鐵拳男人影評英文

① 男人英文是什麼

man

【讀音】英[mæn]美[mæn]

【釋義】

n. 人；男人；人類；丈夫；僱工

vt. 操縱；給…配置人員；使增強勇內氣；在…就位

【例句容】

He had not expected the young man to reappear before evening.

他沒想到那個年輕男子傍晚前會再次出現。

(1)鐵拳男人影評英文擴展閱讀

相關短語：

1、Iron Man鋼鐵俠 ; 鋼鐵人 ; 鐵甲奇俠 ; 鐵人

2、Cinderella Man鐵拳男人 ; 男版灰姑娘 ; 乞丐變王子 ; 最後一擊

3、Hollow Man透明人 ; 隱形人 ; 片 ; 透明人魔

4、Man Group英仕曼集團 ; 曼集團 ; 曼氏集團 ; 曼恩集團

5、fat man胖子 ; 胖子原子彈 ; 油俠 ; 胖人

② 鐵拳男人 導演

朗·霍華德 目錄
• 人物概述
• 星路歷程
• 作品列表
• 獲獎記錄
朗·威廉·霍華德，另譯（羅恩-霍華德）（Ronald William Howard，1954年3月1日—），美國演員、導演、電影監制。
出生日期：1954年3月1日
出生地點 ：美國 奧克拉馬州 鄧肯市
國家或地區 ：美國
家人或朋友 ：瓊·霍華德(父親)
他的近作電影是《天使與魔鬼》
[編輯本段]簡介
羅恩-霍華德於1954年3月1日出生在奧克拉馬州 鄧肯市，是演員蘭斯和瓊-霍華德(Rance and Jean Howard)的兒子。他2歲的時候就在巴爾的摩(Baltimore)的戲劇《七年之癢》(「The Seven Year Itch」)中登台亮相，並出演了電影處女作《婦女界》(「Frontier Woman」)。1959年，他5歲時又出演了政治暴力片《旅行》(「The Journey」)，這是他首次在熒屏上露臉，這以後他就頻頻活躍於美國的電視節目中，並對演戲產生了濃厚的興趣。如1960-68年的電視系列喜劇片《安迪-格里菲思》(「The Andy Griffith Show」)、1971年的電視系列劇《史密斯的家》(「The Smith Family」)等，都成為美國觀眾廣受歡迎的節目，奠定了他的童星地位。在經過1962年榮獲第20屆金球獎最佳影片獎的音樂劇《歡樂音樂妙無窮》(「The Music Man」)和《埃迪父親的求愛》(「The Courtship of Eddie's Father」)中一些有特性的表演後，他逐漸有了一些名氣，也更加成熟起來。這一時期他的父親成了他的保護人和經理人，忙著為他開發市場，料理著他的一切。
在電視界贏得的人氣，使羅恩-霍華德有機會參加著名導演喬治-盧卡斯(George Lucas)1973年的熱門喜劇片《美國風情畫》(「American Graffiti」)的拍攝，影片描繪了一幅越戰爆發前的美國風情畫，一群剛從校園畢業的純真年輕人，如何選擇人生道路？霍華德飾演的高中畢業生里奇-坎寧安(Richie Cunningham)表現出了驚人的純真與才氣，給人留下了深刻的印象。第二年他又主演了根據此片改編的反映50年代美國生活的著名電視系列劇《快樂時光》(「Happy Days」)。1976年，他參演了唐-西格爾(Don Siegel)執導的劇情片《槍神：英雄本色》(「The Shootist」)，本片講述是一名身患癌症的美國西部老槍手，不久於人世的經歷。這是一部典型的西部片，也是具有「公爵」之稱的美國牛仔之王約翰-韋恩(John Wayne)的謝世之作，霍華德在劇中飾演崇拜韋恩的少年吉勒姆(Gillom)。
盡管羅恩-霍華德不停地在電影電視中飾演偶像少年，但二十剛出參演的《望塵莫及》(「Eat My Dust」)的製片羅傑-科爾曼(Roger Corman)的引導下，1977年23歲的羅恩-霍華德開始當導演了。他執導的第一部影片是喜劇片《瘋狂戀愛跑天下》(「Grand Theft Auto」)，他在此片中是編劇、導演、主演一身兼，大有一鳴驚人之意。雖談不上是完美的處女之作，但影片的快節奏和高質量的製作場景還是為他贏得了不少贊譽之詞。第一次拍片即獲成功，小童星要成為美國的票房導演了。其實早在1969年，他15歲時就已經開始嘗試拍片，執導過他父親和兄弟主演的《德林-多的契約》(「Deed of Derring-Do」)。高中畢業後，他曾前往南加州大學進修了兩年電影系課程，為日後的執導生涯打下了一個良好的基礎。
1982年，霍華德執導了他第一部大受歡迎的黑色喜劇片《夜班》(「Night Shift」)，此片由亨利-溫克勒(Henry Winkler)、邁克爾-基頓(Michael Keaton)主演。這是他第一次與「蝙蝠俠」邁克爾-基頓合作，也是他第一次與日後的合夥人----著名製片布賴恩-格雷澤爾(Brian Grazer)聯手製作影片，兩人於1985年成立了霍華德的電影製作公司----想像影片娛樂公司(Imagine Films Entertainment)。
1984年，羅恩-霍華德執導了浪漫愛情喜劇片《現代美人魚》(「Splash」)，此片是奧斯卡影帝湯姆-漢克斯(Tom Hanks)早期成名之作。講述的是一名失意的商人與美人魚一見鍾情，霍華德將這部充滿羅曼蒂克的影片拍得輕松有趣，很有說服力，成為當時最成功的生活影片。第二年，他執導了由唐-阿米奇(Don Ameche)主演的科幻喜劇片《魔繭》(「Cocoon」)。這是科幻片中少見的溫馨佳作，表現了一群老人們的童心童趣，喜劇效果強烈，成為了他的早期代表作。這時的羅恩-霍華德已是好萊塢的一線導演了。1986年，羅恩-霍華德與邁克爾-基頓二次合作，執導了喜劇片《打工好漢》(「Gung Ho」)，講述了美國汽配員工斯蒂文森與日本汽車公司的沖突，霍華德在片中較好把握了東西方文化的碰撞。1988年，執導的大製作荒誕喜劇片《風雲際會》(「Willow」)，卻受到了執導以來的第一次沉重打擊。盡管他在特技、拍攝場面等方面下了很多功夫，但仍然無法與當時喬治-盧卡斯華麗的科幻片相媲美，票房不佳。
1989年，在史蒂夫-馬丁(Steve Martin)、瑪麗-斯蒂恩伯根(Mary Steenburgen)主演的喜劇片《溫馨家庭》(「Parenthood」)中，霍華德將有趣的貝克曼一家通過歡笑和親情展現在觀眾面前，在笑聲中理解「家」的含義。此片上映後極為賣座，一舉拿下了1億多的票房，並榮獲了1990年第62屆奧斯卡獎最佳女配角和最佳原創歌兩項提名。
90年代初，霍華德連續執導了兩部大預算大製作影片。1991年的驚栗動作片《烈火雄心》(「Backdraft」)，庫爾特-拉塞爾(Kurt Russell)、威廉-鮑德溫(William Baldwin)、羅伯特-德尼羅(Robert De Niro)和唐納德-薩瑟蘭(Donald Sutherland)等巨星聯手出演，在霍華德的調度下，展現了一部富有寫實、寫情的英雄主義大製作影片，具有較強的震撼力，成為當年最賣座的影片之一。第二年，執導的史詩愛情片《大地雄心》(「Far and Away」)是由湯姆-克魯斯(Tom Cruise)、尼科爾-基德曼(Nicole Kidman)這對前夫妻主演。影片描述了出身佃農的愛爾蘭青年約瑟，為了獲得一塊夢寐以求的私人土地而經歷的曲折坎坷。這是一部史詩般的西部移民影片，場面宏大壯觀，配樂具有一種豪邁的震撼感，與人物的不懈奮斗相得益彰。霍華德在片中揭露和批判了當時「美國夢」的虛假和殘酷性，以其感人的故事情節和深刻的思想內涵吸引了眾多觀眾。1995年，羅恩-霍華德執導了在奧斯卡歷史上佔有重要一席的驚險劇情片《阿波羅13號》(「Apollo 13」)。該片由兩屆奧斯卡影帝湯姆-漢克斯飾演太空英雄傑姆-弗洛爾，取材於登月史上的真實事件，並全部在休斯敦航空中心實景拍攝，將1970年航天史上的那場災難真實地再現於銀幕上，顯示了霍華德對大製作影片的把握才華。影片上映後，受到多方好評，全球熱映，取得了3億3400萬美元的驚人成績。為霍華德贏得了夢想的美國導演協會傑出成就獎，成為了與約翰-福特(John Ford)、比利-懷爾德(Billy Wilder)、喬治-庫克(George Cukor)和弗朗西斯-福特-科波拉(Francis Ford Coppola)齊名的大導演。此片還獲得了1996年芝加哥影評人協會最佳影片獎、第53屆金球獎4項提名和第68屆奧斯卡獎9項提名，最終贏得奧斯卡最佳剪輯及最佳音響二項大獎。
1996年，霍華德執導了梅爾-吉布森(Mel Gibson)主演的驚栗動作片《綁票追輯令》(「Ransom」)。影片講述了航空公司總裁梅-湯姆的愛子桑恩被綁架，為了贖回愛子，他不得不孤注一擲，將200萬美元的巨額贖金變成了追捕歹徒的懸賞，最終救回被綁架的愛子。霍華德著重描寫了被害人一家及綁匪雙方的心理變化，將跌宕起伏的情節和內蘊的感人情懷演繹得令人目耳一新，使觀眾在長達3小時中不知覺地進入到精心設計的故事情節中去。該片創造了年度總票房第5名的好成績，在全球收取了3億美元的票房，成為霍華德的又一票房巨作。
1999年，他執導了馬修-邁康納西(Matthew McConaughey)和艾倫-狄珍妮絲(Ellen DeGeneres)主演的喜劇片《艾德私人頻道》(「Ed Tv」)。艾德本是無名小職員，一個偶然的機會參加了電視台的一天24小時生活實況直播的寫實節目演出，成就了美國最受歡迎的節目「艾德私人頻道」。霍華德將這部探討媒體離奇現狀的題材加以趣味化，對媒體??觀眾無不大呼過癮。人們自然與同為抨擊媒介、大受好評的《楚門的世界》(「The Truman Show」)相比較，此片由被稱為「橡皮臉」的吉姆-凱瑞(Jim Carrey)主演。
接下來，2000年霍華德即與吉姆-凱瑞合作，拍攝了一部荒誕喜劇片《格林奇偷走聖誕節》(「How the Grinch Stole Christmas」)。影片改編自西奧多-蓋澤爾(Theodore Geisel)家喻戶曉的童話故事：脾氣暴躁的隱居「綠毛怪」格林奇惱怒聖誕節帶來的喧鬧，他將小鎮上居民們的聖誕禮物統統偷走了，但是沒有了禮物的聖誕節仍在愉快地進行著，格林奇最終明白人們的快樂並不是建築於物質上的。霍華德親率其屬下的想像影片公司精心打造此片，運用新穎巧妙的大師手法，將格林奇的惹人喜愛與尖酸刻薄刻畫畢現。此片上映三天就創下了影史上首映票房第5名的成績，並再度創下驚人的全球3億4500萬美元的票房紀錄，使羅恩-霍華德「票房導演」的地位更加牢固。此片獲2001年第73屆奧斯卡獎最佳藝術指導道具裝飾、最佳服裝設計和最佳化妝三項提名，最終贏得了奧斯卡最佳化妝獎。
2001年，羅恩-霍華德又重返真實，敏感地抓住現實生活中的傳奇故事，拍攝了反映曾患有妄想型精神分裂症、獲諾貝爾經濟獎的美國數學家小約翰-福布斯-納什(John Forbes Nash Jr.)的傳記片《美麗心靈》(「A Beautiful Mind」)，影片由羅素-克洛(Russell Crowe)和珍妮弗-康奈利(Jennifer Connelly)飾演納什夫婦。納什在愛妻的支持下重新獲得動力，最終於1994年獲得諾貝爾獎。霍華德賦予了納什一個人性的大腦，重點演繹了納什和愛妻的戀情及周圍的人給予他的支持和希望，詮釋了納什不僅是擁有一個聰明的大腦，同時還擁有一個美麗的心靈。影片發行後大獲好評，獲得了第7屆美國國家影評人協會最佳導演獎及第59屆金球獎最佳影片獎，鞏固了霍華德作為他這一代最多才多藝和天才導演之一的地位。同時，霍華德更是憑藉此片第一次獲得了奧斯卡獎最佳導演提名。
在工作之餘，羅恩-霍華德就在康涅狄格的家中與妻子謝里爾(Cheryl)一起消磨時間，兩人從高中時期就建立起了戀情。他們有四個孩子，其中三個孩子被夫婦倆教養在一個避靜地點。夫婦倆都不贊成孩子們在成人前成為演員。
演員出身的羅恩-霍華德，確實深諳觀眾心理，能夠利用故事情節和人物的內心刻畫調動觀眾的情緒，使老套的劇情展現新意，創造了一部又一部的票房大片，為好萊塢的電影工業做出了傑出貢獻。但奇怪的是，這位「好萊塢的好公民」執導的影片獲獎不少，他本人卻從來沒有獲得過奧斯卡獎的提名，難道他的票房紀錄都統計到別人的腰包里去了？盡管受到「不公正的待遇」，他依然非常自信，仍在默默耕耘，這次憑借《美麗心靈》一片，終於贏得電影藝術與科學學院獎的青睞，榮獲第74屆奧斯卡獎最佳導演的提名，這位兢兢業業的「好萊塢的好公民」，能否迎來他人生中的最大榮譽？
朗·霍華德 - 作品列表主要執導/製片作品：
2009年 《天使與魔鬼》 ( Angels & Demons)
2008年 《福斯特對話尼克松》（「Frost/Nixon」）（獲得奧斯卡最佳影片、最佳男主角、最佳導演、最佳改編劇本、最佳電影剪輯5項提名）
2006年《好奇的喬治》 (「Curious George」)
2006年《達·芬奇密碼》 (「The Da Vinci Code」)
2005年《鐵拳男人》 (「Cinderella Man」)
2003年《山窮水盡》 (「The Missing」)
2001年《美麗心靈》(「A Beautiful Mind」)（榮獲奧斯卡最佳影片及最佳導演獎）
2000年《格林奇偷走聖誕節》 (「How the Grinch Stole Christmas」)
1999年《艾德私人頻道》 (「Ed Tv」)
1997年《愛之夢》 (「Inventing the Abbotts」)
1996年《綁票追輯令》 (「Ransom」)
1996年《毒氣室》 (「The Chamber」)
1995年《阿波羅十三號》(「Apollo 13」)（奧斯卡最佳影片提名）
1994年《媒體先鋒》 (「The Paper」)
1992年《大地雄心》(「Far and Away」)
1991年《烈火雄心》 (「Backdraft」)
1989年《鄰居》 (「The Burbs」)
1989年《溫馨家庭》 (「Parenthood」)
1988年《風雲際會》(「Willow」)
1987年《休息五分鍾》(「Take Five」)
1986年《打工好漢》 (「Gung Ho」)
1985年《愚人》 (「No Greater Gift」)
1985年《魔繭》 (「Cocoon」)
1984年《現代美人魚》 (「Splash」)
1982年《夜班》 (「Night Shift」)
1981年《穿越魔塔》 (「Through the Magic Pyramid」)
1980年《噓和蔑視》 (「Tut and Tuttle」)
1980年《天衛》 (「Skyward」)
1978年《棉花糖》 (「Cotton Candy」)
1977年《瘋狂戀愛跑天下》 (「Grand Theft Auto」)
1969年《德林-多的契約》 (「Deed of Derring-Do」)
主要參演影視作品：
2002年《最喜愛的經典之作3：安迪-格里菲思》(「The Andy Griffith Show」)
2002年《最喜愛的經典之作2：安迪-格里菲思》(「The Andy Griffith Show」)
2001年《奧斯摩西斯-瓊斯》 (「Osmosis Jones」)
1986年《回到梅伯里》 (「Return to Mayberry」)
1981年《苦澀的收獲》 (「Bitter Harvest」)
1981年《山間之火》 (「Fire on the Mountain」)
1980年《此恨綿綿》 (「Act of Love」)
1979年《美國風情畫續集》 (「More American Graffiti」)
1977年《瘋狂戀愛跑天下》(「Grand Theft Auto」)
1976年《望塵莫及》(「Eat My Dust」)
1976年《我是個傻瓜》(「I'm a Fool」)
1976年《槍神：英雄本色》(「The Shootist」)，
1975年《頑童流浪記》(「Huckleberry Finn」)
1974年《快樂時光》(「Happy Days」)
1974年《大賊王與小煞星》(「The Spikes Gang」)
1973年《美國風情畫》 (「American Graffiti」)
1973年《移民血淚史》(「The Migrants)
1973年《陌生人跑啊跑》(「Run Stranger, Run」)
1971年《史密斯的家》(「The Smith Family」)
1970年《龍卷風》(「The Wild Country」)
1970年《吸煙》(「Smoke」)
1968年《男孩叫納汀》(「A Boy Called Nuthin'」)
1965年《巨人村》 (「Village of the Giants」)
1964年《逃亡者》 (「The Fugitive」)
1963年《最好的安迪-格里菲思》 (「Best of the Andy Griffith Show」)
1962年《埃迪父親的求愛》(「The Courtship of Eddie's Father」)
1962年《歡樂音樂妙無窮》(「The Music Man」)
1961年《五分鍾的生活》(「Five Minutes to Live」)
1960年《安迪-格里菲思》(「The Andy Griffith Show」)
1959年《旅行》(「The Journey」)
1955年《婦女界》(「Frontier Woman」)
朗·霍華德 - 獲獎記錄：
第74屆奧斯卡獎最佳導演獎（《美麗心靈》2001）
第74屆奧斯卡獎最佳影片獎（《美麗心靈》2001）
第59屆金球獎最佳影片獎（《美麗心靈》2001）
第7屆美國國家影評人協會最佳導演獎（《美麗心靈》2001）
2002年美國導演協會最佳導演獎（《美麗心靈》2001）

③ 求英文版的達芬奇密碼影評

《達芬奇密碼》在成為電影之前並沒有目前這般如此惹眼，最多是在各種圖書銷售排行榜上位居第一。這部精彩的文學作品作為休閑時間的上佳讀物確實有著非比尋常的閱讀快感。自這部暢銷小說將被改編為電影的消息變成重要的影界新聞以來，《達芬奇密碼》終於成為一種大眾的文化現象以超強的覆蓋力彌漫於街頭巷尾。無論是否確實了解它，但只要提及這五個字就沒有人宣稱自己不知曉，最差的也要問問達芬奇到底怎麼了？

這部借用野史和傳說作為懸疑鋪墊的驚險小說在全球的影響力無與倫比。其中運用宗教傳說將膾炙人口的大家以及聞名世界的藝術聖地同陰謀和權力聯系一起極大的滿足了大眾的獵奇心理，同時為免去嘩眾取寵造謠生事的負面陰影又將各種科學理論和歷史事件有條不紊的作為各種爆炸性信息的注腳及說明。雖然這些只是小說的內容和素材，但最成功的是丹布朗先生絕妙的非凡的強大的邏輯組織能力，小說用驚險刺激的追蹤旅程、步步為營的懸疑處理和聳人聽聞的傳說逸事營造出一種打開書頁就無法放下的閱讀神話。作為大眾讀物《達芬奇密碼》游離在高尚與通俗之間似是而非成為文化亮點。

這本大眾在讀，權威接著讀，全世界人民都在讀，直到電影公司也在讀的暢銷書在成為電影之前並非如現在一般出眾。作為一部電影，在上映前被全世界的宗教人士窮追猛打的現象並不是第一次。但讓人稱奇的是，作為娛樂電影的《達芬奇密碼》即將問世前夕，關於書背後的種種事件突然層出不窮，侵權、抄襲、官司、抵制、實地拍攝等等不亦樂乎，天降奇兵一般的種種說法在首映前夕如雨後春筍一般欲罷不能。這是電影作為第七藝術得天獨厚的輻射能力還是製片公司未雨綢繆刻意而為？等到看過電影以後，等來的答案是後者。好萊塢對於原著作品資源的再利用，將這個文化現象從頭至腳的重新再包裝。這種炒作的目的單純又明確——保證票房，讓產生興趣的觀眾最大化的走進影院。

看電影的人實際上就只有兩種，一種是讀過原著，一種未讀過。這兩種人群坐在影院中各自找各自的樂趣。朗霍華德極為聰明的讓電影完全遵循於原著，著力將文字徹底的忠實的變為畫面。《達芬奇密碼》的故事性無形中幫助了電影的創作，如同劇本一般的原著的精彩度照搬足矣。朗霍華德的《達芬奇密碼》中規中矩，絲毫沒有將個人風格融入電影之意，他只要把故事氛圍營造出來就可以。讀過原著的觀眾跟隨情緒將腦海中的文字影像化，對應成為電影版的畫面。作為電影消費者，全片的意境和影像無功無過，基本可以成功更改個人腦海的影像。而已經知悉人物發展的觀眾只要等待劇情貼切的表現就大功告成。只是原著小說中各種理論淵源實在難以在二小時內表述確鑿，朗霍華德只能藉助中世紀場景和演員的語言表達來達到目的，這方面是電影改編的天生弱點實在讓人愛莫能助。而沒有看過原著的觀眾勢必會被精彩的劇情拖住，帶著濃厚的興趣等待最終的答案。對於電影，只能講是等待而已，絕非看小說時影影綽綽的推理可能。其實，看過電影找原著再看一次是許多人的想法。朗霍華德在影片中添加了比原著更強的恐怖效果，這在所難免。作為電影表現手法即合乎了潮流因素（白化殺手），又躲避了影片的敘事困難，增強了觀眾對影像的認可元素。除去恐怖效應的增強，朗霍華德最成功的避免了動作場景的出現。這個舉動在眼下的流行潮流中不討巧，但不會沖淡影片謎團一般的韻味，保持了穩定的節奏感。可對於里外都不甚了解的觀眾來說有些失望，影片的架勢和味道都帶著一種標准娛樂的情緒，讓人不得不有所聯想。

個人認為朗霍華德導演拍攝本片有著郁悶之處。他的作品中故事性都不是很強，而往往通過對主人公心理的成功塑造來達到強大的說服力和戲劇張力，《阿波羅13》和《美麗心靈》以及《鐵拳男人》就是成功的範例。但是在《達芬奇密碼》中他根本沒有實現這種優勢的可能，這種用情節取悅觀眾的電影是很難塑造個性十足的形象的。更何況影片超強的演員陣容完全是應景產物。湯姆漢克斯的號召力自不用說，把法國在世界上最具號召力的奧黛麗多杜和讓雷諾一網打盡就可以解釋為保證影片成功的超強砝碼。而這些演技派明星基本如同跑龍套一樣出沒在《達芬奇密碼》中，無功無過的效果卻讓影迷產生逆反心理，成就了影片的壓力。我從沒想過湯姆漢克斯的樣子會是教授的模樣，好生納悶了一番。事實也是湯姆漢克斯只是將對女人的風度有所表現，而博學和高智商的神韻都沒有讓人達到期望。相對於主角而言白化殺手的形象很是搶眼，但只能歸功於近乎限制級的肢體語言給人一種搶眼感而已。原著中唯一具備大量心理描述的白化殺手是命運坎坷的犧牲品，戲劇沖突本應更為透徹和震撼。而在影片中保羅貝坦尼雖然表現驚艷，但角色的心理變化和命運感卻不是很清晰。本片超強的陣容並沒有帶來驚喜的表現，這只能怪罪於製片的市場策略。有時候眾多的口碑良好的大明星也只能混個臉熟卻無法發揮，倒不如找些小明星來得好。

《達芬奇密碼》整體水平無功無過，實屬水準一般之作。在大家蜂擁而入影院以後，關於《達芬奇密碼》文化的市場效應就顯而易見了。票房全球飄紅，小說再次熱賣，連一名兒童工作者都站出來講影片少兒不宜進而引發關於國內電影分級制度的大討論。可見，《達芬奇密碼》已經不單純是一部改編自小說的電影而形成了一種文化效應。可笑的是，這種效應的討論中心的不是關於耶穌是神還是人的重要問題，而是營造出一種讓人參與其中的神秘感。所以，這種現象只能被確認為好萊塢老到的市場運作，是一次具備成功條件的刺激消費者的一種炒作而已。還是那個最終目的，讓人們走進影院就好！《達芬奇密碼》形成的文化在影片下線以後就煙消雲散，各種媒體都無影無蹤銷聲匿跡。這多少有些讓人好笑，有一種被人忽悠的感覺，而事實也確實如此。
"The Da Vinci Code" has not become a movie before the present ones so eye-catching, is the largest in a variety of books on the list of sales in the first place. The great literary works as a leisure time reading the best out of the ordinary really have the pleasure of reading. Since this best-selling novel will be adapted for the film's message into a major film instry news, "The Da Vinci Code" has finally become a mass cultural phenomenon in order to cover the super-power in the streets and lanes filled. Whether or not they really understand it, but as long as no one mentioned words that they do not know, the worst should also ask how the da Vinci in the end?

The unofficial history and legend to use as a foreshadowing of the suspense thriller in the world of unparalleled influence. In which the use of religion to popular legend, as well as all the world-famous art and the power of the Holy Land with conspiracy linked together to meet the great mass of psychological adventure, at the same time spreading rumors to curry favor with the public removed from the negative shadow will be a variety of scientific theories and historical events Orderly as a variety of explosive information and footnotes that. Although the novel is only the content and material, but the most successful is Mr. Dan Brown's wonderful extraordinary strong organizational logic of the novel with the thrills of the track journey, step-by-step deal with the suspense and sensational legends of Anecdotes create an open Pages will not be able to lay down their reading of the myth. As a public reading of "The Da Vinci Code" in the free paradox between high and popular culture become a bright spot.

The public at the time, then the authority of the time, people all over the world at the time, until the film also read the best-seller before becoming a movie is not, as is now generally excellent. As a movie, released in the pre-religious people around the world have been pursued vigorously the phenomenon is not the first time. But the amazing people that the film's entertainment as "The Da Vinci Code" is about to come out on the eve of the book on the events behind all of a sudden one after another, infringement, plagiarism, lawsuits, boycotts, and so on the ground shooting joy, Tianjiangqibing The various general statement on the eve of the premiere stop the proliferation in general. This is the seventh film art as a unique ability to radiate or proction company for a rainy day and deliberately? When seen the movie, and so the answer to the latter. Hollywood for original works of the re-use of resources, this cultural phenomenon from the foot to the re-packaging. The purpose of this pure speculation and clear - to ensure that the box office, so that the interest of maximizing the audience into the theater.

The movies are actually only two types have read the original, not a read. The two people sitting in the theater to find their own fun. Ron Howard's very clever to let the film in full compliance with the original, will focus on the complete text of the faithful into the picture. "The Da Vinci Code" story virtually helped create the film, as usual script of the original is sufficient degree of good. Ron Howard's "The Da Vinci Code" quite satisfactory, and no personal style into the film means, as long as his story of the atmosphere can be created. Read the original audience will follow the emotional mind the image of text, corresponding to become a movie version of the screen. As a consumer film, the whole mood of the film and video without reactive power, essential to the success of the indivial to change the mind of the image. People have been aware of the development as long as the audience waiting for the appropriate plot on the performance of the complete. Only the original novel theory in a variety of sources in the two hours it is difficult to express in clear, with only Ron Howard and actor medieval scenes of language to achieve their goals, which is the film adaptation of the innate weakness is helpless people. And not read the original audience is bound to be great drama stall, with a strong interest in waiting for the final answer. The film can only say it was waiting for, when the novel is by no means see the reasoning may Yingyingchuochao. In fact, seen the movie to find an original look that many people think. Ron Howard in the film to add more original than the effects of terrorism, it is inevitable. As a film that is in line with the way the performance of the trend factor (killer albino), and to avoid the film's narrative difficulties, and enhance the image of the audience's recognition element. Excluding the effects of terrorism increased, and Ron Howard's most successful action to prevent the emergence of the scene. The move in the current popular trend does not choose the easy way out, but it will not dilute the charm of General mystery movie, has maintained a steady rhythm. The outside may have no knowledge of the audience is a bit disappointed at the attitude of the film and all the flavor with a standard entertainment emotions, people have to be Lenovo.

Director Ron Howard personally think that the film has a depressing film. His works are not very strong story, and often through the main character's psychological shape to achieve the success of a strong and convincing dramatic tension, "Apollo 13" and "A Beautiful Mind" and "Cinderella Man" is an example of success. But "The Da Vinci Code", he did not achieve the advantages of such a possible plot to please the audience with this film is very difficult to shape the personality of the full image. Moreover, the film's powerful cast is entirely a proct of the occasion. Tom Hanks goes without saying that since the appeal to France in the world's most appealing Audrey Tautou and Jean Reno as friends will be able to guarantee the success of the film's super weight.which play a small role as basic as the setting of "The Da Vinci Code", non-reactive had let fans have the effect of reverse psychology, the success of the film pressure. I never thought Tom Hanks would be like the professor's appearance, the birth of a wonder. Tom Hanks is the fact that only a woman would have manifestations of grace, and learned of the High IQ and charm people did not live up to expectations. Comparing with the main character in terms of the albino killer is the very image of the eye-catching, but can only be attributed to X-rated close to the body language gives them a sense of eye-catching. The only original works with a large number of psychological description of the killer albino is the fate of the victims of rough, dramatic conflict should be more thorough and shock. In the film, although Paul Bei Tanni amazing performance, but the role of psychological change and a sense of destiny is not very clear. The film's powerful line-up did not bring surprise performance, which can only blame on the procers of the marketing strategy. Sometimes the good reputation of the many stars can only be a mixed Lianshu can not play, we might as well find a better small-Star.

"The Da Vinci Code" the overall level of non-reactive, is the general standard of conct. In the rush you get into theater, on "The Da Vinci Code" culture of the effect on the market becomes obvious. Piaohong global box office, the best novels again, even a child workers have come forward to talk about children's film should not trigger on the domestic film classification system is the great debate. Can be seen, "The Da Vinci Code" is not simply a film adapted from the novel and the formation of a cultural effect. The irony is that the effect of such discussions centered on Jesus is not God who is still a major problem, but create a kind of people involved in the mystery. Therefore, this phenomenon can only be recognized as Hollywood's credited with originating the operation of the market, was a success with conditions to stimulate a consumer no more than speculation. That is the ultimate goal, just to let people into the theater! "The Da Vinci Code" movie in the form of culture vanished off the assembly line later on, various media have disappeared without a trace. This is somewhat funny people, Hu You have been a feeling, and it has in fact true

④ 求 追夢赤子心 歌詞的英文翻譯

作詞：蘇朵

作曲：甘虎

演唱：樂隊

歌詞——

Where the world is full of flowers

充滿鮮花的世界到底在哪裡

Then I will go if it really exists

如果它真的存在那麼我一定會去

I think the highest mountain in the stands there

我想在那裡最高的山峰矗立

Don't care if it cliffs

不在乎它是不是懸崖峭壁

Forced expiratory alive even love bone might

用力活著用力愛哪怕肝腦塗地

Don't beg anyone satisfied as long as you live up to his

不求任何人滿意只要對得起自己

About ideal I never choose to give up

關於理想我從來沒選擇放棄

Even in the sty day

即使在灰頭土臉的日子裡

Maybe I don't have the talent

也許我沒有天分

But I dream of innocence

但我有夢的天真

I will go to prove with my life

我將會去證明用我的一生

May I hand than stupid

也許我手比較笨

But I want to constantly explore

但我願不停探尋

Pay all of the youth without regret

付出所有的青春不留遺憾

Run forward Meet cool detachment and laugh at

向前跑 迎著冷眼和嘲笑

The vast without hardships can feel of life

生命的廣闊不歷經磨難怎能感到

It can't destiny to let us kneel for mercy

命運它無法讓我們跪地求饒

Even if the blood with the arms

就算鮮血灑滿了懷抱

Continue to runWith the pride of the champ

繼續跑 帶著赤子的驕傲

Sparkle of life is not how can stick to it

生命的閃耀不堅持到底怎能看到

It is better to live than to alive combustion

與其苟延殘喘不如縱情燃燒吧

One day will sprout

有一天會再發芽

(4)鐵拳男人影評英文擴展閱讀：

1、歌曲背景

GALA樂隊在創作這首《追夢赤子心》時表示，他們在創作里加入了許多的情緒和手法，也在不斷嘗試著各種可能性。他們開始了更多的審視和思考。作為樂隊的第二部作品，他們在創作《追夢赤子心》時就將懷舊的印記帶入其中。不僅如此，樂隊還希望用這首歌來告訴大家：就算遇到挫折、受到嘲笑，也要勇敢的向前跑。

2、歌曲MV

《追夢赤子心》的MV別出心裁地將《鐵拳男人》、《阿甘正傳》、《香草天空》、《肖申克的救贖》等等經典勵志電影的奔跑鏡頭剪輯在一起，並配以標槍手的發力瞬間捕捉，使得這首熱血噴張的歌曲更加感人至深。GALA此次為專輯拍攝的MV雖然沒有大製作大班底，但是卻爆發催人淚下的力量，新穎獨特。

⑤ 《鐵拳男人》里的經典台詞

1.詹姆斯告訴偷臘腸的兒子「只是因為生活艱難，你沒有理由去拿不屬於你專的東西。」《鐵拳屬男人》

2.「Nopointinpunchingthingsyoucan'tsee。」CinderellaMan（2005）-JamesBraddock（RussellCrowe）

打擊那些你看不到的東西沒有意義。--《鐵拳男人》，詹姆斯·布拉德克（拉塞爾·克勞）

你也可以去這個地址下載你要的句子

http://www.veryabc.cn/movie/uploads/script/CinderellaMan.txt

⑥ 哪些英文電影可以學到做人的道理

教父 永遠不要讓別人知道你的真實想法！ 肖申克的救贖 堅強的人只能救贖自己，偉大的人才能拯救他人！ 阿甘正傳 放下包袱，才能繼續前進 ...

⑦ 鐵拳男人的英文觀後感

1
Ron Howard believes in America. His faith in the whole package of democratic ideals and family values smooths out the wrinkles in films (the Oscar-winning A Beautiful Mind, the immigrant saga Far and Away) that would be better off with their creases unpressed. Howard is fifty-one, but the image of the freckle-faced kid he was on TV as Opie and Richie still sticks to him as a gift and a curse. Darkness (Backdraft, The Missing) does not become him. His flair for comedy (Splash, Night Shift) can turn cornball (Parenthood) or crass (How the Grinch Stole Christmas). Yet at those times when Howard takes on a tough subject -- old age (Cocoon), a failed space mission (Apollo 13) -- and doesn't bland out, he can do wonders.
This is one of those times. Not only is Cinderella Man Howard's best movie, it is also his most personal and deeply felt. The true story of James J. Braddock, played with blazing brilliance by Russell Crowe, hits Howard where he lives. Irishman Braddock was a washed-up boxer from New Jersey who could barely support his wife and three kids ring the Depression. But the powerful left hand he developed by working on the Hoboken waterfront helped him score a comeback that put the nation in his corner and prompted legendary sportswriter Damon Runyon to b this two-legged pugilistic Seabiscuit the Cinderella Man.

The expertly crafted script by Cliff Hollingsworth and Akiva Goldsman takes its lead from a famous line in John Ford's 1962 western The Man Who Shot Liberty Valance: "When the legend becomes fact, print the legend." Howard gives the film the resonant power of myth. And Wynn Thomas' proction design, lit with a poet's eye by camera whiz Salvatore Totino, evokes the period of bread lines with rare artistry.

Of course, a film with no gray on its palette can lack human dimension. Enter a cast of miracle workers. Crowe is jaw-droppingly good, a movie star with a true actor's subtlety and grace. He plays Braddock not as a gladiator but as a family man who boxes to feed his wife and kids. But he'd rather face an opponent's deadly blow than poverty: "At least I can see who I'm fighting," he says. Crowe finds the sadness in Braddock when he must rely on government assistance to support his family. But he also reveals a rugged resilience. Braddock is a simple man with complicated emotions, and Crowe lets us inside his secret heart.

As Joe Gould, Braddock's can-do manager and trainer, Paul Giamatti is a dynamite package of brash humor and scrappy tenderness. He delivers a tour de force. Bet on this consummate pro (Sideways, American Splendor) to win the Oscar race for Best Supporting Actor.

Renee Zellweger brings backbone to Mae, the long-suffering Mrs. Braddock. She shows that sexual attraction is a major bond in their marriage, providing welcome heat and heart in her scenes with Crowe. Mae has one rule: She will not watch her husband take hits in the ring.

It's hard to blame her. The fight scenes may lack the surreal grandeur of Raging Bull and the tragic underpinnings of Million Dollar Baby, but Howard -- working with editors Mike Hill and Dan Hanley -- creates fireworks in the ring, using real boxers such as Art Binkowski, Troy Amos-Ross and Mark Simmons to take on Crowe.

All of which leads to the main event. Time: June 13th, 1935. Place: New York's Madison Square Garden. It's Braddock against playboy, actor and clown Max Baer (Craig Bierko), the heavyweight champ who brags about having killed two opponents by dislocating their brains. Baer is the villain of the piece, but the remarkable Bierko adds a vulnerability not in the script. It's a sective and scary performance that should put this versatile actor -- he sang his way to a Tony nod in Broadway's The Music Man -- on the movie map.

Watching Baer and Braddock go a punishing fifteen rounds ends Cinderella Man on a note of riveting suspense. But the film stays focused on the human drama. It's the classic American tale of the family man triumphant, and Howard makes sure that it hits you right in the heart.

2
Consider Cinderella Man to be a Depression era Rocky. While that may at first seem like a glib way to describe Ron Howard's rags-to-riches boxing drama, a careful examination of the storyline reveals numerous similarities between this drama and Sylvester Stallone's Oscar winner. Perhaps that's because the formula associated with boxing movies demands a sameness. Whatever the reason, the specter of Rocky hovers over Cinderella Man like a restless thing. During the concluding moments, if you close your eyes, you can almost hear Apollo Creed gasping, "No rematch!"

This is based on a true story, although, thankfully, Howard doesn't come right out and say it. The opening caption references a quote by Damon Runyon, but that's as close as the director comes to saying that the movie is a bio-pic. From the accounts of Jim J. Braddock's career I can find, Cinderella Man offers a reasonably accurate portrayal of what happened in the ring. I can't speak to how correct the depictions of Braddock's home life are. Although the movie is entertaining and succeeds in its goal as a feel-good experience, it does not rank in the top echelon of Howard's films. Overlong and unevenly paced, Cinderella Man hits stretches (especially between bouts) when it threatens to lose its audience.

The movie opens in November 1928. The "Bulldog of Bergen," Jim J. Braddock (Russell Crowe), is an up-and-coming light heavyweight fighter who is on his way to becoming a challenger for the championship. After every fight, his loving wife, Mae (Renée Zellweger), waits for him at the front door to their house, since she can't bear to watch him in the ring. Following this brief introctory section, Cinderella Man jumps ahead five years. The country is mired in the Great Depression, and Jim's fortunes haven't been better than those of the country in general. He is a has-been who only gets a few dollars a night for participating in second-rate bouts. When he breaks his hand, his career appears to be over, and he goes to work as a longshoreman. However, with day jobs being unreliable and low-paying, he and Mae soon lose the electricity in their apartment, a situation that endangers the health of their children. A chance at redemption occurs when his former manager, Joe Gould (Paul Giamatti), offers him $250 to fight on short notice with a heavyweight contender. Jim is expected to lose, and lose badly, but he confounds the experts, and his June victory over Corn Griffith propels him on the fast lane to a shot at the title against a ferocious and heavily-favored opponent, Max Baer (who has previously killed two inferior boxers).

Borrowing liberally from Martin Scorsese (Raging Bull), Howard creates boxing sequences that are as brutal as they are compelling. When Jim is in the ring, Cinderella Man is never boring. Unfortunately, the same cannot be said of all the connective material which is intended to form the movie's backbone. The scenes that show Jim as a loving husband and father, and depict him as a good friend to his equally down-on-his-luck pal, Mike (Paddy Considine), are trite. Instead of developing the main character into a fully three-dimensional indivial, they serve only to drag out the running time. Cinderella Man is a decent 105-minute movie that has been stretched to fill nearly 2 1/2 hours.

One non-boxing scene stands out as being worth the celluloid it was printed on. When he reaches rock bottom, Jim faces the possibility of having to send his children to stay with relatives. Yet he has promised his oldest son, Jay (Connor Price), that he would not do this. So, in order to raise the money to re-connect the electricity, he goes to a club frequented by his old boxing confederates, many of whom are high-rollers. With hat in hand (literally), he asks for donations. It's a moving sequence that brings home some of the hard reality of life in the 1930s.

There's nothing wrong with the acting, although most of the participants have done more impressive work in the past. Russell Crowe, working with the director for the first time since A Beautiful Mind, is effective as Jim both inside and out of the ring. Renée Zellweger, who has already looked "frumpy" as Bridget Jones, tries on "mousy" for this role. A spark of energy comes from Paul Giamatti, who has a solid chance of being nominated for an Oscar for his portrayal of Joe Gould (if only because the Academy will feel that they owe him for 2004's Sideways snubbing).

The period details are impeccable. Howard goes to great pains to convince us that we're back in the Depression. From his re-creation of the old Madison Square Garden to the infamous "Hooverville," this feels like the 1930s. Unfortunately, the by-the-numbers script, which hits every boxing cliché with far less effectiveness than other contenders (such as the aforementioned Rocky), doesn't do the other aspects of the proction justice. True story or not, Cinderella Man seems like the uncomplicated fairy tale its title hints at. This is 2005's Seabiscuit, an inspirational, "alt" drama thrown into theaters in the midst of the summer's blockbusters. As counter-programming, it may be successful, but as entertainment, it's on the bubble. To use a boxing metaphor, it lands a few solid punches, but never achieves anything close to a knock-out.

3
Russell Crowe reunited with Ron Howard and my first reaction is 「Hmm, somebody』 definitely fishing for more awards.」 After the success of A Beautiful Mind, who could blame them? When the early marketing focused too much on the past success of Howard and Crowe, my doubt about the Jim movie began to grow. Isn』t it nice when your doubts are unfounded? While possibly not on the same level of Mind in the critic world, Cinderella Man delivers another knockout hit for the Crowe/Howard tandem.

Despite being an unlikable fellow in reality, Russell Crowe keeps churning out outstanding roles that draw me to the theatre. Crowe』s portrayal of a sports legend continues his streak of powerful cinematic performances. Cinderella Man is the story of James J. Braddock, a rising star in the light heavyweight boxing ring ring the late 1920s. His rise up the ranks is coldly halted as the stock market crash of 1929 cripples the American economy. With a string of losses, injuries, and the end of his big paydays, Braddock suffers the same fate that thousands of other Americans felt ring the Great Depression.

After losing his personal fortune, Braddock struggles to provide for his wife (Zelweger) and children while never fully giving up his dream of returning to boxing. Due to a last minute cancellation and a recommendation by his old manager (Giamatti), Braddock gets one last chance at glory and cements his place in boxing history.

It is Crowe』s portrayal of Braddock that keeps Cinderella Man from slipping into the clichéd territory of Rocky. Braddock fights, not for glory, but to provide for his family. Along the way, Braddock becomes a hero and gives hope to other people struggling to survive the times.

Come on; hope being a central theme of a movie? Hasn』t that been done to death? Yet, I found myself falling for it completely. Crowe』s accent and look is a perfect capsule of the time and his boxing style is a perfect of Braddock』s. Did it take me this long to finally mention the boxing matches? Don』t think this is some boring historical crap starring Brendan Gleeson (Seriously, that guy is in all of em). The boxing matches in Cinderella Man are hands down the best ever replicated on the big screen. The Braddock fights are for folks who grew up with Rocky but now require realistic boxing and not to mention better acting in their films. The film's stunning cinematography draws you into the ring, and leaves you feeling like you're sitting there in person. I』m not even a boxing fan, but I found myself completely thrilled by the action.

Besides Crowe and the boxing scenes, the other bright spot in this film is Paul Giamatti』s portrayal of manager Joe Gould. Some will question Giamatti playing the comedic wise ass in yet another movie, but it』s a good move for him. Fresh off critical praise for Sideways, Giamatti can cash in with a blockbuster that will be seen by a much larger audience. Unlike other roles he』s had in, Giamatti』s character is more than just punch lines; he does an outstanding job of showing the heart of Joe Gould. Zellweger is adequate enough as Braddock』s wife, I can think of dozens of actresses who I』d prefer to see in a movie, but at least she isn』t as annoying as normal. That』s high praise from me considering the sight of those cheeks usually causes me to suffer an uncontrollable eye twitch. Oh come on, you were thinking it!

Director Ron Howard has a knack for heartwarming tales that while sometimes dangerously close to falling into the 「sappy」 territory, always manage to build a bond between the viewer and the characters. A great example of this is his other 「based on a true story」 epic, Apollo 13. I cheered for the astronauts when the came back home and my heart raced as Braddock battled in the ring. If history bores you, see this for the fights. If you aren』t a boxing fan, you』ll be fascinated by the story and the acting. Cinderella Man, while it appeals to a wide audience, doesn』t compromise; a quality Mr. Braddock would be proud of.

⑧ 一些電影的英文名與分類

最近的新電影，比較好心思的大片像：
《盜夢空間》INCEPTION
《社交網路》THE SOCIAL NETWORK
《城中大盜》THE TOWN

喜劇片如：
《愚人晚宴》DINNER FOR SCHMUCKS
《成長後》GROWN UPS

舊一點經典一點的：
《美國麗人》AMERICAN BEAUTY
《最後一擊/鐵拳男人》CINDERELLA MAN
《小賊、美女和妙探》KISS KISS BANG BANG
《全金屬外殼》FULL METAL JACKET
《聞香識女人》SCENT OF A WOMEN

也推薦個人偏好的Johnny Depp的幾出電影：
新片《致命伴旅》THE TOURIST（去電影院支持吧！）
《查理和巧克力工廠》CHARLIE AND THE CHOCOLATE FACTORY
《秘窗》SECRET WINDOW
《濃情巧克力》CHOCOLAT
《加勒比海海盜系列》PIRATES OF THE CARIBBEAN

電視劇，有《豪斯醫生HOUSE M.D.》，《妙警賊探WHITE COLLAR》，《老爸老媽浪漫史HOW I MET YOUR MOTHER》，《別對我說謊LIE TO ME》，《犯罪心理CRIMINAL MIND》，《我為喜劇狂30 ROCK》，這幾出電視劇的類型都不同，但是都十分精彩！

⑨ 有哪些歐美勵志電影（英文版）

肖申克的救贖
公民凱恩
阿甘正傳
弱點
美麗心靈
國王的演講
勇敢的心

望採納