sir影評
《泰坦尼克號》商業是左膀，愛情是右臂，對於愛情的大膽歌頌，超越了那個年代觀眾對愛情片尺度所能想像的范圍，要知道，這可是在大銀幕上看一男一女彼此追逐、親吻、大膽表示愛意。影片所表現的愛情，沒有貧富差距限制，看重一見鍾情，渴望瞬間燃燒。
這是放之全球而皆準的愛情普世價值，當然中國觀眾也樂得接受，在別人痛痛快快的愛情中過一把癮。《泰坦尼克號》之後愛情片如過江之鯽，但每當它的主題音樂響起，你仍會覺得，它的經典地位很難被取代。（《鳳凰網娛樂》評）
(1)sir影評擴展閱讀
主要劇情：1912年4月10日，號稱 「世界工業史上的奇跡」的豪華客輪泰坦尼克號開始了自己的處女航，從英國的南安普頓出發駛往美國紐約。富家少女羅絲（凱特•溫絲萊特）與母親及未婚夫卡爾坐上了頭等艙；另一邊，放盪不羈的少年畫家傑克（萊昂納多·迪卡普里奧）也在碼頭的一場賭博中贏得了下等艙的船票。
羅絲厭倦了上流社會虛偽的生活，不願嫁給卡爾，打算投海自盡，被傑克救起。很快，美麗活潑的羅絲與英俊開朗的傑克相愛，傑克帶羅絲參加下等艙的舞會、為她畫像，二人的感情逐漸升溫。
1912年4月14日，星期天晚上，一個風平浪靜的夜晚。泰坦尼克號撞上了冰山，「永不沉沒的」泰坦尼克號面臨沉船的命運，羅絲和傑克剛萌芽的愛情也將經歷生死的考驗。
② 你認為最好的影評是哪個
現在是互聯網時代，講究的是客戶評價打分。有些人會看看大眾點評上點評然後去看看哪家的飯菜好吃。有些人現在看電影的時候，也會喜歡看看影評或者打分然後再去決定是否觀影。因此，影評也就成為了很多人都關注的一種文章題材。
現在是一個自媒體發達的時間，很多人都通過自媒體方式發表自己的看法，其中也存在著很多非常具有影響力的影評公眾號。在這里我主要推薦的是兩個「Sir電影」和「肉叔電影」。
現在感覺印象最深的一部好影評，就是影評人飛鳥冰河寫的關於最近上映的關於《芳華》的影評《芳華缺點不少，但中國電影應該銘記》。這拼影評通過分析《芳華》創作的背景和電影中描繪的時代，分析了《芳華》這部電影的優缺點，從一個角度為觀眾開拓了視角，是一部優秀的影評。
影評是一個晴雨表，讀一篇影評有助於更好的觀看和理解一部電影。
③ 毒sir電影是毒舌電影嗎，有什麼關系
我猜你說的應該是sir電影，毒舌電影是sir電影的前身，因為2018年毒舌電影被封，所以團隊很快又開通了另外一個賬號名字就叫做「sir電影」，雖然名字變了，但是它們一直的風格還是一樣的，毒舌犀利有深度，關於影評，他們是國內做的最大的一個了，關注的人全平台已經超過千萬了，希望對你有幫助
④ 求 無間道系列 經典影評
去網路的無間道吧，整理一下素材，然後你就能寫了，如果想深刻點，把無間道在好好的仔細的看一遍，相信你會另有感悟的！別人寫的畢竟是別人的，呵呵。
⑤ 求 指環王 英文影評
I ABOUT THE AUTHOR
John Ronald Reuel Tolkien was born on January 3, 1892, in Bloemfontein, South Africa, where his father was a bank manager. After his father』s death, Ronald, then aged four, his mother, and younger brother moved to the English village of Sarehole, in the West Midlands. Thereafter, Tolkien always retained an idealized image of the Sarehole Mill, its old mill pool and overhanging willow tree, a tempting nearby mushroom patch, and the local clusters of cottages— of which figured in his picture of Hobbiton. At this time young Ronald was already discovering two interests that were to shape his life: languages and stories about imaginary places. When his mother moved the family to Birmingham, the urban atmosphere with its trains and factories was much more forbidding and he later encouraged people to "escape" from such environments through imaginative literature.
During his years at King Edward's school in Birmingham and later at Oxford University, Tolkien concentrated on philology, moving from languages such as Latin, Greek, German, and French, to Old and Middle English, Gothic, Old Norse, Welsh, and Finnish. During his childhood Tolkien had started "making up" languages and as an undergraate at Oxford he continued this practice, evolving from Finnish and Welsh what eventually became the languages of the elves in Middle Earth. His work with the signal corps of the British army from 1916 to 1918 ring World War I stretched his linguistic talents in a different direction.
After the war Tolkien worked briefly on the Oxford English Dictionary, before moving into the profession in which he was to spend the rest of his life: teaching. He was first invited to join the English department at Leeds University; five years later he became a professor of Anglo-Saxon at Oxford, a position he held for 34 years. At Oxford he did much to demonstrate the strong bonds between what had been two rival fields: language and literature. Among his academic works medievalists have consistently praised his translation of the Middle English poetic romance Sir Gawain and the Green Knight and the posthumously published translations of The Pearl and Sir Orfeo. It is significant that the most prominent of his many studies in Anglo-Saxon literature should be his published lecture on "Beowulf: The Monsters and the Critics" (1936). As a child Tolkien had loved dragon stories and the anonymous Anglo-Saxon Beowulf-poet created one of the greatest dragons of literature, a model for Tolkien's treasure-loving dragons in The Hobbit and Farmer Giles of Ham, as well as his creation of malice and terror, Glaurung of The Silmarillion.
Throughout his life, Tolkien was drawn to the challenge of creating an imagined world and mythology. In the 1920s, while he was busy with his teaching career, he was also playfully creating "fairy-stories" to entertain his children. It was for them that The Hobbit evolved, episode by episode. When they grew out of listening to stories, Tolkien's motivation to create them stopped, and so did Bilbo's quest. It was not until 1937 that Tolkien completed the novel. The overwhelming popularity of The Hobbit led his publisher to request another book about hobbits. Tolkien began a sequel almost immediately, but The Fellowship of the Ring, the first part of The Lord of the Rings trilogy, did not see print until 1954, 17 years after he had written the first chapter.
The world of Middle Earth came to full form in The Lord of the Rings trilogy, but its underlying mythology continued to grow throughout Tolkien's life. After his retirement from Oxford in 1959 he concentrated on preparing for publication manuscripts that went back as far as his schoolboy song about Earendil (1914). Up until his death on September 2, 1973, he was still revising—and re-revising—the manuscripts, which were finally edited and published by his son Christopher in The Silmarillion (1977). Tolkien's own absorption in these myths is reflected by the inscriptions on his and his wife's gravestones: "Beren" and "Luthien", the names of the human-elven couple from whom the great lines of Middle Earth descend.
II OVERVIEW
In The Lord of the Rings Tolkien demonstrates the evolution of a literary world. In The Hobbit, often considered a prologue to the trilogy, he created a kind of being with no parallel in literature; in the trilogy he expands his single hobbit hero into four hobbit companions and an assortment of helpers and enemies. The character of Bilbo from The Hobbit returns in The Fellowship of the Ring, the first volume of the trilogy. The central adventure of the trilogy spans three volumes, each divided into two books. Each of the six books builds to its own climactic ending, but an intricate system of interlacing allows the reader to move easily with the characters as the author fills in more details about the geography of Middle Earth, the history of its inhabitants, and the progress of the quest.
The expansive background against which the central action takes place conveys a sense of the universality of the conflict between good and evil. In this world everyone needs the support of others in overcoming obstacles and in doing good. Many of the background sections treat the nature of evil as a distortion of what could have been good. Basic to the history of the One Ring is the thirst for power of its creator, Sauron. In the central volume of the trilogy, The Two Towers, the desire for the power inherent in the Ring has also corrupted the wizard Saruman. Tolkien's analysis of the corrupting nature of power explains why three of his strongest forces for good—Gandalf, Galadriel, and Aragorn—refuse to take the Ring and why Bilbo is unable to resist its control. As the story develops, one major source of Bilbo』s nephew Frodo's internal conflict lies in the pull of the ring itself. The success of Frodo's quest flows from mercy, friendship, enrance, and the courage to risk life and happiness for the good of others.
III SETTING
Physically Middle Earth resembles modern Earth. It is the inhabitants that add the touch of unreality that a reader expects in what Tolkien calls a "secondary" world. In making a world for his hobbits, elves, wizards, dwarves, ents, orcs, ringwraiths, and other unusual beings, Tolkien assumes the creative rights that he says in his essay "On Fairy-stories" belong to the storyteller: the right to be free with nature; to use the world as a basis to make something new, while giving this new world its principles of inner consistency. Much of the mythology and history of Middle Earth comes through songs that pervade the narrative, but a more organized "history", complete with dates for the four ages of Middle Earth and genealogies of major families of elves, dwarves, hobbits, and human beings, is included as an appendix to the third volume.
IV THEMES AND CHARACTERS
The enring 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, or Nazgul, 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 indivials 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.
The 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 enrance than in battle.
Sam, like his master, enres, 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 Tolkien』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.
⑥ 與狼共舞 英語影評
In "Dances With Wolves," a frontier meeting between Union soldiers and Sioux warriors, first-time director Kevin Costner does what greater filmmakers would never have thought of.He disarms you.Making love, not war, with the Indians, Costner (with Michael Blake's screenplay) creates a vision so childlike, so willfully romantic, it's hard to put up a fight. He circumvents big-scale movie portentousness with straightforward, emotional storytelling and traverses most of the sentimental pitfalls with deftly simple humor. He even helps you forget this movie clocks in at just over three hours.You're left entirely scalped by his gentle edge, rubbing your head for liking what you saw. But there it is, and there he is, naked buns to the camera, staring at the bewildered Lakota Sioux staring back at him.He's John Dunbar, a Yankee soldier whose attempted suicide charge upon the enemy backfired, leaving him with a military decoration. Now a lieutenant, his request to see the last of the real frontier is honored and he's promptly dispatched to the dangerous, unchartered wilds of South Dakota to set up camp at Fort Sedgewick. The backup troops he's expecting, however, never arrive and he's left alone in majestic but unfriendly terrain.Yet Dunbar is such a naif (and Costner's guileless screen persona embodies this perfectly), and so respectful of the wary braves who observe him, he opens up a rudimentary line of communication with them. Before long, he's speaking Lakota, learning exotic names such as Wind in His Hair, and showing the Sioux where the tatanka roam. It almost goes without saying that Costner (who the Indians b "Dances With Wolves") will meet and fall for a local woman (Mary McDonnell), an adopted survivor of a slaughtered Caucasian family.There's humor throughout "Wolves." When wide-eyed Costner makes his pioneering request, for instance, he's faced with an obviously deranged major (an amusing Maury Chaykin), who constantly refers to Costner as "Sir Knight." On the journey west, Costner, who is writing a journal of his exploits, is accompanied by an uncouth man (Robert Pastorelli) given to unconcealed flatulence. "Put that in your book," giggles the traveler, after another of his signature crudities."Were it not for my companion," intones an appalled Costner in voice-over, "I believe I would be having the time of my life."Last, but not least, is the fine array of performances by Native American actors, particularly Graham Greene as Kicking Bird and Rodney A. Grant as Wind in His Hair. They imbue Costner's labor of love with the kind of subtle dignity the movie asks them for -- and deserves.
⑦ 請問有人有《斷背山》的英文影評嗎
《斷背山》英文影評，可以參考下內容：）~~
"Brokeback Mountain",it is a gay love story, I like it.I was deeply moved by the sincere love between the two and besides,the heros are handsome,especiallly Jack who has clearn blue eyes and red sexy lips.:) The question "will that matter so much wether you love a person of the same or opposite sex with you if you love sincerely" has been asked.Personally,i really admire their love.In this complex world to find a person who you care very much is a difficult thing.
During the day Ennis looked across a great gulf and sometimes saw Jack, a small dot moving across a high meadow as an insect moves across a tablecloth; Jack, in his dark camp, saw Ennis as night fire, a red spark on the huge black mass of mountain.
In the land where horses are horses and men are cowboys... this film is creating quite a stir but I imagine it's nothing compared to the US where horses are horses and men are NOT gay, no, no sir, never, no no, the good lord would not allow it.
⑧ 求電影《朗讀者》的英文影評~~~~~~~~~~~~~~
電影簡介
http://www.allmovie.com/work/the-reader-413688
影評，影片故事背景
http://www.rottentomatoes.com/m/reader/
http://www.startribune.com/entertainment/movies/36686529.html
凱特溫絲萊特簡介
http://www.rottentomatoes.com/celebrity/kate_winslet/biography.php