cargo影评
1. 高分求看过 神狗巴迪的人 帮忙写下影评！！谢谢呀 英文的 200词左右
1
Every studio has a franchise whose film count exceeds the usual trilogy standard. Some of these are more notable than others, and most continue what started theatrically in a direct-to-video phase. For Disney, their niche in this area is the Air Bud series.
The franchise may not immediately come to mind when one thinks of creations the studio has milked to death, and yet no other series (save for Winnie the Pooh) has reached such a high number of entries. There have been no less than six Air Bud films, of which only the first two were released theatrically. The seventh and latest installment, Snow Buddies, continues the talking animal trend started by 2006's Air Buddies.
In the second film to star Buddy's children, cleverly known as the Buddies, we find the pups living their daily routines. Their lives take a sudden turn, however, all thanks to their weakness for ice cream. They stow away in an ice cream truck not realizing that its contents are being shipped to Alaska. There, the Buddies meet an Alaskan Husky pup named Shasta (voiced by "Suite Life of Zack & Cody" star Dylan Sprouse) whose owner Adam (Dominic Scott Kay) longs to have his own dogsled racing team. Unfortunately, Adam's father Joe (Mike Dopud) is against these dreams, having experienced a traumatic incident himself while dogsled racing. Adam, Shasta, and the Buddies decide to form their own team without Joe knowing.
If the plot sounds familiar, that's because it is. Snow Buddies feels like a dozen other films that feature such elements as a team of underdogs (excuse the pun) and a father suppressing his child from following dreams. The movie brings nothing new to the table, and this wouldn't be a concern if the presentation were worthwhile. Sadly, it isn't. The script is cloying and downright awkward at times. What are meant to be fun one-liners come out as forced and cringe-worthy. Characters are no more than two-dimensional cutouts. The Buddies' personalities don't go beyond adjectives: Rosebud is girly, Mudbud is dirty, Buddha is spiritual, Budderball is hungry, and B-Dawg is ghetto. The humans are painted squarely as either black or white, and there's very little development anywhere. 95% of the characters leave the story in the same form they entered.
What's most frustrating is the waste of voice talent on board. Kris Kristofferson, Jim Belushi, Whoopi Goldberg, and Molly Shannon are among the stars lending their voices to this film, yet each only has about six lines, which may be the reason they signed up in the first place. "Home Improvement"'s Richard Karn shows up in a live-action role (his third in the franchise), but it's basically no more than a cameo appearance. The focus is put squarely on Shasta, the Buddies, and Adam.
As the boy, Dominic Scott Kay ends up being the most prominent human actor and does his best to carry the scenes where the puppies don't speak. He voiced the character of Buddha for predecessor Air Buddies, but people are more apt to recognize him from the closing of Pirates of the Caribbean: At World's End. He actually turns in one of the movie's better performances but still can't rise above the cheesiness of the script.
While Snow Buddies struggles from an artistic standpoint, it holds up pretty well from a technical one. Being a direct-to-video feature, this was obviously shot on a low budget. Even with that in mind, the proction looks good on screen. Cinematography and score show more craft than one would expect from a proct of this nature, and the CG effects (ranging from green screen to the moving mouths of the animals) are fairly decent. These aspects help make Snow Buddies more watchable than it should be, as does the undeniable cuteness of the puppies themselves.
One can't help but feel this could've worked significantly better as a silent short film. Not only would that approach have gotten rid of the clunky dialogue, but it also would've made the story tighter as there is quite a bit of padding to be found in order to bring it to a feature-length running time. As it stands, Snow Buddies remains a harmless bit of fluff. While the script and performances are all over the place, the proction itself looks good,
and it's hard to fault a film with such adorable leads. It's far from memorable or innovative, and one shouldn't go out of his way to see it, but there are certainly worse ways to spend 87 minutes.
VIDEO and AUDIO
Snow Buddies premieres on DVD in a 1.78:1 widescreen ratio enhanced for 16x9 televisions. As to be expected from a new film meant to be viewed at home, the transfer is pristine. Some wider shots come across as slightly soft, but otherwise sharpness is usually well delineated. Colors are vivid while still appearing natural, and the picture is entirely free of both print and digital artifacts.
The Dolby Digital 5.1 surround soundtrack is also very good. Directional dialogue is clean, and the prominent score amplifies the soundfield without being overwhelming. Sound effects are minimal e to this being more of a dialogue-driven track, but when used, the effects come across well enough.
BONUS FEATURES, MENUS and PACKAGING
Unsurprisingly, the supplements are on the slim side of the spectrum. The first of these is a reel of Bloopers (3:10), which offers a mix between genuine on-set antics and staged ones featuring the voice cast. The footage from either category isn't very amusing, but it's harmless nonetheless.
Next is a music video for Mitchel Musso's "Lean on Me" (2:51). The video rapidly edits shots of Musso performing the song with clips from the film.
While it's nice to see Musso in the spotlight (as his "Hannah Montana" character faded into the background), this remake of the Bill Withers standard is a painful remix.
"Buddy Bites" is an audio commentary featuring the voice actors for Shasta (Dylan Sprouse) and the Buddies (Josh Flitter, Henry Hodges, Liliana Mumy, Jimmy Bennett, and Skyler Gisondo) reprising their roles. It's unclear who this commentary is aimed at. On one hand, the obviously-scripted discussion has a lot of cutesiness as the speakers consistently stay in character. On the other hand, in the midst of all this, nuggets of what seems to be real behind-the-scenes information emerge (albeit through character perspectives). In trying to please both markets, this commentary pleases no one. It's too kiddish for alts and yet too ll for kids.
Behind the Scenes holds two featurettes. The first of these, "Dogumentary" (7:11), acts a sort of video version of the "Buddy Bites" commentary. In it, the Buddies narrate behind-the-scenes footage and offer their character perspectives. Not much is divulged, but the footage on display is interesting enough to not make this a total loss.
The section's other piece happens to be the last and most informative on the disc. Narrated by director Robert Vince, "Snow Buddies: The Magic of Visual Effects" (5:17), examines the film's fairly frequent use of CGI. Comparisons are made between what was shot on set and how that was later color timed with added effects. It's a brisk and useful featurette.
The disc starts off with anamorphic trailers for Disney DVD, 101 Dalmatians: Platinum Edition, Wall-E, Sleeping Beauty: Platinum Edition,
The Aristocats: Special Edition, and a 4x3 promo for Disney Movie Rewards. All of these (minus the Disney DVD ad) can be found under "Sneak Peeks" along with trailers for Tinker Bell, The Little Mermaid: Ariel's Beginning, Handy Manny: Fixing It Right, Little Einsteins: Race for Space, Hannah Montana: One in a Million, Twitches Too, and "Phineas & Ferb."
The animated main menu features Adam and his team sledding throughout the menu's landscape with St. Bernie following after them. The rest of the menus feature static images of each of the puppies. All of them are 16x9-enhanced and accompanied by the musical score.
The DVD's standard white keepcase is housed in the expected holographic, embossed slipcover. A two-sided insert listing the chapter selection on one side and the bonus material on the other. Also included are a booklet advertising upcoming Disney DVD releases and a Disney Movie Rewards code.
CLOSING THOUGHTS
Snow Buddies strives to be nothing more than cute. While it certainly is that, it's a shame that quality couldn't have been dealt with more tact and care. The feature is clichéd and half-hearted, resulting not in an abomination, but in blandness. However, it's presented well on DVD with top notch picture and solid sound. Like the film, the extras gear towards children, though some nice behind the scenes footage emerges. This earns a recommendation to children who adore puppies and haven't been jaded enough to pinpoint spotty filmmaking. Everyone else remotely interested should either rent it or wait for the inevitable airing on the Hallmark Channel, where its flaws will actually be more forgivable.
2
A new franchise is born, when Air Bud got sequeled enough to get put to sleep the franchise makers decided to concentrate on his adorable puppies. Now the Buddies find themselves in the Alaskan wilderness and competing in a sled dog race.
The Buddies - Budderball (Josh Flitter), B-Dawg (Skyler Gisando), Bud-dha (Jimmy Bennett) Mudbud (Henry Hodges), and Rosebud (Lilianna Mumy) ?find themselves up to their necks in trouble again. After being adopted into the families of various kids that share their personality traits the puppies still meet to play.
One day they抮 playing and Budderball decides to go into an ice cream delivery truck for a little snack and the other buddies follow. They end up in a refrigerated container that抯 heading, via airplane parachute drop (?!?), to Ferntiuktuk, Alaska. They find themselves in a strange, new, and white world and strangely devoid of dirt to Mudbud抯 horror. They meet up with Adam (Dominic Scott Kay, who voiced Bud-dha in Air Buddies) and his Alaskan husky Shasta (Dylan Sprouse).
It seems that Adam抯 dad was a racer in an annual snow sled race until tragedy struck and he retired. Adam wants nothing more than to take up his father抯 reins and race, but he抯 lacking five more dogs (see where this is going?). Out of the sky and into his lap falls his team and the puppies consult the wise, old Talon (Kris Kristofferson) to train them in the ways of the sled dog as they compete against the devious Jean George (John Kapelos) and his team. Also listen for vocal cameos from Whoopi Goldberg (the cat Miss Mittens) and Jim Belushi (Bernie the St. Bernard deputy).
It抯 another one of those that the younger you are the more appealing this film will be to you (and maybe the young at heart). This hard hearted critic found it a bit derivative of the other film but in the end liked it a bit more since it really didn抰 have the bumbling human characters and focused more on the puppies.
We抮e not exactly talking Oscars here but the voice talent that does the puppies is cute enough. We spend a great deal of the movie with the puppies and Adam and this makes for a better story than what occurred in Air Buddies in my opinion. Air Buddies had bits of 101 Dalmatians and Snow Buddies feels like a little bit of Snowdogs (remember it had the dogs yacking in a dream sequence, but this one thankfully is without the horrible mugging of Cuba Gooding, Jr.).
3
Continuing the successful series or "Air Bud" movies, here is the latest entry of this series, the Disney Family movie "Snow Buddies," following the exploits of Bud and Molly's five puppies.
Unable to resist the lure of fresh ice cream, the five buddies are getting stuck in a cargo container filled with ice cream, on its way to Ferntiutuk, Alaska. Here they meet Shasta, a young Siberian Husky puppy whose dream it is to become a great dogsled leader. His owner, the 11-year old Adam (Dominic Scott Kay), shares this dream, as he wants to be come a musher.
Sadly, Adam's dad had an accident ring last season's dog race and lost all of his dogs. Saddened he decided to abandon dog sledding and also doesn't want his son to be a part of the dangerous challenge.
So Adam, Shasta and the Buddies train in secret and enter the Ferntiutuk dog sled race unbeknownst to his parents. Together the team of youngsters have weather not only the deep freeze of Alaska, but also the other mushers, some of which will try to win at any cost.
Shot in British Columbia, the film has beautiful vistas of snowy mountain ranges that conjure up an atmosphere that is both romantic and adventurous. It makes for the perfect backdrop of the movie ?albeit not a very realistic one, of course. Conditions in Alaska ring the mushing season are dramatically different form what is depicted in the movie and I doubt that a bunch of Golden Retriever puppies would be able to survive the harsh climate on their own.
Nonetheless the film has a certain feel-good charm that is typical for a Disney Family movie. The can-do attitude of the dogs and the boy is wonderfully charismatic as they face challenges and obstacles. With their high spirits and good heart, it is clear form the beginning where this story leads us to, but frankly, I did not mind at all. I found "Snow Buddies" a charming little film that I could enjoy with my 7-year old son, that made us laugh together and talk about the film's beauty and the team's challenges.
Presented in its original widescreen aspect ratio, "Snow Buddies" looks great, offering up a print that is clean and without any defects. It nicely renders the whites and blues that make up the majority of the snow sequences, while also making sure that colors standout nicely in contrast. Black levels are solid, giving the image good visual depth. No edge-enhancement or compression artifacts mar the presentation.
On the audio side we have a 5.1 channel Dolby Digital track that carries the film nicely. It is surprisingly aggressive at time, making good use of the surround channels. Dialogues are well integrated and always understanbable.
As extras the disc comes with a selection of made-up bloopers ?some of which are pretty funny ?and a music video. Also look for a "Dogumentary", a featurette on the movie's extensive special effects, including the dogs' talking animations.
As an additional bonus, especially for the younger ones, there is also a commentary by the Buddies themselves.
"Snow Buddies" is not a masterpiece of cinema, of course, but it is an uplifting movie that the entire family can enjoy. It is much better than some of the other "Air Bud" sequels, in part also because it offers a more serviceable script and much better acting.
So, if you want to do your kids something good and get some laughs for yourselves out of it, too, check out "Snow Buddies." If nothing else, the movie's wonderful vistas will want to make you visit Alaska.
4
Dogs are perhaps the most fun pets. Let’s face the facts – cats are for loser and reptiles are for virgins. And fish aren’t pets, more like moving scenery. But dogs, dogs are wonderful. Yet, so often the movies which are made about dogs are anything about but wonderful. And now, thanks to Disney, there is yet another inheritor to that great tradition.
Starting February 5th, from Disney DVD and Walt Disney Home Entertainment, Disney’s Snow Buddies is now available on DVD. Pick up this wintertime tale today!
Snow Buddies is the story which comes some time after the wondrous tale spun in Air Buddies, the sixth film in the endearing Air Bud series. After seeing the puppies bond in their first film, they are accidentally dropped up north, in the snow. Hence, the innovate Snow Buddies title begins to bring clarity to the situation. They learn teamwork, they meet Talon and Shasta, and they try to find their way back home. The five puppies are named Buddha, Mudbud, Rosebud, Budderball, and B-Dawg (who drops the Bud of Air Bud fame to be thug and racially stereotypical). It’s one more direct-to-DVD Disney feature that really is for the dogs.
As far as special features on this disc of Snow Buddies go, you might as well be lost in the Great White North. There are bloopers, a music video (ooh!), commentary with the buddies, a featurette on visual effects, and a documentary, or DOGumentary. Terrible. What you won’t find included is the fact that Disney was using puppies under the legal age to be transported (8 weeks) and that several of them became ill or had to be put down. The American Humane Association is concting an investigation of this grievous atrocity. Kid friendly? Hardly.
This film is horrid. Perhaps the most amazing part of this is that the incredible and talented Kris Kristofferson continues to provide the voice for one of the puppies. Dylan Sprouse, mildly famous for his role in my personal favorite over-sexed ‘tween comedy series on Disney, The Suite Life of Zack and Cody, provides the voice of Shasta, the husky in the picture. Molly Shannon continues her streak of being attracted to projects which suck, fitting her and her acting or vocal abilities quite well. Snow Buddies tries to be a heartwarming buddy film, using cutely voiced cute puppies and stereotypical behavior, and ends up ice-cold.
5
Born from the lineage of the legendary Air Bud, the Buddies are a group of five Golden Retriever pups with eclectic personalities. There's Buddha, the Zen wannabe, Mudbud, the filthy animal, Rosebud, the dainty girl stereotype, Budderball, the hulking jock and B-Dawg, the straight-up gangsta.
Usually, the Buddies run around their picturesque neighborhood, irritating the smart-mouthed cat (voiced by Whoopi Goldberg), but one day they end up in a container of ice cream bound for Alaska. When they come to, they're in the middle of a winter wonderland, lost, confusing and frickin' cold.
The Buddies eventually meet a Husky named Shasta who then introces them to his owner, Adam, a wide-eyed little boy with visions of dogsledding glory. Is it possible that these small puppies and this goofy little kid can win a professional dogsled competition? I'm thinking, yes.
2. 马达加斯加2英文影评~ 三分钟左右长度的~~
You have to give them credit, whoever came up with idea of blowing regular ol’ movies up to IMAX size, because it has brought back to movie theaters the kind of spectacle we simply can’t reproce at home, not even with plasma widescreens and blu-ray players. I saw Madagascar: Escape 2 Africa in IMAX: It. Is. Jaw-droppingly. Gorgeous. (Make that yellow light a green if you can see it in IMAX.) Kudos, too, of course, to the animators, who achieve the perfect balance between realistic representations of, you know, real things -- there’s one sweeping vista of the African serengeti here that took my breath away -- and stylized design: I love that the animals don’t look like people. They don’t look like real animals, but they retain the qualities that define them as a lion, a giraffe, a hippo, a zebra, a penguin, and so on.
Escape is so gorgeous, in fact, that it took me a while to realize that the heart and the soul of the first Madagascar, the aspect that made it so special, is missing here... no, not missing, but inverted to a degree that it almost negates the first film. Which is a genuine shame. As a pleasantly rowdy cartoon that diverts and amuses, one that will appeal to a wide audience without having to mb itself down to do so -- which is, it must be noted, a grand achievement on its own -- Escape is a splendid success. It’s when held up to its predecessor that it feels a bit... lacking.
The returning writing and directing team of Eric Darnell and Tom McGrath have only themselves to blame: they set the bar high with the previous film, warping -- and I do mean warping -- a deeply touching valentine to New York City and to urban civilization on the whole with their tale of zoo animals suddenly lost in nature. Showoff performing lion Alex (the voice of Ben Stiller: Tropic Thunder, The Heartbreak Kid) and funnyman zebra Marty (the voice of Chris Rock: You Don’t Mess With the Zohan, Bee Movie) could only be friends within the cultivated confines of city life, what with Alex being a carnivore and Marty being made of meat and all. Perhaps there’s no such thing as “natural” enemies, or that if there is, then maybe removing “nature” from the equation isn’t such a bad thing: that was one of the vital thematic points of Madagascar, which was of course a metaphoric heads-up for, you know, us human animals.
In Escape, though, Alex and Marty get even more lost in nature when they attempt to get home to New York... except it’s a far more idealized nature this time out, where, it seems, all the lions and all the zebras have no trouble getting along all the time. Their abortive flight from the island of Madagascar -- more on that in a bit -- gets them only as far as continental Africa and a protected wildlife preserve. They don’t realize it’s protected, of course, and there’s the tiniest thematic suggestion that this is yet another kind of zoo... but it’s the barest suggestion that is instantly forgotten. The lions here -- including Alex’s parents -- appear to have no trouble refraining from eating the local zebras, hippos, and giraffes. What they actually are eating is not a topic that is broached... which might be fine in another film that was not a sequel to one that didn’t shy away from the idea that what our bodies want and need is not always something that can be ignored, that our bodies shape us in ways that our minds may not like.
But never mind. Adventures in readjusting -- again -- to yet another alien environment for the city slicker critters ensue. I won’t spoil any of that: it’s all funny and sweet and clever. What rankles me in Escape is who is cast in the villain role here: a band of human tourists from, coincidentally enough, New York City, who are also lost in Africa and whose attempts to re-create their concept of what civilization is results in some very bad things happening to the animal denizens of the protected preserve. Basically, the humans are doing precisely the same thing Alex and Co. did in Madagascar, but they’re the bad guys for it now.
If I didn’t have the brilliant first movie to look back on, this reversal, well, wouldn’t be a reversal, and I could take it on its own terms even if I disagreed with the idea that “nature” is automatically better than “civilization.” But Darnell and McGrath have to cheat here, in light of what they espoused in that first film, by creating an idealized concept of “nature” in order to cast it as the preferable alternative to urban living.
But if you can turn your brain off -- as I obviously can’t -- there’s some wonderful stuff in Escape, too. Like a terrifying and simultaneously hilarious airplane sequence, as the penguins -- oh yes, they’re back -- make King Julien’s cargo-cult crashed-airplane temple just about airworthy again in order to fly the zoo gang home. (They fail, as I noted, but it’s a riot watching them fail.) And there’s King Julien (the voice of Sacha Baron Cohen: Sweeney Todd: The Demon Barber of Fleet Street, Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan), a delightfully clueless yet impossibly arrogant little monster. Alec Baldwin’s (The Good Shepherd, Running with Scissors) minor villain, the lion Makunga -- shades of The Lion King’s Scar -- is a hoot. Good stuff. Funny stuff.
Look, it’s fine. It’s cute. The kids will love it. Their parents won’t be bored. Madagascar: Escape 2 Africa is a perfectly nice time at the flicks. But the unexpected and affecting wisdom of Madagascar is still ticking over in my head, three years later. And I’ve all but forgotten its sequel already.
3. 求英文幸福终点站的评论
PARIS –
As far as Steven Spielberg's new blockbuster, "The Terminal," is concerned, the experience of being trapped inside an airport for a year can lead to friendship, comic high jinks, and even romance.
But it's hard to see the life of Mehran Karimi Nasseri through Spielberg-colored glasses. Mr. Nasseri is the inspiration for the movie - a real-life Iranian refugee who arrived at Paris's Charles de Gaulle Airport in 1988 without a passport and without papers to enter another country. He's been stuck in Terminal One ever since. Like a lost and battered suitcase, he has been claimed by no one.
Related stories
06/18/04
Behind 'The Terminal,' a true story
Get all the Monitor's headlines by e-mail.
Subscribe for free.
E-mail a friend
Print this
Letter to the Editor
Republish
ShareThis
E-mail newsletters
RSS
"The Terminal," which opened Friday in the United States, recounts the hardships of Viktor Navorski (Tom Hanks), a fictitious Balkan traveler stranded at New York's JFK Airport. His homeland erupts into civil war and his passport becomes void. He can't officially enter the US, but neither can he return to Eastern Europe. So he lives for months in the hermetically sealed microcosm of an airport concourse.
Some of Navorski's survival tactics are similar to Nasseri's, like bathing in the washroom, setting up a living area on a bench, and accepting food vouchers from airport workers. But where the movie has embellished the story with madcap adventures and a fling with a flight attendant played by Catherine Zeta-Jones, Nasseri's life consists mostly of reading. His most recent book is Hillary Clinton's autobiography. "Maybe I don't do it like Tom Hanks does it," he says. "My day is just like inside a library. Silence."
Lately, though, he's had more visitors than usual. This urban legend is already the subject of three other films, two of them documentaries. Reporters and tourists visit and talk with him all day at his makeshift press lounge. "Is this public entertainment?" Nasseri asks with a pained grimace. Yet, at the same time, "Alfred," as he is also known, seems to relish his celebrity.
"He is known throughout the world and people come to see him," says Valé Chevillot, who can see Nasseri's encampment of assorted boxes, bags, and suitcases through the window of her Phénix clothing boutique. "But no one really knows him."
The original crisis began when Nasseri tried to travel to England from Belgium via France. But he lost papers declaring his status as an Iranian refugee. It's been confirmed that he was expelled from Iran in the 1970s, but the famous squatter has since rejected his heritage - even denied he can speak Farsi - under the belief that his Iranian background is the cause of cause of his troubles. No family members have ever contacted him. "Police say they don't live," he says cryptically.
Summarizing the details of Alfred's bureaucratic nightmare since then isn't easy. Nasseri waited at Charles de Gaulle while Britain, France, and Belgium played a shell game with his case for years. At one point, in a classic Catch-22, Belgian authorities said they had proof of his original refugee papers, but insisted he pick them up in person - yet wouldn't let him into the country. He has been jailed several times, and technically could be removed from the airport at any time.
After a lengthy legal battle waged by his lawyer, the French government finally gave him the necessary documents to reside in France and legally travel.
But he refuses to use them.
Nasseri is convinced he has no official identity. If he leaves France, he says, "There are soldiers there who shoot you dead." So he won't venture further than the first floor of the terminal. "I stay until I obtain my origin identity," he often repeats.
Airport shopkeepers don't seem bothered by the fuss over their famous neighbor. The cleaning staff warn that he'll charge a few euros if you take his picture. But otherwise, "he never asks anything of anyone," says Mossaoid Ben, who runs the Coccimarket next door.
Mr. Ben hypothesizes why Nasseri has remained in the dreary cocoon of the Charles de Gaulle building, a kind of doughnut-shaped, concrete UFO stranded out on the tarmac. "He'll have to pay rent elsewhere. Maybe that's why he's here."
Other theories abound as to why Nasseri persists with his self-imposed exile. "In my opinion, Alfred needs professional help to get him adapted to the outside world," says Alexis Kouros, an Iranian documentary filmmaker and doctor, who tried to help him leave for Brussels while making his film, "Waiting for Godot at de Gaulle," in 2000. "He used to be a normal person. By spending 15 years in that place, he has become institutionalized," says Mr. Kouros, who worries Alfred's mental health is worsening.
Nasseri, a pale and listless man, spends much of his day writing on sheets of blank white paper that have become a journal of his self-imposed captivity. "I write about what I hear on the news," he says. "Ray Charles dead; the elections in France." His reams of papers and books fill some dozen Lufthansa cargo boxes. "The only problem is I need a portable TV," he says.
In theory, he has plenty of money to buy one. DreamWorks, the company that made "The Terminal," paid Nasseri for the use of his story. But he doesn't have a bank account, so he can't access checks reportedly sent to his lawyer.
Nevertheless, he's enjoying the renewed burst of attention. "Gives me something more to read. It's better to read than about war, Iraq, terrorism," he says.
There's also a hint of optimism in Nasseri's voice. He talks wistfully of how he hopes to move to the United States or Canada. "I expect some change by October," he says. "In the end I will be happy."
4. 谁有一篇《野孩子》的英文影评
The Wild Child (1970) 的英文影评：
As simply and lightly told as possible, Francois Truffaut's The Wild Child is an immensely interesting and fascinating study of childhood and the process all of us go through in order to be ecated, civilized and forced into the larger confines of society. Children are a hallmark of Truffaut's cinema and he shows a deft touch in crafting this true story based on reports and notes left by an 18th century French doctor who took custody of a "wolf boy" found in the forest and trained him to walk upright, wear clothes, eat with utensils and even recognize letters from the alphabet.
The bulk of this film is dedicated to the process of such an achievement and Truffaut's talent has rarely been matched as it is here. Shot in simple but beautiful black and white, the camera films more as a documentary than a feature film. Numerous montages are utilized to show the advances the boy makes with the doctor (played with subed coolness by Truffaut himself) who tirelessly seeks to transform this savage into a noble human being. The textured greatness of the film lies in how wonderful the actors play off each other, especially Jean-Pierre Cargol as the wild child 'Victor' who is in every scene and never once appears as if he is acting in the conventional sense. He is absolutely convincing as this uncultured creature in every action he does, making the story that much easier for the audience to follow and understand.
Truffaut is widely regarded as one of the greatest directors of children. This may be his quintessential moment with them and it is an uplifting and empowering vision. Here, children are seen to be capable of everything alts are. They are not children but little alts; this in and of itself is a transforming notion.
5. 电影马达加斯加I 的英语评论文
Madagascar 1 Watched movies, want to go to the Madagascar. Movie scenes that frame the screen is too beautiful. I may be too easily satisfied, a lot of people feel that SOSO films, but I really like. Protagonists looked pure comedy, but a very distinct personality. Marti's voice-over people like super feeling is so simple and honest, as if it is an awareness, but do not want to 1:00; Alex's hair is a bright spot, Gloria and Melmen. Also worth mentioning is that the film is full of wisdom penguins, who face the others, is always just smell and wave ~ ~ ~ and private ideas constantly, another strong operational capabilities. On board, Does wickedly easily the Tom Cruise unlock with that section of the paper clip. We also own and animals have long been divided into the clear. Whether Disney, Pixar, and even Hollywood, as the animals have repeatedly said that the human mouth, then, sometimes in order to convey some spirit, but more often is to enable busy all day in the lives of our civilization, taking time out aftertaste our natural wild genes. Not what he wanted, and looked at the yard chip will perform a variety of techniques lion, hippopotamus, giraffe, always feel that people but is also a kind of strange animals only.
还有Information: animated "Madagascar" About the story
http://ent.sina.com.cn 2005年05月31日14:21新浪娱乐 http://ent.sina.com.cn 2005 on 05 years on 31 Sina Entertainment 14:21
狮子亚历克斯是丛林之王，哦不！ Alex the lion is the king of the jungle, oh no! 这里的丛林指的是喧嚣的城市丛林，而非茂密的野生丛林。 The jungle was referring to the noisy urban jungle, not the dense jungle of wild. 在纽约中央公园里的动物园，他算得上是吸引游客的头号明星。 New York's Central Park Zoo, he can claim to be a star number one tourist attraction. 他和最要好的朋友斑马马蒂、长颈鹿梅尔曼和河马格洛丽亚训练有素，各自秀出的看家绝活即便是一招半式都会博得观众欢快的笑声和热烈的掌声。 And his best friend Mama Di spot, giraffe and hippo Gloria Mehlman well-trained, Show of their housekeeping skills even Yizhaobanshi will win the audience's laughter and happy applause. 虽说四周有坚固的笼子和高大的围墙照应着，深受纽约市民喜爱的四位动物好朋友的日子过得还是相当的滋润，三餐不愁甚至可以享尽荣华富贵。 Although there is strong around the cage and take care of a tall wall, like the people in New York by four good friends of the animal life or considerable support, can enjoy three meals a day no worries about the high position and great wealth.
按说，这样的幸福生活正是许多野生动物向往和追求的。 In the ordinary course, such a happy life is the number of wild animals and longing for the pursuit. 可是，马蒂却偏偏觉得这一切根本不值得留恋，他一直渴望回到老祖先们出生、成长的野生世界。 However, Marty has chosen to think this is not all memorable, he has been eager to return to their ancestors were born, grow wild in the world. 在四只神秘企鹅的教唆下，马蒂开始萌生去意。 In four of the mysterious aiders Penguin, Marty began to think of killing themselves. 于是，在企鹅们的帮助下，马蒂悄然逃离动物园，一举踏上探索野生世界的征程。 As a result, the Penguins had the help of Marty quietly fled the zoo, one on the journey to explore the wild world. 马蒂失踪了！ Marty has been missing! 剩下的亚历克斯、梅尔曼和格洛丽亚心急如焚，决定不惜一切代价找到马蒂。 The rest of the Alex, Gloria and burning Mehlman, the decision at all costs to find Marty. 三个伙伴也跟着逃出了从未离开过的动物园。 Three partners have also escaped from the zoo never left. 搭上地铁，经过中转站，他们终于在终点站找到了马蒂。 To catch a subway, after a transit point, they finally found the terminal Marti. 可惜重逢带来的快乐太短暂了，纽约的警察和消防队员可不管你是野兽兵团还是恐怖分子，只要有胆到纽约来闹，就一并拿下。 Unfortunately, the reunion brought joy too short, the New York police and firefighters could be whether you are a beast or a terrorist corps as long as the courage to come to downtown New York, also won. 看样子就知道这几个是打非洲来的，发配回原地。 It appears that we are a few of Africa is playing, the allocation back to the place. 于是，动物们被装进木板箱押上远洋轮船。 As a result, the animals were put into wooden boxes ocean-going vessels.
轮船一路风浪颠簸，令关在箱子里的四只娇生惯养的园中动物叫苦不迭。 Ferry bumps along the storm all the way, so that in the box 4 cosseted Jiaokubudie animals in the park. 天降神兵！ Tianxiangshenbing! 早有预谋的四只企鹅迅速打翻船员、敲晕船长。 Have planned well in advance of the four penguin crew quickly knocked down, knock long seasick. 失控的轮船被海浪吞没，船上的货物也被海水冲到了岸边的沙滩上。 Out-of-control ship was engulfed waves, the ship's cargo has been washed into the sea shore on the beach. 四个土生土长的纽约佬兴奋地挣脱木箱：“外国到了(也就是马达加斯加岛)，我们自由了！”从小到大都有人类的照顾，可是现在他们该如何应付野外生存的新挑战呢？ The four guys born and raised in New York excited to get rid of wooden box: "to a foreign (that is, Madagascar Island), we are free!" From small to large have to take care of human beings, but they now how to deal with the survival of the wild new challenges? 如何亲身体验“野生世界才是真正的丛林”这句话的含义呢？ How to experience the "real world of wild jungle," the meaning of this phrase? 蒋勇/文 Jiang Yong / text
声明：新浪网独家稿件，转载请注明出处。 : Sina exclusive articles, please specify the source reproced.
6. <马达加斯加>电影英文影评
: animated "Madagascar" About the story
http://ent.sina.com.cn 2005年05月31日14:21新浪娱乐 http://ent.sina.com.cn 2005 on 05 years on 31 Sina Entertainment 14:21
狮子亚历克斯是丛林之王，哦不！ Alex the lion is the king of the jungle, oh no! 这里的丛林指的是喧嚣的城市丛林，而非茂密的野生丛林。 The jungle was referring to the noisy urban jungle, not the dense jungle of wild. 在纽约中央公园里的动物园，他算得上是吸引游客的头号明星。 New York's Central Park Zoo, he can claim to be a star number one tourist attraction. 他和最要好的朋友斑马马蒂、长颈鹿梅尔曼和河马格洛丽亚训练有素，各自秀出的看家绝活即便是一招半式都会博得观众欢快的笑声和热烈的掌声。 And his best friend Mama Di spot, giraffe and hippo Gloria Mehlman well-trained, Show of their housekeeping skills even Yizhaobanshi will win the audience's laughter and happy applause. 虽说四周有坚固的笼子和高大的围墙照应着，深受纽约市民喜爱的四位动物好朋友的日子过得还是相当的滋润，三餐不愁甚至可以享尽荣华富贵。 Although there is strong around the cage and take care of a tall wall, like the people in New York by four good friends of the animal life or considerable support, can enjoy three meals a day no worries about the high position and great wealth.
按说，这样的幸福生活正是许多野生动物向往和追求的。 In the ordinary course, such a happy life is the number of wild animals and longing for the pursuit. 可是，马蒂却偏偏觉得这一切根本不值得留恋，他一直渴望回到老祖先们出生、成长的野生世界。 However, Marty has chosen to think this is not all memorable, he has been eager to return to their ancestors were born, grow wild in the world. 在四只神秘企鹅的教唆下，马蒂开始萌生去意。 In four of the mysterious aiders Penguin, Marty began to think of killing themselves. 于是，在企鹅们的帮助下，马蒂悄然逃离动物园，一举踏上探索野生世界的征程。 As a result, the Penguins had the help of Marty quietly fled the zoo, one on the journey to explore the wild world. 马蒂失踪了！ Marty has been missing! 剩下的亚历克斯、梅尔曼和格洛丽亚心急如焚，决定不惜一切代价找到马蒂。 The rest of the Alex, Gloria and burning Mehlman, the decision at all costs to find Marty. 三个伙伴也跟着逃出了从未离开过的动物园。 Three partners have also escaped from the zoo never left. 搭上地铁，经过中转站，他们终于在终点站找到了马蒂。 To catch a subway, after a transit point, they finally found the terminal Marti. 可惜重逢带来的快乐太短暂了，纽约的警察和消防队员可不管你是野兽兵团还是恐怖分子，只要有胆到纽约来闹，就一并拿下。 Unfortunately, the reunion brought joy too short, the New York police and firefighters could be whether you are a beast or a terrorist corps as long as the courage to come to downtown New York, also won. 看样子就知道这几个是打非洲来的，发配回原地。 It appears that we are a few of Africa is playing, the allocation back to the place. 于是，动物们被装进木板箱押上远洋轮船。 As a result, the animals were put into wooden boxes ocean-going vessels.
轮船一路风浪颠簸，令关在箱子里的四只娇生惯养的园中动物叫苦不迭。 Ferry bumps along the storm all the way, so that in the box 4 cosseted Jiaokubudie animals in the park. 天降神兵！ Tianxiangshenbing! 早有预谋的四只企鹅迅速打翻船员、敲晕船长。 Have planned well in advance of the four penguin crew quickly knocked down, knock long seasick. 失控的轮船被海浪吞没，船上的货物也被海水冲到了岸边的沙滩上。 Out-of-control ship was engulfed waves, the ship's cargo has been washed into the sea shore on the beach. 四个土生土长的纽约佬兴奋地挣脱木箱：“外国到了(也就是马达加斯加岛)，我们自由了！”从小到大都有人类的照顾，可是现在他们该如何应付野外生存的新挑战呢？ The four guys born and raised in New York excited to get rid of wooden box: "to a foreign (that is, Madagascar Island), we are free!" From small to large have to take care of human beings, but they now how to deal with the survival of the wild new challenges? 如何亲身体验“野生世界才是真正的丛林”这句话的含义呢？ How to experience the "real world of wild jungle," the meaning of this phrase? 蒋勇/文 Jiang Yong / text
声明：新浪网独家稿件，转载请注明出处。 : Sina exclusive articles, please specify the source reproced.
7. 保密微电影《危机》观后感
被僵尸妻子咬伤、明白自己即将尸化的男子，如何保护自己背上的婴儿？澳洲短片电影节佳作《CARGO》，一部时长仅有七分钟、画面稍显冷酷血腥的僵尸片，却是一剂催泪良药。中文名负重前行
8. 急，Alien 《异形》电影英语介绍或英文影评
1
Every time I view Alien I can't help but to marvel with awe at this timeless masterpiece horror classic, the best of its genre ever made. Ridley Scott, with the help of breathtaking, brilliant Alien design from H.R. Giger, takes the viewer to the very end of the nightmare tunnel, the darkest recesses of the worst nightmare imaginable. This movie is made on a shoestring budget and the old fashioned way, with imagination and talent. The end result is the absolute epitome of horror that gets better with age. The Nostromo is a mining ship, a huge towing vessel, created with sets that were dark, claustrophobic and unforgiving. Most of these sets were made out of old airplane parts and the result was a spectacular achievement in horror, with flickering lights, gently swaying and clanking chains and dripping water, providing a sinister environment for a most unwelcome guest.
The crew and cast are a blue-collar lot of unknowns, but the chemistry and acting is superb, disturbing and believable, enhancing the absolutely real horror that awaits each one of them. There are no superheros here, as they were in no way prepared for what awaited them. They are scared, and rightfully so, and no one projects this better than Veronica Cartwright as Lambert, the very embodiment of a hysterical, sobbing woman scared out of her wits...and for very good reason. This is simply the scariest movie ever made, so enough niceness and on with the review!
2
Alien is truly awesome from beginning to end. The hands on effort and imagination of Scott Ridley is stunning, even in this day and age of special effects and CGI. The designs of Giger are wildly original, horrifically breathtaking and unforgettable. The editing by Terry Rawlings was crisp and parsimonious, making for a perfect storm of a horror flick. No one who has seen Alien will ever forget the dinner scene, one of the most dramatic even to be presented to an unwary viewer. Even the actors were unaware of what was coming down, maximizing the effect of the event. Memorable!
3
It is almost always dangerous to project an absolute about anything, but as far as I am concerned, everyone else can just flush their so-called monsters or baddasses down the sewer. [Green Goblin in Spiderman, yeah, right!] I'm sorry, there just can't be anything in reality or the human imagination that can top this creature that we barely get to see ring most of this horror classic. The metaphorically rich design of this snarling, biting, chomping, eviscerating and head-banging nightmare from the bowels of hell can never be plicated or topped. If you disagree with me, then you are wrong. If you think the Predator had a bad attitude, you will not believe the unchartable hostility that the Alien carries around as second nature. The Predator, as tough as he was is about the equivalent of the Pillsbury doughboy when compared to this “bad boy”. Ash said it best, “ It's structural perfection is only matched by its hostility...Perfect organism...unclouded by conscience, remorse, or delusions of morality.” Chilling.
4
Every time I revisit this movie, I must take pause to reflect on the enormous raw talent and creativity that made it possible. The ships are organic, almost alive as was terrifyingly demonstrated by the creepy, cavernous spaceship that surrounded an even creepier Space Jockey. I cannot say enough about the use of lighting and sound which complimented Goldsmith's wonderful musical score. Ridley Scott is a genius and his creativity with using ordinary objects and hands on attention to detail make this film what it is. The design of the Alien monster is a feat that will probably never be plicated.
1
It’ always worth reminding yourself ring a watching of ‘Alien’ that not all extra-terrestrials are quite as nasty as this one. When things start to get a bit scary, simply take a few deep breaths and think of E.T. Or Alf. Or Mork. Well, maybe not Mork, but you get the idea.
Deep in the bowels of space, the cargo ship Nostromo is on its way home to Earth. Routine mediocrity is the order of the day among the crew of seven, until what’s thought to be a distress signal is received from an unknown planet. Unfortunately, by the time they’ve realised it’s not a distress call at all but a warning, crew member Kane (John Hurt) has had his face latched onto by a faceless, spider-like space critter.
From then on it’s cack-your-slacks time as a freshly-impregnated Hurt gives birth (via an exploding stomach at mealtime) to a beast that will go on to pick off the crew of the Nostromo one by one, growing bigger and stronger with every victim.
Despite taking only second-billing in the cast list, Sigourney Weaver is the star of the piece as the soon-to-be iconic Ripley. Here, however, she’s a considerably less intimidating character than later on in the franchise, and her well-documented fondness for the word ‘bitch’ appears to be only in its early stages.
This is a much, much darker slice of sci-fi than anything ‘Star Wars’ or ‘Star Trek’ were throwing into the ring at around the same time, and in actual fact leans further towards the horror genre than anywhere else. Director Ridley Scott keeps things dark and moody at all times and, similarly to Steven Spielberg with ‘Jaws’, keeps glimpses of the monster to a minimum.
But perhaps the best thing about it is that, despite the subject matter, everything seems remarkably real. There are no Arnie-style quips to interrupt the movie’s tensest of moments, the characters’ behaviour under the circumstances seems true to life, and the plot is simple enough not to need any far-fetched twists in order to keep it on track.
2
Looking into space, you give free rein to your imagination -- How many stars are
there in the universe? What is it like to travel ten thousand light-years away
? Most important of all, do aliens really exist, and if positive, what do they
look like and how do they live their lives, and are they stealthily watching the
planet we live on – Are we alone?
Not only do these puzzles make us common people go crazy, they never cease to perplex all scientists around the world. UFOs are a perennial topic among these specialists and space lovers. Novels and cartoons featuring alien monsters are always on the best-selling lists. The Hollywood blockbuster “Star Wars” series
are the favorite of many movie fans. Given all these facts, there should be no
surprise that a documentary broadcasting a whole process of an autopsy of an alien took the entire world by storm in 1995. It’s reported that hundreds of TV
stations bid on the film that year and tens of millions of people watched the documentary and few uttered a word of questioning. After all these years of rowdiness, it turned out that the film, the autopsy of an alien, was all faked. It was nothing more than a scandal.
Things might not be that easy, though.
Hollywood is a fascinating world; it has the most sensitive feelers about the human conditions. The scandal about dissecting an alien that was rumored to have
been kept by the American military was recently made into a film titled Alien Autopsy. With great interest, I downloaded and watched the movie soon after it was available on the Internet. If you have been tortured by the above confusions,
or if you want to while away a boring afternoon with some fun movie, Alien Autopsy is exactly what you’ve been seeking for:
Depressed by their mishaps in their home country, and hoping to blaze a new path
, two British young men went to America, where they somehow had their hands on a
film which was said to have been kept for more than 50 years by an old man. The film actually recorded an entire process of the American military dissecting an alien and was watched on the spot by one of the two friends. Excited by their
discovery, they found a sponsor who happened to be a believer of aliens. They
bought the film and brought it back to British, only to be told the film had been badly destroyed since the owner brought it to light, and that the hope of regain the data was razor thin. Desperately worried that the sponsor would not buy
their story, the two lads decided to gamble on their luck and gathered a few friends of theirs to “artificially make” an alien by following what the one lad saw on the film. And they actually made it. Then they almost had it done: The
sponsor swallowed the story hook line and sinker, as did the later pursuers, TV
journalists around the world, all other media. The hand-made film even caught the attention of the American military, which later somehow served to cover the whole story up. The group made a decent profit by selling “the most shocking discovery in the human history” to the rest of the world. When their story was being questioned, they even hired a tramp in Hollywood to cover the lie, and the
tramp turned out to be a former Hollywood movie star who had stopped playing for
40 years. But there’s more to it than meets the eye – after the whole thing
was disclosed, that eccentric-looking old jerk, the film-fixing expert, came to
the two hoaxers telling them the destroyed original was mostly fixed – It was true! But what could they do now? The original was then buried deeply somewhere
. Maybe someday some adventurer will have the luck and bring it to light again.
The movie is made in a slight humorous way, enough to give you a good time in this burning hot summer season. And the performance of all the actors is terrific
. If I have to point to some flaw of it, I would single out the accent of their
English: typical British English that sounds too “tropical” to me.
4
When Alien was first released ring the summer movie season of 1979, science fiction films were all the rage. The trend had been started two years earlier with the unexpected box office success of Star Wars, and, by 1979, anything even remotely connected with space and/or aliens was guaranteed to raise some interest. Two highly anticipated efforts - the big-screen debut of Star Trek (Star Trek: The Motion Picture) and the Star Wars sequel (The Empire Strikes Back) - both of which were within a year of their opening dates, further invigorated the atmosphere. It was into this climate that Alien was unleashed upon the general public.
The film's memorable tag line, "In space, no one can hear you scream", promised a far different experience than the popcorn entertainment of Star Wars or the kinder, gentler saga of Close Encounters of the Third Kind. In fact, Alien was as much horror as it was science fiction. In fact, one could make a convincing argument that there is more synergy between this picture and John Carpenter's Halloween than between Alien and any of the other umpteen sci-fi movies invading movie theaters at the time. Alien is about shocks and chills and thrills, not space battles. Where Star Wars has light sabers and blasters, Alien has intense atmosphere.
In many ways, Alien was the first of a kind. True - it wasn't the first space movie to feature a homicidal monster, nor was it the first time a group of characters were hunted down one-by-one in dark, dank spaces. However, this "haunted house in space" film was one of the first to effectively cross-pollinate these two genres. Alien became the blueprint for dozens of rip-offs and three sequels. With one exception (James Cameron's superior Aliens, which substituted all-out action for creepy horror), none has come close to what the filmmakers attained with the 1979 feature.
The director of Alien is British-born Ridley Scott, who was stepping behind the camera for only the second time (his feature debut was 1977's The Duellists). Along with 1982's Blade Runner, Alien cemented Scott as a filmmaker of great promise and ability. These days, whenever the director releases a new film, reviewers will inevitably mention Alien, Blade Runner, or both somewhere within the text of their write-up.
In addition to blending graphic horror with science fiction, Alien has another distinction - it is one of the first films to feature a female action hero. Even today, on those rare occasions when a woman takes the lead in an action/adventure movie, she is typically measured up to Sigourney Weaver's Ellen Ripley. In actuality, much of Ripley's reputation is based on events in Aliens, where she strikes back against the creatures with a vengeance. In Alien, Ripley is essentially just one of several crew members - until the end, when she's the last one standing (not counting Jones the cat). Having Ripley as the hero of Alien is an interesting twist. In 1979, viewers automatically expected that role to be filled by Tom Skerritt - not only because he had top billing, but because he is a man.
Alien is a perfect example of a director graally elevating the level of energy and anticipation in a motion picture. The way Scott meticulously raises the sense of menace and tension is worthy of Hitchcock. Like Steven Spielberg's great thriller Jaws, this atmosphere-soaked proction relies on the viewer's imagination to enhance the alien's nightmarishness. Scott carefully restricts how much we see of the creature - there's enough to provide our minds with horrifying images, but not so much that the illusion is spoiled. It's interesting to note that a scene featuring a full view of the alien was removed from the final cut (that clip is available on the laserdisc and DVD special editions of the movie, for anyone interested in seeing it).
Alien begins slowly and calmly by introcing us to the crew of the Nostromo, a commercial towing space vehicle on a return course for Earth. They number seven - the relatively laid-back captain, Dallas (Skerritt); Ripley (Weaver), the ship's warrant officer; Lambert (Veronica Cartwright), the ship's highly strung navigator; science officer Ash (Ian Holm), who seems to have ice water for blood; Kane (John Hurt), who is possessed of a gallows humor; and grunts Brett (Harry Dean Stanton) and Parker (Yaphet Kotto), who spend their time grumbling about not getting full bonuses. During the film's early scenes, there's a sense of ordinariness about the crew's activities. For them, this is drudgery - they're looking forward to getting home and collecting their money. The dangers of space are far from their minds, and, as a result, from ours. Those who believe the beginning of Alien is ll and plodding are missing the point. The somewhat lethargic pace is necessary for the rest of the movie to work as effectively as it does.
After receiving a possible distress signal from a seemingly uninhabited planet, Dallas, Kane, and Lambert head down to investigate. On the inhospitable surface, they come across what appears to be a downed space ship. Inside, they find a chamber full of egg-like objects. As Kane is examining one, it opens and a leathery creature emerges, launches itself at Kane, punches a hole through his protective helmet, and forces a proboscis down his throat. Dallas and Lambert bring the unconscious man back to the ship, where Ripley refuses them admittance, quoting quarantine regulations. Ash, however, opens a hatch to let them in. Kane is taken to the medical lab, where Ash determines that it would be too dangerous for the life form to be removed from his face. Eventually, however, it falls off on its own, apparently dead. Kane returns to consciousness and all seems to be well.
Then comes the fateful dinner, which, at the time of Alien's release, was the most talked about scene in the movie. The normal mealtime chit-chat of the crew is interrupted when Kane begins gagging and choking. Before anyone can help him, a creature bursts through his chest and scampers into the air cts, leaving behind Kane's bloody, dead husk. The rest of the crew mounts a search through the Nostromo's dark, claustrophobic passageways, with the alien picking them off one-by-one. And, with each new victim, it grows larger and stronger.
Alien contains its fair share of genuine scares. These aren't mere "boo" moments, where something benign jumps out of the shadows accompanied by a loud noise and a musical crescendo, but legitimate shocks. The first occurs when the face-hugger leaps out of the egg and attaches itself to Kane. The second is when the alien explodes through Kane's chest. Then, ring the hunt for the alien, there are numerous others. In fact, the level of suspense ring the film's final 30 minutes becomes almost unbearable. What started as a seemingly low-key motion picture turns into a real white-knuckler.
Despite not featuring any big names, the cast for Alien is comprised of credible actors, including two --Ian Holm and John Hurt - who have won numerous critical plaudits and earned Oscar nominations (Holm for Chariots of Fire; Hurt for The Elephant Man and Midnight Express). Ironically, Sigourney Weaver, who would go on to be the most successful of the Alien stars, arguably gives the least impressive performance. Weaver is an uneven actress, with strengths in comedy and action, but weaknesses in drama. In Alien, she has a tendency to turn strident and over-the-top any time the script requires that Ripley becomes emotive. It is worth noting that, despite similar deficiencies in 1985's Aliens, Weaver was given a Best Actress Academy Award nomination for that movie. (She then received a second, deserved nomination for 1989's Gorillas in the Mist.)
The real stars of Alien are not the humans, however. They are the proction design of Michael Seymour and the alien creature design of H.R. Giger. Seymour's work fashions the perfect playground for the creature - a maze of dark, nightmarish passages that emphasize the sense of claustrophobia and mounting tension. Giger's creation is one of unparalleled terror, and represents one of the most memorable visions ever to appear in a science fiction movie. With its metallic, reptilian body and rows of razor-sharp teeth dripping saliva, few cinematic images can equal the alien for horrific impact. Filmmakers of Alien cat movies have worked unsuccessfully to develop something as striking as Giger's design. Not surprisingly, the ones that have been the most successful are those that have closely mimicked the Alien creature.
Alien was so successful at the box office that a sequel was almost mandatory (although it took six years for Aliens to reach the screen). The Alien series, which currently numbers four movies, went on to become 20th Century Fox's second most lucrative science fiction franchise. In its own way, Alien was as influential as Star Wars, proving that in the '70s/'80s wave of sci-fi, there was room for darker, grittier stories than the ones set a long time ago in a galaxy far, far away. Alien may not have been totally original in its approach, but the film's widespread acceptance made it a blueprint for an entire sub-genre.
9. 求大神！！ 写少年派的英文简洁和影评，一共300词左右就可以了。。。英文的555
小说简介：
The son of a zookeeper, Pi Patel has an encyclopedic knowledge of animal behavior and a fervent love of stories. When Pi is sixteen, his family emigrates from India to North America aboard a Japanese cargo ship, along with their zoo animals bound for new homes.
The ship sinks. Pi finds himself alone in a lifeboat, his only companions a hyena, an orangutan, a wounded zebra, and Richard Parker, a 450-pound Bengal tiger. Soon the tiger has dispatched all but Pi, whose fear, knowledge, and cunning allow him to coexist with Richard Parker for 227 days while lost at sea. When they finally reach the coast of Mexico, Richard Parker flees to the jungle, never to be seen again. The Japanese authorities who interrogate Pi refuse to believe his story and press him to tell them "the truth." After hours of coercion, Pi tells a second story, a story much less fantastical, much more conventional--but is it more true?
电影简介：
A young man who survives a disaster at sea is hurtled into an epic journey of adventure and discovery. While cast away, he forms an unexpected connection with another survivor ... a fearsome Bengal tiger.
原创影评：
<<少年派的奇幻漂流>>——你这辈子做过的最美的梦
最早喜欢上李安，大概是看了《推手》。
从那之后，看了《喜宴》《饮食男女》。
再后来恨不得一口气看完他所有的电影。
就这样，真真为他执迷了好久好久……
我喜欢李安，不是因为他票房多少，也不是因为他打进好莱坞，不是因为他的作品引起了多大关注，也不是因为他给中国导演冠上了怎么样的盛名。我喜欢他，只是因为他一直在不断的挑战自己。他总是能尝试新的题材、新的想法，总是试图把一切不可能变成可能。他不肯走别人的老路，甚至不肯走自己的老路或是回头看看。他总是勇敢的向前走，总是勇敢的带你去做梦。就像《盗梦空间》里的造梦师一样，让你一层层陷入梦境。
《少年派》无疑是我这么多年看电影做过的最美丽的一个梦。也许李安潜心5年，就是想给大家一个不一样的3d。看完之后我只想说——这才是3d。效果美到了我即使知道这是个梦，也迟迟不愿醒来。尤其是那只叫理查德的老虎。虽然他吃羊的时候有点血腥，虽然他从船舱突然蹿出来非常吓人，但是我觉得，那真是一只成功的老虎。
可能说到这部电影，就不得不说那两个故事。确实，有人问我“哪个故事才是真的”这个问题。首先，请不要质疑我是否看懂，其次我也不会问你究竟能否看懂。看到网上大家争论真正的结局的时候，我只好对着屏幕窃笑，因为我还想继续做我的美梦。在争论结果的朋友们，恕我直言，我相信你们看懂了电影，但是你们没看懂李安。你们枉费了他费尽心思给你一个不一样的梦，枉费他为了让我们做梦给我们这两个故事的空间。什么是真的？这真的很重要吗？别说电影的故事本身就是假的，就算是在生活中切实发生的事情不也是真真假假难以分辨吗？要我说，这两个故事其实都是真的，也都不是真的。关键在于你是怎样的人。就像π说的那样：“故事已经是你的了”！你是第一种人那么第一个故事就是真的，一个美丽的“人兽奇遇历险记”。如果你是第二种人，那么第二个故事就是真的，一个残酷的“人类兽性大爆发”。
或者。你和我一样，是第三种人——单纯的做梦的人。
……
ps。我的英文不好。但绝对是我原创的，后面的详见博客。。。。
10. 忠犬八公 英语观后感
There was a Akita dog named Hachiko, near the train station to find it in the 'master'
A chance encounter, destined to the fate of the beginning of a yoke, because the cargo workers do not pay attention, so that the public lost eight on the road, he met with it so, with the play, frolic together, eight public and not will be picking his school to teach the dog how it looks like picking, but it still will not, leaving the original mistress of the public against the eight, and daughter saw him picking the scene eight public ecation, in the call to another Adoption of the phone, she said "it has been adopted," and that moment I felt as if I were relieved, the hostess finally agreed.
Conversion lens is Hachiko grow up, he can go to work, it also want to go to the expense of the pit under the fence to climb out, look for him, he had no option but to send it back to eight public and in its Grilled put a hole where the stone, preventing it out, but the time to work, it still jumped out to the site outside waiting for him to go home, and when he came out from the site and see when the full eight surprised the public, After that it agreed with him on eight public work, together with eight public and so with him to work every day, every night the guardian of time waiting for him outside the station, if that was the year after year, when one night, he laughter in the house with the hostess, but do not know why it heard the next day it says nothing to work with him, he had no choice but go first, but soon returned to his eight-place public to bite the ball and catch up, the side of his back while walking outside the site and saw it catch up when the ball dangling, very pleased, and tentatively throw the ball really picked it back, he was very happy, it was picking it first learned, just as his Friends said the Japanese Akita dog is not picking, and if one day it must have learned the reasons for picking; Yes, I think it was no longer afraid of his master's favorite bar, it is so like him .However, he took it to the ball, also took its favorite owner; he died of heart attack in the teaching, it does not know still waiting for him to go home on time to the site, but he never appears in the site in front of the names of eight call it happy public, touch it and go home, but it is still on time every day to wait, wait forever, until it got dark, and his daughter took it with them to live together, However, the moment when the door opened it and rushed out, Looking back road, there is still time for him to go home from work, year after year.
Ten years later, when his wife came back and saw the eight-time appearance in public is still waiting for him outside the site came back, took hold of it and broke down in tears to cry, and say thank you. It this morning, waiting for him at night waiting for him, waiting for him that will never come back, as if to fulfill a commitment, until death, it is the hero of his grandson, but also understand the meaning of loyalty, to here, I thought it was only another series out of the moving story, but in fact this story is true, but the prototype of the Japanese and not Americans, and that the Akita dog named Hachiko to wait nine years after the death of the owner, and died in a site outside the Now outside the Shibuya station there is the sculpture, it is so moved by the people around.
See here, no touching of the OST, but also told me to cry to die yet.I want to say:Although the dog is our partner,however, For the dogs we are all his.Please take good care of our dogs,do not let it alone.
给多分