铁拳男人影评英文

① 男人英文是什么

man

【读音】英[mæn]美[mæn]

【释义】

n. 人；男人；人类；丈夫；雇工

vt. 操纵；给…配置人员；使增强勇内气；在…就位

【例句容】

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

他没想到那个年轻男子傍晚前会再次出现。

(1)铁拳男人影评英文扩展阅读

相关短语：

1、Iron Man钢铁侠 ; 钢铁人 ; 铁甲奇侠 ; 铁人

2、Cinderella Man铁拳男人 ; 男版灰姑娘 ; 乞丐变王子 ; 最后一击

3、Hollow Man透明人 ; 隐形人 ; 片 ; 透明人魔

4、Man Group英仕曼集团 ; 曼集团 ; 曼氏集团 ; 曼恩集团

5、fat man胖子 ; 胖子原子弹 ; 油侠 ; 胖人

② 铁拳男人 导演

朗·霍华德 目录
• 人物概述
• 星路历程
• 作品列表
• 获奖记录
朗·威廉·霍华德，另译（罗恩-霍华德）（Ronald William Howard，1954年3月1日—），美国演员、导演、电影监制。
出生日期：1954年3月1日
出生地点 ：美国 奥克拉马州 邓肯市
国家或地区 ：美国
家人或朋友 ：琼·霍华德(父亲)
他的近作电影是《天使与魔鬼》
[编辑本段]简介
罗恩-霍华德于1954年3月1日出生在奥克拉马州 邓肯市，是演员兰斯和琼-霍华德(Rance and Jean Howard)的儿子。他2岁的时候就在巴尔的摩(Baltimore)的戏剧《七年之痒》(“The Seven Year Itch”)中登台亮相，并出演了电影处女作《妇女界》(“Frontier Woman”)。1959年，他5岁时又出演了政治暴力片《旅行》(“The Journey”)，这是他首次在荧屏上露脸，这以后他就频频活跃于美国的电视节目中，并对演戏产生了浓厚的兴趣。如1960-68年的电视系列喜剧片《安迪-格里菲思》(“The Andy Griffith Show”)、1971年的电视系列剧《史密斯的家》(“The Smith Family”)等，都成为美国观众广受欢迎的节目，奠定了他的童星地位。在经过1962年荣获第20届金球奖最佳影片奖的音乐剧《欢乐音乐妙无穷》(“The Music Man”)和《埃迪父亲的求爱》(“The Courtship of Eddie's Father”)中一些有特性的表演后，他逐渐有了一些名气，也更加成熟起来。这一时期他的父亲成了他的保护人和经理人，忙着为他开发市场，料理着他的一切。
在电视界赢得的人气，使罗恩-霍华德有机会参加著名导演乔治-卢卡斯(George Lucas)1973年的热门喜剧片《美国风情画》(“American Graffiti”)的拍摄，影片描绘了一幅越战爆发前的美国风情画，一群刚从校园毕业的纯真年轻人，如何选择人生道路？霍华德饰演的高中毕业生里奇-坎宁安(Richie Cunningham)表现出了惊人的纯真与才气，给人留下了深刻的印象。第二年他又主演了根据此片改编的反映50年代美国生活的著名电视系列剧《快乐时光》(“Happy Days”)。1976年，他参演了唐-西格尔(Don Siegel)执导的剧情片《枪神：英雄本色》(“The Shootist”)，本片讲述是一名身患癌症的美国西部老枪手，不久于人世的经历。这是一部典型的西部片，也是具有“公爵”之称的美国牛仔之王约翰-韦恩(John Wayne)的谢世之作，霍华德在剧中饰演崇拜韦恩的少年吉勒姆(Gillom)。
尽管罗恩-霍华德不停地在电影电视中饰演偶像少年，但二十刚出参演的《望尘莫及》(“Eat My Dust”)的制片罗杰-科尔曼(Roger Corman)的引导下，1977年23岁的罗恩-霍华德开始当导演了。他执导的第一部影片是喜剧片《疯狂恋爱跑天下》(“Grand Theft Auto”)，他在此片中是编剧、导演、主演一身兼，大有一鸣惊人之意。虽谈不上是完美的处女之作，但影片的快节奏和高质量的制作场景还是为他赢得了不少赞誉之词。第一次拍片即获成功，小童星要成为美国的票房导演了。其实早在1969年，他15岁时就已经开始尝试拍片，执导过他父亲和兄弟主演的《德林-多的契约》(“Deed of Derring-Do”)。高中毕业后，他曾前往南加州大学进修了两年电影系课程，为日后的执导生涯打下了一个良好的基础。
1982年，霍华德执导了他第一部大受欢迎的黑色喜剧片《夜班》(“Night Shift”)，此片由亨利-温克勒(Henry Winkler)、迈克尔-基顿(Michael Keaton)主演。这是他第一次与“蝙蝠侠”迈克尔-基顿合作，也是他第一次与日后的合伙人----著名制片布赖恩-格雷泽尔(Brian Grazer)联手制作影片，两人于1985年成立了霍华德的电影制作公司----想象影片娱乐公司(Imagine Films Entertainment)。
1984年，罗恩-霍华德执导了浪漫爱情喜剧片《现代美人鱼》(“Splash”)，此片是奥斯卡影帝汤姆-汉克斯(Tom Hanks)早期成名之作。讲述的是一名失意的商人与美人鱼一见钟情，霍华德将这部充满罗曼蒂克的影片拍得轻松有趣，很有说服力，成为当时最成功的生活影片。第二年，他执导了由唐-阿米奇(Don Ameche)主演的科幻喜剧片《魔茧》(“Cocoon”)。这是科幻片中少见的温馨佳作，表现了一群老人们的童心童趣，喜剧效果强烈，成为了他的早期代表作。这时的罗恩-霍华德已是好莱坞的一线导演了。1986年，罗恩-霍华德与迈克尔-基顿二次合作，执导了喜剧片《打工好汉》(“Gung Ho”)，讲述了美国汽配员工斯蒂文森与日本汽车公司的冲突，霍华德在片中较好把握了东西方文化的碰撞。1988年，执导的大制作荒诞喜剧片《风云际会》(“Willow”)，却受到了执导以来的第一次沉重打击。尽管他在特技、拍摄场面等方面下了很多功夫，但仍然无法与当时乔治-卢卡斯华丽的科幻片相媲美，票房不佳。
1989年，在史蒂夫-马丁(Steve Martin)、玛丽-斯蒂恩伯根(Mary Steenburgen)主演的喜剧片《温馨家庭》(“Parenthood”)中，霍华德将有趣的贝克曼一家通过欢笑和亲情展现在观众面前，在笑声中理解“家”的含义。此片上映后极为卖座，一举拿下了1亿多的票房，并荣获了1990年第62届奥斯卡奖最佳女配角和最佳原创歌两项提名。
90年代初，霍华德连续执导了两部大预算大制作影片。1991年的惊栗动作片《烈火雄心》(“Backdraft”)，库尔特-拉塞尔(Kurt Russell)、威廉-鲍德温(William Baldwin)、罗伯特-德尼罗(Robert De Niro)和唐纳德-萨瑟兰(Donald Sutherland)等巨星联手出演，在霍华德的调度下，展现了一部富有写实、写情的英雄主义大制作影片，具有较强的震撼力，成为当年最卖座的影片之一。第二年，执导的史诗爱情片《大地雄心》(“Far and Away”)是由汤姆-克鲁斯(Tom Cruise)、尼科尔-基德曼(Nicole Kidman)这对前夫妻主演。影片描述了出身佃农的爱尔兰青年约瑟，为了获得一块梦寐以求的私人土地而经历的曲折坎坷。这是一部史诗般的西部移民影片，场面宏大壮观，配乐具有一种豪迈的震撼感，与人物的不懈奋斗相得益彰。霍华德在片中揭露和批判了当时“美国梦”的虚假和残酷性，以其感人的故事情节和深刻的思想内涵吸引了众多观众。1995年，罗恩-霍华德执导了在奥斯卡历史上占有重要一席的惊险剧情片《阿波罗13号》(“Apollo 13”)。该片由两届奥斯卡影帝汤姆-汉克斯饰演太空英雄杰姆-弗洛尔，取材于登月史上的真实事件，并全部在休斯敦航空中心实景拍摄，将1970年航天史上的那场灾难真实地再现于银幕上，显示了霍华德对大制作影片的把握才华。影片上映后，受到多方好评，全球热映，取得了3亿3400万美元的惊人成绩。为霍华德赢得了梦想的美国导演协会杰出成就奖，成为了与约翰-福特(John Ford)、比利-怀尔德(Billy Wilder)、乔治-库克(George Cukor)和弗朗西斯-福特-科波拉(Francis Ford Coppola)齐名的大导演。此片还获得了1996年芝加哥影评人协会最佳影片奖、第53届金球奖4项提名和第68届奥斯卡奖9项提名，最终赢得奥斯卡最佳剪辑及最佳音响二项大奖。
1996年，霍华德执导了梅尔-吉布森(Mel Gibson)主演的惊栗动作片《绑票追辑令》(“Ransom”)。影片讲述了航空公司总裁梅-汤姆的爱子桑恩被绑架，为了赎回爱子，他不得不孤注一掷，将200万美元的巨额赎金变成了追捕歹徒的悬赏，最终救回被绑架的爱子。霍华德着重描写了被害人一家及绑匪双方的心理变化，将跌宕起伏的情节和内蕴的感人情怀演绎得令人目耳一新，使观众在长达3小时中不知觉地进入到精心设计的故事情节中去。该片创造了年度总票房第5名的好成绩，在全球收取了3亿美元的票房，成为霍华德的又一票房巨作。
1999年，他执导了马修-迈康纳西(Matthew McConaughey)和艾伦-狄珍妮丝(Ellen DeGeneres)主演的喜剧片《艾德私人频道》(“Ed Tv”)。艾德本是无名小职员，一个偶然的机会参加了电视台的一天24小时生活实况直播的写实节目演出，成就了美国最受欢迎的节目“艾德私人频道”。霍华德将这部探讨媒体离奇现状的题材加以趣味化，对媒体??观众无不大呼过瘾。人们自然与同为抨击媒介、大受好评的《楚门的世界》(“The Truman Show”)相比较，此片由被称为“橡皮脸”的吉姆-凯瑞(Jim Carrey)主演。
接下来，2000年霍华德即与吉姆-凯瑞合作，拍摄了一部荒诞喜剧片《格林奇偷走圣诞节》(“How the Grinch Stole Christmas”)。影片改编自西奥多-盖泽尔(Theodore Geisel)家喻户晓的童话故事：脾气暴躁的隐居“绿毛怪”格林奇恼怒圣诞节带来的喧闹，他将小镇上居民们的圣诞礼物统统偷走了，但是没有了礼物的圣诞节仍在愉快地进行着，格林奇最终明白人们的快乐并不是建筑于物质上的。霍华德亲率其属下的想象影片公司精心打造此片，运用新颖巧妙的大师手法，将格林奇的惹人喜爱与尖酸刻薄刻画毕现。此片上映三天就创下了影史上首映票房第5名的成绩，并再度创下惊人的全球3亿4500万美元的票房纪录，使罗恩-霍华德“票房导演”的地位更加牢固。此片获2001年第73届奥斯卡奖最佳艺术指导道具装饰、最佳服装设计和最佳化妆三项提名，最终赢得了奥斯卡最佳化妆奖。
2001年，罗恩-霍华德又重返真实，敏感地抓住现实生活中的传奇故事，拍摄了反映曾患有妄想型精神分裂症、获诺贝尔经济奖的美国数学家小约翰-福布斯-纳什(John Forbes Nash Jr.)的传记片《美丽心灵》(“A Beautiful Mind”)，影片由罗素-克洛(Russell Crowe)和珍妮弗-康奈利(Jennifer Connelly)饰演纳什夫妇。纳什在爱妻的支持下重新获得动力，最终于1994年获得诺贝尔奖。霍华德赋予了纳什一个人性的大脑，重点演绎了纳什和爱妻的恋情及周围的人给予他的支持和希望，诠释了纳什不仅是拥有一个聪明的大脑，同时还拥有一个美丽的心灵。影片发行后大获好评，获得了第7届美国国家影评人协会最佳导演奖及第59届金球奖最佳影片奖，巩固了霍华德作为他这一代最多才多艺和天才导演之一的地位。同时，霍华德更是凭借此片第一次获得了奥斯卡奖最佳导演提名。
在工作之余，罗恩-霍华德就在康涅狄格的家中与妻子谢里尔(Cheryl)一起消磨时间，两人从高中时期就建立起了恋情。他们有四个孩子，其中三个孩子被夫妇俩教养在一个避静地点。夫妇俩都不赞成孩子们在成人前成为演员。
演员出身的罗恩-霍华德，确实深谙观众心理，能够利用故事情节和人物的内心刻画调动观众的情绪，使老套的剧情展现新意，创造了一部又一部的票房大片，为好莱坞的电影工业做出了杰出贡献。但奇怪的是，这位“好莱坞的好公民”执导的影片获奖不少，他本人却从来没有获得过奥斯卡奖的提名，难道他的票房纪录都统计到别人的腰包里去了？尽管受到“不公正的待遇”，他依然非常自信，仍在默默耕耘，这次凭借《美丽心灵》一片，终于赢得电影艺术与科学学院奖的青睐，荣获第74届奥斯卡奖最佳导演的提名，这位兢兢业业的“好莱坞的好公民”，能否迎来他人生中的最大荣誉？
朗·霍华德 - 作品列表主要执导/制片作品：
2009年 《天使与魔鬼》 ( Angels & Demons)
2008年 《福斯特对话尼克松》（“Frost/Nixon”）（获得奥斯卡最佳影片、最佳男主角、最佳导演、最佳改编剧本、最佳电影剪辑5项提名）
2006年《好奇的乔治》 (“Curious George”)
2006年《达·芬奇密码》 (“The Da Vinci Code”)
2005年《铁拳男人》 (“Cinderella Man”)
2003年《山穷水尽》 (“The Missing”)
2001年《美丽心灵》(“A Beautiful Mind”)（荣获奥斯卡最佳影片及最佳导演奖）
2000年《格林奇偷走圣诞节》 (“How the Grinch Stole Christmas”)
1999年《艾德私人频道》 (“Ed Tv”)
1997年《爱之梦》 (“Inventing the Abbotts”)
1996年《绑票追辑令》 (“Ransom”)
1996年《毒气室》 (“The Chamber”)
1995年《阿波罗十三号》(“Apollo 13”)（奥斯卡最佳影片提名）
1994年《媒体先锋》 (“The Paper”)
1992年《大地雄心》(“Far and Away”)
1991年《烈火雄心》 (“Backdraft”)
1989年《邻居》 (“The Burbs”)
1989年《温馨家庭》 (“Parenthood”)
1988年《风云际会》(“Willow”)
1987年《休息五分钟》(“Take Five”)
1986年《打工好汉》 (“Gung Ho”)
1985年《愚人》 (“No Greater Gift”)
1985年《魔茧》 (“Cocoon”)
1984年《现代美人鱼》 (“Splash”)
1982年《夜班》 (“Night Shift”)
1981年《穿越魔塔》 (“Through the Magic Pyramid”)
1980年《嘘和蔑视》 (“Tut and Tuttle”)
1980年《天卫》 (“Skyward”)
1978年《棉花糖》 (“Cotton Candy”)
1977年《疯狂恋爱跑天下》 (“Grand Theft Auto”)
1969年《德林-多的契约》 (“Deed of Derring-Do”)
主要参演影视作品：
2002年《最喜爱的经典之作3：安迪-格里菲思》(“The Andy Griffith Show”)
2002年《最喜爱的经典之作2：安迪-格里菲思》(“The Andy Griffith Show”)
2001年《奥斯摩西斯-琼斯》 (“Osmosis Jones”)
1986年《回到梅伯里》 (“Return to Mayberry”)
1981年《苦涩的收获》 (“Bitter Harvest”)
1981年《山间之火》 (“Fire on the Mountain”)
1980年《此恨绵绵》 (“Act of Love”)
1979年《美国风情画续集》 (“More American Graffiti”)
1977年《疯狂恋爱跑天下》(“Grand Theft Auto”)
1976年《望尘莫及》(“Eat My Dust”)
1976年《我是个傻瓜》(“I'm a Fool”)
1976年《枪神：英雄本色》(“The Shootist”)，
1975年《顽童流浪记》(“Huckleberry Finn”)
1974年《快乐时光》(“Happy Days”)
1974年《大贼王与小煞星》(“The Spikes Gang”)
1973年《美国风情画》 (“American Graffiti”)
1973年《移民血泪史》(“The Migrants)
1973年《陌生人跑啊跑》(“Run Stranger, Run”)
1971年《史密斯的家》(“The Smith Family”)
1970年《龙卷风》(“The Wild Country”)
1970年《吸烟》(“Smoke”)
1968年《男孩叫纳汀》(“A Boy Called Nuthin'”)
1965年《巨人村》 (“Village of the Giants”)
1964年《逃亡者》 (“The Fugitive”)
1963年《最好的安迪-格里菲思》 (“Best of the Andy Griffith Show”)
1962年《埃迪父亲的求爱》(“The Courtship of Eddie's Father”)
1962年《欢乐音乐妙无穷》(“The Music Man”)
1961年《五分钟的生活》(“Five Minutes to Live”)
1960年《安迪-格里菲思》(“The Andy Griffith Show”)
1959年《旅行》(“The Journey”)
1955年《妇女界》(“Frontier Woman”)
朗·霍华德 - 获奖记录：
第74届奥斯卡奖最佳导演奖（《美丽心灵》2001）
第74届奥斯卡奖最佳影片奖（《美丽心灵》2001）
第59届金球奖最佳影片奖（《美丽心灵》2001）
第7届美国国家影评人协会最佳导演奖（《美丽心灵》2001）
2002年美国导演协会最佳导演奖（《美丽心灵》2001）

③ 求英文版的达芬奇密码影评

《达芬奇密码》在成为电影之前并没有目前这般如此惹眼，最多是在各种图书销售排行榜上位居第一。这部精彩的文学作品作为休闲时间的上佳读物确实有着非比寻常的阅读快感。自这部畅销小说将被改编为电影的消息变成重要的影界新闻以来，《达芬奇密码》终于成为一种大众的文化现象以超强的覆盖力弥漫于街头巷尾。无论是否确实了解它，但只要提及这五个字就没有人宣称自己不知晓，最差的也要问问达芬奇到底怎么了？

这部借用野史和传说作为悬疑铺垫的惊险小说在全球的影响力无与伦比。其中运用宗教传说将脍炙人口的大家以及闻名世界的艺术圣地同阴谋和权力联系一起极大的满足了大众的猎奇心理，同时为免去哗众取宠造谣生事的负面阴影又将各种科学理论和历史事件有条不紊的作为各种爆炸性信息的注脚及说明。虽然这些只是小说的内容和素材，但最成功的是丹布朗先生绝妙的非凡的强大的逻辑组织能力，小说用惊险刺激的追踪旅程、步步为营的悬疑处理和耸人听闻的传说逸事营造出一种打开书页就无法放下的阅读神话。作为大众读物《达芬奇密码》游离在高尚与通俗之间似是而非成为文化亮点。

这本大众在读，权威接着读，全世界人民都在读，直到电影公司也在读的畅销书在成为电影之前并非如现在一般出众。作为一部电影，在上映前被全世界的宗教人士穷追猛打的现象并不是第一次。但让人称奇的是，作为娱乐电影的《达芬奇密码》即将问世前夕，关于书背后的种种事件突然层出不穷，侵权、抄袭、官司、抵制、实地拍摄等等不亦乐乎，天降奇兵一般的种种说法在首映前夕如雨后春笋一般欲罢不能。这是电影作为第七艺术得天独厚的辐射能力还是制片公司未雨绸缪刻意而为？等到看过电影以后，等来的答案是后者。好莱坞对于原著作品资源的再利用，将这个文化现象从头至脚的重新再包装。这种炒作的目的单纯又明确——保证票房，让产生兴趣的观众最大化的走进影院。

看电影的人实际上就只有两种，一种是读过原著，一种未读过。这两种人群坐在影院中各自找各自的乐趣。朗霍华德极为聪明的让电影完全遵循于原著，着力将文字彻底的忠实的变为画面。《达芬奇密码》的故事性无形中帮助了电影的创作，如同剧本一般的原著的精彩度照搬足矣。朗霍华德的《达芬奇密码》中规中矩，丝毫没有将个人风格融入电影之意，他只要把故事氛围营造出来就可以。读过原著的观众跟随情绪将脑海中的文字影像化，对应成为电影版的画面。作为电影消费者，全片的意境和影像无功无过，基本可以成功更改个人脑海的影像。而已经知悉人物发展的观众只要等待剧情贴切的表现就大功告成。只是原著小说中各种理论渊源实在难以在二小时内表述确凿，朗霍华德只能借助中世纪场景和演员的语言表达来达到目的，这方面是电影改编的天生弱点实在让人爱莫能助。而没有看过原著的观众势必会被精彩的剧情拖住，带着浓厚的兴趣等待最终的答案。对于电影，只能讲是等待而已，绝非看小说时影影绰绰的推理可能。其实，看过电影找原著再看一次是许多人的想法。朗霍华德在影片中添加了比原著更强的恐怖效果，这在所难免。作为电影表现手法即合乎了潮流因素（白化杀手），又躲避了影片的叙事困难，增强了观众对影像的认可元素。除去恐怖效应的增强，朗霍华德最成功的避免了动作场景的出现。这个举动在眼下的流行潮流中不讨巧，但不会冲淡影片谜团一般的韵味，保持了稳定的节奏感。可对于里外都不甚了解的观众来说有些失望，影片的架势和味道都带着一种标准娱乐的情绪，让人不得不有所联想。

个人认为朗霍华德导演拍摄本片有着郁闷之处。他的作品中故事性都不是很强，而往往通过对主人公心理的成功塑造来达到强大的说服力和戏剧张力，《阿波罗13》和《美丽心灵》以及《铁拳男人》就是成功的范例。但是在《达芬奇密码》中他根本没有实现这种优势的可能，这种用情节取悦观众的电影是很难塑造个性十足的形象的。更何况影片超强的演员阵容完全是应景产物。汤姆汉克斯的号召力自不用说，把法国在世界上最具号召力的奥黛丽多杜和让雷诺一网打尽就可以解释为保证影片成功的超强砝码。而这些演技派明星基本如同跑龙套一样出没在《达芬奇密码》中，无功无过的效果却让影迷产生逆反心理，成就了影片的压力。我从没想过汤姆汉克斯的样子会是教授的模样，好生纳闷了一番。事实也是汤姆汉克斯只是将对女人的风度有所表现，而博学和高智商的神韵都没有让人达到期望。相对于主角而言白化杀手的形象很是抢眼，但只能归功于近乎限制级的肢体语言给人一种抢眼感而已。原著中唯一具备大量心理描述的白化杀手是命运坎坷的牺牲品，戏剧冲突本应更为透彻和震撼。而在影片中保罗贝坦尼虽然表现惊艳，但角色的心理变化和命运感却不是很清晰。本片超强的阵容并没有带来惊喜的表现，这只能怪罪于制片的市场策略。有时候众多的口碑良好的大明星也只能混个脸熟却无法发挥，倒不如找些小明星来得好。

《达芬奇密码》整体水平无功无过，实属水准一般之作。在大家蜂拥而入影院以后，关于《达芬奇密码》文化的市场效应就显而易见了。票房全球飘红，小说再次热卖，连一名儿童工作者都站出来讲影片少儿不宜进而引发关于国内电影分级制度的大讨论。可见，《达芬奇密码》已经不单纯是一部改编自小说的电影而形成了一种文化效应。可笑的是，这种效应的讨论中心的不是关于耶稣是神还是人的重要问题，而是营造出一种让人参与其中的神秘感。所以，这种现象只能被确认为好莱坞老到的市场运作，是一次具备成功条件的刺激消费者的一种炒作而已。还是那个最终目的，让人们走进影院就好！《达芬奇密码》形成的文化在影片下线以后就烟消云散，各种媒体都无影无踪销声匿迹。这多少有些让人好笑，有一种被人忽悠的感觉，而事实也确实如此。
"The Da Vinci Code" has not become a movie before the present ones so eye-catching, is the largest in a variety of books on the list of sales in the first place. The great literary works as a leisure time reading the best out of the ordinary really have the pleasure of reading. Since this best-selling novel will be adapted for the film's message into a major film instry news, "The Da Vinci Code" has finally become a mass cultural phenomenon in order to cover the super-power in the streets and lanes filled. Whether or not they really understand it, but as long as no one mentioned words that they do not know, the worst should also ask how the da Vinci in the end?

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

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

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

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

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

④ 求 追梦赤子心 歌词的英文翻译

作词：苏朵

作曲：甘虎

演唱：乐队

歌词——

Where the world is full of flowers

充满鲜花的世界到底在哪里

Then I will go if it really exists

如果它真的存在那么我一定会去

I think the highest mountain in the stands there

我想在那里最高的山峰矗立

Don't care if it cliffs

不在乎它是不是悬崖峭壁

Forced expiratory alive even love bone might

用力活着用力爱哪怕肝脑涂地

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

不求任何人满意只要对得起自己

About ideal I never choose to give up

关于理想我从来没选择放弃

Even in the sty day

即使在灰头土脸的日子里

Maybe I don't have the talent

也许我没有天分

But I dream of innocence

但我有梦的天真

I will go to prove with my life

我将会去证明用我的一生

May I hand than stupid

也许我手比较笨

But I want to constantly explore

但我愿不停探寻

Pay all of the youth without regret

付出所有的青春不留遗憾

Run forward Meet cool detachment and laugh at

向前跑 迎着冷眼和嘲笑

The vast without hardships can feel of life

生命的广阔不历经磨难怎能感到

It can't destiny to let us kneel for mercy

命运它无法让我们跪地求饶

Even if the blood with the arms

就算鲜血洒满了怀抱

Continue to runWith the pride of the champ

继续跑 带着赤子的骄傲

Sparkle of life is not how can stick to it

生命的闪耀不坚持到底怎能看到

It is better to live than to alive combustion

与其苟延残喘不如纵情燃烧吧

One day will sprout

有一天会再发芽

(4)铁拳男人影评英文扩展阅读：

1、歌曲背景

GALA乐队在创作这首《追梦赤子心》时表示，他们在创作里加入了许多的情绪和手法，也在不断尝试着各种可能性。他们开始了更多的审视和思考。作为乐队的第二部作品，他们在创作《追梦赤子心》时就将怀旧的印记带入其中。不仅如此，乐队还希望用这首歌来告诉大家：就算遇到挫折、受到嘲笑，也要勇敢的向前跑。

2、歌曲MV

《追梦赤子心》的MV别出心裁地将《铁拳男人》、《阿甘正传》、《香草天空》、《肖申克的救赎》等等经典励志电影的奔跑镜头剪辑在一起，并配以标枪手的发力瞬间捕捉，使得这首热血喷张的歌曲更加感人至深。GALA此次为专辑拍摄的MV虽然没有大制作大班底，但是却爆发催人泪下的力量，新颖独特。

⑤ 《铁拳男人》里的经典台词

1.詹姆斯告诉偷腊肠的儿子“只是因为生活艰难，你没有理由去拿不属于你专的东西。”《铁拳属男人》

2.“Nopointinpunchingthingsyoucan'tsee。”CinderellaMan（2005）-JamesBraddock（RussellCrowe）

打击那些你看不到的东西没有意义。--《铁拳男人》，詹姆斯·布拉德克（拉塞尔·克劳）

你也可以去这个地址下载你要的句子

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

⑥ 哪些英文电影可以学到做人的道理

教父 永远不要让别人知道你的真实想法！ 肖申克的救赎 坚强的人只能救赎自己，伟大的人才能拯救他人！ 阿甘正传 放下包袱，才能继续前进 ...

⑦ 铁拳男人的英文观后感

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Besides Crowe and the boxing scenes, the other bright spot in this film is Paul Giamatti’s portrayal of manager Joe Gould. Some will question Giamatti playing the comedic wise ass in yet another movie, but it’s a good move for him. Fresh off critical praise for Sideways, Giamatti can cash in with a blockbuster that will be seen by a much larger audience. Unlike other roles he’s had in, Giamatti’s character is more than just punch lines; he does an outstanding job of showing the heart of Joe Gould. Zellweger is adequate enough as Braddock’s wife, I can think of dozens of actresses who I’d prefer to see in a movie, but at least she isn’t as annoying as normal. That’s high praise from me considering the sight of those cheeks usually causes me to suffer an uncontrollable eye twitch. Oh come on, you were thinking it!

Director Ron Howard has a knack for heartwarming tales that while sometimes dangerously close to falling into the “sappy” territory, always manage to build a bond between the viewer and the characters. A great example of this is his other “based on a true story” epic, Apollo 13. I cheered for the astronauts when the came back home and my heart raced as Braddock battled in the ring. If history bores you, see this for the fights. If you aren’t a boxing fan, you’ll be fascinated by the story and the acting. Cinderella Man, while it appeals to a wide audience, doesn’t compromise; a quality Mr. Braddock would be proud of.

⑧ 一些电影的英文名与分类

最近的新电影，比较好心思的大片像：
《盗梦空间》INCEPTION
《社交网络》THE SOCIAL NETWORK
《城中大盗》THE TOWN

喜剧片如：
《愚人晚宴》DINNER FOR SCHMUCKS
《成长后》GROWN UPS

旧一点经典一点的：
《美国丽人》AMERICAN BEAUTY
《最后一击/铁拳男人》CINDERELLA MAN
《小贼、美女和妙探》KISS KISS BANG BANG
《全金属外壳》FULL METAL JACKET
《闻香识女人》SCENT OF A WOMEN

也推荐个人偏好的Johnny Depp的几出电影：
新片《致命伴旅》THE TOURIST（去电影院支持吧！）
《查理和巧克力工厂》CHARLIE AND THE CHOCOLATE FACTORY
《秘窗》SECRET WINDOW
《浓情巧克力》CHOCOLAT
《加勒比海海盗系列》PIRATES OF THE CARIBBEAN

电视剧，有《豪斯医生HOUSE M.D.》，《妙警贼探WHITE COLLAR》，《老爸老妈浪漫史HOW I MET YOUR MOTHER》，《别对我说谎LIE TO ME》，《犯罪心理CRIMINAL MIND》，《我为喜剧狂30 ROCK》，这几出电视剧的类型都不同，但是都十分精彩！

⑨ 有哪些欧美励志电影（英文版）

肖申克的救赎
公民凯恩
阿甘正传
弱点
美丽心灵
国王的演讲
勇敢的心

望采纳