1000字英文影評

『叄』 求800字的英文影評!!!!!!!!!!!!!!!!!!!

評哪部電影啊，樓主也要說清楚啊。

『肆』 忠犬八公英文影評 1000字的

1987年版忠犬八公，英文影評11篇：
http://207.171.166.140/title/tt0093132/usercomments
2009年版忠犬八公，英文影評100篇：
http://207.171.166.140/title/tt1028532/usercomments

如果你上不去IMDB，推薦一篇：
This one really will make you cry, even those who think they can't. Hachi, full name Hachiko, is an Akito dog from Japan. In this film he is sent to America, where his story unfolds. But there was a real Hachi, who lived in Japan, and this story is true, although it really all took place in Japan. So famous is the real dog Hachi that a life-size bronze statue of him was erected in his home town in his memory! By transferring the story of Hachi to America, it meant that Richard Gere could be 'Hachi's mother', the university professor who finds Hachi lost on a railway platform and with whom the little puppy bonds for life, with fanatical devotion. I was going to say with superhuman devotion, but I guess supercanine devotion is a better way to put it. I noticed that this film was distributed by a subsidiary of Sony, so perhaps that is how a Japanese tale ended up being transposed to Rhode Island, where Gere is presumably meant to be teaching at Brown University. (His ecational and professional life is only roughly sketched.) The one false note in this film is Joan Allen, who plays Gere's wife. Although she was brilliant in OFF THE MAP (see my review), she gets the tone wrong here, which may be the fault of the otherwise brilliant Lasse Hallström, who has directed this film otherwise nearly to perfection. Allen falls into the trap in the early part of the story of acting the part of the censorious, sour and unsympathetic wife, who has become just as much a stock character in modern American movies as the embittered and vicious ex-wife or the 'angry young woman' who takes her revenge on men. Although Allen softens up as things go on, she is never convincingly warm either towards her husband or his dog, whom she initially fanatically opposes (for reasons which are entirely unclear other than the presumption that Gere's wife, not any potential girl dog whom Hachi might ever meet, is a bitch). I found that aspect of the film disappointing, disturbing, and incomprehensible. Hachi starts out as a puppy, becomes an alt, and then becomes an old dog, so there must have been at least three Hachis acting in the film. Hallström is known as a dog lover, and he aptly subtitles this film: 'A Dog's Love Story', as the attention is all on Hachi. Richard Gere is absolutely superb as the man who learns to love his dog more than anyone or anything. He and Hachi become inseparable, and every day at 5 PM, Hachi trots over to the railway station to meet his master's train and accompany him on the walk home. But Richard Gere has a heart attack and dies whilst teaching, and when Hachi goes to meet the train that day, his master does not appear as normal at the station door. Various events ensue, but Hachi cannot settle with any other member of the family, as they have all left the original house near the station, so Hachi returns to his post every day and waits for his master. He does this every day for ten years. (The real Hachi in Japan did it for nine years.) He faithfully waits and scans the station door every day at 5 PM, never giving up hope or losing his loyalty to the man he adores. He does this come rain or shine, he sits in the snow, he lives on scraps, but nothing can deter him or shake his loyalty. There are some really good performances by minor characters associated with the station, a hot-dog seller (sensitively portrayed by the Indian actor Erick Avari), some station employees, and other locals such as a friendly butcher and his wife, and even a real Japanese professor (excellently played by Cary-Hiroyuki Tagawa) who had been a friend of Gere, who comes and speaks to Hachi in Japanese, which Hachi from his facial expression clearly recognises. Hachi's point-of-view shots are all shot in black and white, from ground level, presumably on the theory that dogs do not see in colour. They are very effective indeed, which is not an easy thing to pull off. I don't know why poor Hachi was left outside at night in a doghouse. Any half sensible person would have wanted Hachi in the house at night, rather than in the cold ring the winter, however thick his fur might be. But then people are weird, and only dogs are sensible and loving, as this film proves. If ever a dog could teach us all something it is Hachi. He can instruct us in the true meaning of the word 'loyalty', both the dictionary meaning of which and the daily application of which have become so unfashionable in our current narcissistic society, where no even looks at another person anymore, as everyone's eyes are now out of focus, staring into space vacantly while listening to someone talk nonsense on a cellphone, oblivious of all surroundings. This film is so sad and such a desperate weepie that even the most hardened narcissist might turn his Blackberry off for a few moments of reflection, that is, if he has sufficient attention span to watch two or three continuous minutes of anything other than a combat computer game. I had great fun watching this DVD with Dutch subtitles. I now know that 'Good Boy!' in Dutch is 'Brave Hond!', 'Really?' is 'Echt waar?', and if I ever want to call anyone 'Sweetie' when I am next in the Netherlands, all I have to do is say 'lieverd' and smile. So you see how much else Hachi has taught me? I really recommend turning on the foreign subtitles when you watch movies, as you can learn a foreign language at the same time as seeing the film. Such fun!

『伍』 求大約1000字英文的書評或影評

到IMDB去找電影的英文影評好了，有些經典片、大片的影評都上千篇，找來兩三篇組合一下，應該沒有問題。

推薦幾個：

1.阿甘正傳影評913篇：
http://www.imdb.com/title/tt0109830/usercomments

2.美麗人生影評851篇
http://www.imdb.com/title/tt0118799/usercomments

3.這個殺手不太冷影評657篇
http://www.imdb.com/title/tt0110413/usercomments

『陸』 求電影亞瑟王的英文影評800到1000字

I have always been and always will be a die-hard fan of the King Arthur stories. My family is from that area of that area of the world, so there is some deep-seated calling to it.

However, I tire greatly over the focus of the Arthur-Guenivere-Lancelot plot being the entire focus or one of the main focuses of the movie. I especially enjoyed that those character relations were subtle undertones. In that way for Aurthur-lovers you can see, "Ohh... I know what's going on there!" My favorite part, as with the Mists of Avalon, was how they meshed the Christian faith of Rome with the pagan beliefs of the knights and the people in the country. This is a remarkable depiction of how it would have been like for Christian Rome to be attempting to convert the pagan--and the relations there were remarkable, I thought.

The translation of the aloof romantic story we all know to a more down-to-earth version was amazing. In every other version we see, it's all about what's going on within the personal lives of the characters, but one of the reasons Arthur and his knights are still in our minds is because they did great things for the world, and I thought it a crime to not focus on that.

Clive Owen and Kiera Knightly were a weird pair, I admit. One is flawlessly gorgeous and the other you have to sit and think for a second before you realize he is a hottie too. There were times when I knew what was going on, but didn't really understand the character's motivations behind it, but when you hit the final scene and realize what's been done here, you feel a smile break out on your face.

At this point, if a studio is going to do something about King Arthur, it's not really about being historically or politically correct--it's about doing something that hasn't been done before, and I think that they hit the nail on the head.

『柒』 禁閉島1000字英文影評

Shutter Island. A film that will divide the film community. A film that will leave many upset, and hating it. A film that has already completely split the critics. A movie that messes with you. And no one likes to be messed with. And that is exactly where it exceeds. Think I'm contradicting myself?

Shutter Island is one of the most well crafted psychological thrillers to come by since Silence Of The Lambs. And it is no coincidence both were brilliantly written novels. Shutter Island is adapted by a book written by Dennis Lehane (wrote gone baby, gone and mystic river). It is a book filled with twists and turns, that will leave the reader dizzy. And, that is what it's film counterpart does to the fullest. Martin Scorsese helms the director chair, in a movie where he is more free than any before. This is Scorsese at his most unrestrained.

Marty takes what he has learned from the great films of the past and puts it into his. The master of suspense Alfred Hitchcock's influence is everywhere you look in this film. And it is no wonder, considering Scorsese even showed one of his greatest works to the crew: Vertigo. And many of those ideas are present in Shutter Island; the cliff scenes scream Hitchcock. This is a film that creeps and crawls, and is filled with dark corners. And it is all heightened by the coming storm that looms over the island. This is classic film noir.

The story follows Teddy, a federal Marshall, and his partner Chuck (Played by DiCaprio and Ruffulo). They go to this mysterious island enveloped in fog to investigate an escape. From these opening scenes, Marty has set up a dark and creepy premise.

Almost the whole movie incorporates this story as Teddy desperately tries to find the truths he seeks. Teddy is shown as a scared man; a man of war and violence as portrayed in various flashbacks. These will go on to be increasingly important as the story progresses. We follow Teddy on his quest, through every dark corridor and perilous confrontations. Slowly, we are given pieces to the puzzle, but the audience does not even realize it. For we, like Teddy, are blind. For the moment at least. It is because of this that the thrilling conclusion will leave many blindsided. But, you see, that is where this thriller becomes something more. We as the audience are put in Teddy's shoes, and we feel all the things he feels. It is a complete assault on the senses, and it works beautifully.

This is a film you must watch carefully. That is another thing that sets this apart, it is a horror film that makes you actually think. In this day and age, I'm not surprised some found it terrible esp. after their brains have been turned to mush by these new gore filled horror films. Scorsese's ultimate goal here is to wake you up. And trust me, you probably wont like it.

This is also a film I would recommend seeing a second time. In fact, it is even better the second time. All those pieces of that puzzle you didn't catch the first time, you will the second. You see, we as the audience are first put in the shoes of Teddy. The second? Well, without giving too much away, lets just say you are put in someones else's shoes entirely ring the second viewing.

Shutter Island. A film that will make you question your own sanity. A film that will leave you breathless. A film that has re-ignited the thriller genre. A film that will leave you, and the main character, searching for answers.

『捌』 寫一篇電影的觀後感，英文1000字，用詞簡單

《阿甘正傳》觀後感
To be honest, this is the first time I ever write a review of a movie. And this beginning is a tough one—with an Oscar winner as its subject, surrounding which there is considerably controversy over the values it has questioned, the thoughts it tried to implicitly convey, and the art of the movie itself.
The following discussion will go on as a dissection of this movie into several aspects. This dissection is, however, necessarily incomprehensive, and I would just try to make it a original review in the eyes of a busy, yet inspirational student of science who, from time to time, glances at the palace of arts with admiration and, more importantly, love.

Forrest Gump> Film review
Forrest Gump who is unfortunately to be born with a lower IQ and the muscle problem, usually, people always think this kind of person can』t be successful in doing anything. But, instead, this unlucky man has achieved lots of incredible success, he is a football star, a war hero, and later a millionaire!
In the contention of the best picture of the 67th Oscar Award in 1995, film <Forrest Gump> Have got six Grand Prixes , such as the best picture , the best actor , the best achievement in directing , adapting drama , the best achievement in film editing and the best visual effect bestly ,etc. at one blow . The film was passed to a intellectual disturbance person the description of life has reflected every aspect of U.S.A.』s life, important incident of social political life make and represent to these decades such as U.S.A. from one unique angle. Film adapt Winston · novel of the same name of Groom since. Only the original work is that one is full of fantastic novels with a satiric flavour, but the film modifies and beautifies the story. Have abandoned the absurdity of the original work and revealed that satirizes meaning , have added a kind of tender feeling for the film. This undoubtedly makes the film suit audience and judging panel』s taste even more, but has sacrificed the struggle spirit of the rebel of the original work , make the film become one kind and idealize ethical symbol .
Forrest Gump mould incarnation of virtue is honest keeping one』s word , conscientiously , brave paying attention to emotioning among film. In the film, Forrest Gump is a very pure image, but Jenny has become the degenerate symbol . And write the great discrepancy originally in this. To all that narrated, since beginning all behave with a kind of tender feeling and well-meaning attitude after all for the film, having even joined poesy composition, this makes the film seem soft and have no injury. The film advocates to traditional moral concept and embodiment. Make film apt to accept by people, director superb lay out skill and film application of language make the film very attractive too. Success with commercial for film content of the film has given security, and the treatment on director』s art makes the film more excellent, this is reason that the film succeeds. It was the box-office hits the most in that year to become U.S.A. in < Forrest Gump>.
Tom · Hanks very much sincere naturally performance having among film. He has obtained the laurel of the best actor of Oscar for the behavior in this film. This second movie emperor』s money already whom he obtained in succession looks like. Success of < Forrest Gump>, make Tom Hanks become one of the most popular movie stars in Hollywood too. To Tom Hanks, those two years are the luckiest period of time in his performing art careers .

『玖』 名著讀後感，或英語電影影評，1000字以上,要英文的，三篇……謝謝

你不給我加分，怎麼對得起我！！！！！！！！！！！！！

英文影評:千與千尋(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 (Hîragi; or Chase in the US b), 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 alt 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 alt 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 Jô Hisaishi's score, which is overbearing in places.
It's no wonder the likes of Pixar's John Lasseter (who executive proced the US b) 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.

蜜蜂總動員 Bee Movie review by Roger Ebert
From each according to his ability, to each according to his need.

-- Karl Marx

Applied with strict rigor, that's how bee society works in Jerry Seinfeld's "Bee Movie" and apparently in real life. Doesn't seem like much fun. You are born, grow a little, attend school for three days, and then go to work for the rest of your life. "Are you going to work us to death?" a young bee asks ring a briefing. "We certainly hope so!" says the smiling lecturer, to appreciative chuckles all around.

One bee, however, is not so thrilled with the system. His name is Barry B. Benson, and he is voiced by Seinfeld as a rebel who wants to experience the world before settling down to a lifetime job as, for example, a Crud Remover. He sneaks into a formation of ace pollinators, flies out of the hive, has a dizzying flight through Central Park, and ends up (never mind how) making a friend of a human named Vanessa (voice of Renee Zellweger). Then their relationship blossoms into something more, although not very much more, given the physical differences. Compared to them, a Chihuahua and a Great Dane would have it easy.

This friendship is against all the rules. Bees are forbidden to speak to humans. And humans tend to swat bees (there's a good laugh when Barry explains how a friend was offed by a rolled-up of French Vogue). What Barry mostly discovers from human society is, gasp!, that humans rob the bees of all their honey and eat it. He and Adam, his best pal (Matthew Broderick), even visit a bee farm, which looks like forced labor of the worst sort. Their instant analysis of the human-bee economic relationship is pure Marxism, if only they knew it.
Barry and Adam end up bringing a lawsuit against the human race for its exploitation of all bees everywhere, and this court case (with a judge voiced by Oprah Winfrey) is enlivened by the rotund, syrupy voiced Layton T. Montgomery (John Goodman), attorney for the human race, who talks like a cross between Fred Thompson and Foghorn Leghorn. If the bees win their case, Montgomery jokes, he'd have to negotiate with silkworms for the stuff that holds up his britches.

All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off. We learn at the outset of the movie that bees theoretically cannot fly. Unfortunately, in the movie, that applies only to the screenplay. It is really, really, really hard to care much about a platonic romantic relationship between Renee Zellweger and a bee, although if anyone could pull if off, she could.

Barry and Adam come across as earnest, articulate young bees who pursue logic into the realm of the bizarre, as sometimes happened on the "Seinfeld" show. Most of the humor is verbal, and tends toward the gently ironic rather than the hilarious. Chris Rock scores best, as a mosquito named Mooseblood, but his biggest laugh comes from a recycled lawyer joke.

In the tradition of many recent animated films, several famous people turn up playing themselves, including Sting (how did he earn that name?) and Ray Liotta, who is called as a witness because his brand of Ray Liotta Honey profiteers from the labors of bees.

Liotta's character and voice work are actually kind of inspired, leaving me to regret the absence of B.B. King, Burt's Bees, Johnny B. Goode, and the evil Canadian bee slavemaster Norman Jewison, who -- oh, I forgot, he exploits maple trees.

貧民富翁(Slumdog Millionaire)
An orphaned Mum slum kid tries to change his life by winning TV's 'Who Wants To Be A Millionaire?' in a feelgood fable from director Danny Boyle and the writer of The Full Monty, Simon Beaufoy
Jamal Malik ('Skins' star Dev Patel) is being beaten by Mum police for allegedly cheating on hit TV show 'Who Wants To Be A Millionaire?' One question away from the ultimate 20 million rupee prize, no one, including slick show host Prem (Anil Kapoor), believes a chai wallah (teaboy) like Jamal could know all the answers. As the tough inspector (Irfan Khan) replays Jamal's appearance on the show, it's revealed that each question corresponds to a specific life lesson from Jamal's tragic past.

Raised in abject poverty in Mum's grimmest slum along with older brother Salim, then orphaned by a Hin mob attack, Jamal and Salim are forced to fend for themselves on the streets through opportunistic petty crime. They pick up a young girl, fellow orphan Latika (Freida Pinto), escape the clutches of a vicious Fagin-like crime boss, lose Latika, and continue their picaresque adventures, one step ahead of the law. As adolescents, however, Salim becomes entranced by a life of crime and Latika's unexpected return sets brother against brother. Will Jamal salvage his girl, his fortune and his life on 'Millionaire'?

Adapted by Full Monty writer Simon Beaufoy from Vikas Swarup's hit novel 'Q&A', Slumdog is an underdog tale. Beaufoy's lively screenplay scampers after Swarup's self-consciously Dickensian storytelling tradition, and is even built around the 'Millionaire' show, as iconic a symbol of Western capitalist entertainment as exists.

Director Danny Boyle and cinematographer Anthony Dod Mantle have evidently immersed themselves in India's sensory overload. The film revels in the sub-continent's chaotic beauty and raging colours, from Mum shantytowns to Agra's regal Taj Mahal. The thrillingly off-the-cuff digital imagery reflects a nation in a state of explosive flux, looming skyscrapers erupting from wasteland, slum kids turning into overnight millionaires through the kiss of television. The film's uniquely vibrant, headlong 21st century rush is that of the infinite possibilities of modern India itself.

Slumdog's such a crowd-pleaser that some critics might brand it Boyle's best since Trainspotting . It even echoes a couple of that film's classic set pieces, notably a slum chase reminiscent of Renton and Co's opening Edinburgh dash and a lavatorial incident so stomach-churning (yet hilarious), it makes Trainspotting's infamous toilet scene seem like Ewan McGregor took an Evian bath.

In fact, the likable Boyle has been on great form for some time - 28 Days Later revamped the zombie movie, Millions is perhaps the best kids film of recent years. No other current British director makes such thrillingly current (all his films are set in either the present or future), kinetic, inherently visual films and proper recognition is long overe - though, true to form, he's insistent here on crediting co-director Loveleen Tandan, whose major contribution seems to have been unearthing the wonderfully naturalistic kids to play Jamal, Salim and Latika.
Verdict
A spirited underdog fable marinated in modern India's melting pot. Danny Boyle's still the master of spices.

『拾』 英文原版電影影評1000字左右

哪部電影？