了。实在没东西吃的时候，只能啃树皮，吃草根。我真想把我的粮食给他们，可我们不是生活在那个时代。 可是，他们没有所以而气馁，为了抵抗日本的侵略，抗击国民党的围剿，为了人民得解放，为了建立一个新中国，他们历尽千辛万苦，不怕任何困难，最终取得了革命的胜利。
经过观看这部电影，让我深深地体会到此刻的幸福生活来之不易，比起当年红军长征的艰辛，我此刻所遇到的困难根本算不了什么。我要勇敢地应对困难，想尽办法克服一切困难，这才是真正的小男子汉。 长征观后感范文(二) 星期五午时，教师带着我们在学校一齐观看了电影《长征》，这是个真实感人的故事。 在长征途中，红军艰难地翻越雪山过草地，在翻越雪山时，有一个红军战士身上背着沉重的行军锅，很多人劝他不要背了，可他不一样意。因为太疲乏了，他一不细心摔下了悬崖。看到那里，我悲痛地流下了眼泪。还有的红军战士在过草地时，因为没有东西吃，很多人都饿死了。实在没东西吃的时候，只能啃树皮，吃草根。我真想把我的粮食给他们，可我们不是生活在那个时代。 可是，他们没有所以而气馁，为了抵抗日本的侵略，抗击国民党的围剿，为了人民得解放，为了建立一个新中国，他们历尽千辛万苦，不怕任何困难，最终取得了革命的胜利。 经过观看这部电影，让我深深地体会到此刻的幸福生活来之不易，比起当年红军长征的艰辛，我此刻所遇到的困难根本算不了什么。我要勇敢地应对困难，想尽办法克服一切困难，这才是真正的小男子汉。
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
风雨哈佛路观后感500字范文 我们的命运掌握在自己的手里，现在的不幸将是对我们最大的历练，相信自己，相信明天会更好，下面内容由为大家带来的风雨哈佛路观后感500字范文，欢迎大家学习! 尽管不幸，尽管艰辛，尽管家庭四分五裂，父母都不能照顾自己，更不用说照顾丽萨。但是丽萨仍然坚强的生活着，执著的爱着自己的父母。尽管无家可回，仍然在想着自己的同样不幸的同伴克丽丝，这就是对朋友的忠实。伊娃的行动指引着丽萨，是她让丽萨看了很多有思想的书，所以，丽萨尽管每年都是最后一周往学校，仍然是100分。尽管母亲是那样的人，她依然深深爱着她，从来没有放弃过。 朝九晚五，披星戴月的生活，我们有几个人在孩提时代，初中时代就早早的经历过呢?生活的艰辛在逼迫着她，逼迫着她为生活奔波，因此，她说：我需要一个机会。不能再这样生活在自己的世界里，外面的世界更加有意义，更加丰富多彩。 压力，困境，往往给人前进的动力。因此，在现在这样的社会里，我们要想改变自己的现状，就必须不停的前进，真是有点恨我自己，在现在这样的环境里，逐渐丧失了对知识的渴求，对真理的执着，天天有很多时间，可是，却是在浪费着度过，图书馆里有很多书，但是从大二以后，似乎就没进往过，有很多理由：大学课程需要学习，需要考证，有很重要的事情要往处理。在这样的一次次对自己的借口中，大学四年，真的没读过多少书。我要改变自己的现状，不能再这样下往，整天为了一些琐事，纠结着，浪费着时间，消磨着精力，就
是在这些微笑的事情中，我失往了更多进步自己的机会，就这样，我逐渐走向了平庸，没有了前进的动力。 生活从来都不是一帆风顺的，人的一生，总是会碰到这样那样的事情，生命，也从来不是注定要平庸的。一时的挫折，并不即是是永恒的失败，得与失，也从来都是相生相克的，周而复始的过程，我们依然要努力奋斗，有时候，我们总是在抱怨着，在问为什么，实在没有那么多为什么，真的，只要你努力了，生命随时都是绚丽的。 很喜欢最后一句，“所有的不顺利，我都会把它们埋掉，燃烧，平息掉，开始新的生活。”在我们的人生中，总有一些境遇是我们始料未及的，所以，在那些困难来临的时候，我们不要抱怨，而是，要迎难而上，努力的往克服它们，总有一天，我们会成功的。我始终相信。 丽萨需要一个机会，而我们大多数人都拥有这样的机会，关键是要运用机会，努力地往成功。 从明天起，从这一刻起，我要改变自己的生活状态，努力的进步自己，为未来的我预备着，我从来都是认真的对待生活，我相信，生活也不会跟我开玩笑。努力，做最好的自己。 世界在转动，你只是一粒尘埃，没有你地球照样在转。现实是不会按照你的意志去改变的，因为别人的意志会比你的更强。 ——《风雨哈佛路》讲述了丽兹?马里八岁沿街乞讨，十五岁丧母步入社会，重回学校考取哈佛大学的故事。