野孩子影评

1. 野孩子中文观后感，急！！！！！！

嗯。。就实现简介内容，然后说“其实我觉得她父亲的决定是对的，在这所寄宿内学校，她找到了真正的友谊，真容正的爱情。虽然有时我们羡慕有钱人的上等生活，但却不知这也会是我们变得蛮横无理。所以，在平常的生活中才能找回真正的自己，最自然的自己，最远原先的自己。｛不知字数够不够啊~但只是我自己的看法，你要加一些进去啊，(*^__^*)...嘻嘻

2. 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.

3. 类似电影野孩子的一些影片

《灰姑娘的玻璃手机》，《风暴突袭者》这个里面的男主角和《野孩子》的一内样，Alex。还有《大学新生》也很好容看，《公主日记1.2》和《歌舞青春1.2.3》都好看，《校园兔女郎》，等等。

《风暴突袭者》喜欢~~

再推荐几部连续剧《gossip girl》（美）和《（日版）花样少男少女》又名<深深爱着你>，《野猪大改造》。

4. 看完奥斯卡的野孩子的观后感想 600字

这部影片的观后感：

一部青春励志片，主人公是一个充满活力的漂亮女孩，她具有叛逆的性格，在片中她逐步成长，提高了对事物的判断能力，在友情、亲情的帮助下，她从一个“惹人厌”的野孩子成长为一名优秀的女孩，因此说，叛逆并不可怕，可怕的是是否有正确的对待态度，影片对于孩子教育方面具有很强的教育意义。

影片中的叛逆的女孩，结交了一群叛逆的朋友，她对自己父亲的再婚不愿接受，在她的认知观里，父亲的再次选择是对母亲的背叛，是对她的离弃，用各种叛逆行为抵制自己的父亲，一点毫不留情的打击着父亲，父亲无奈之下将她送入寄宿制学校，在这个与世隔绝的地方，她无法忍受，判逆心理更加加重，在同宿舍好友的帮助下，进行一次次的判逆行为，行为显明的与学校是格格不入，可在这样一次次的活动之后，她逐渐发现与同舍友不舍的友情，为让学校开除与校长的儿子故意靠近，但靠近后才发现这个男孩的优秀，与自己的投入，正当一切如她所愿的进行时，校长发现了她的聪明所在，校长在一步步引导着这个叛逆女孩，而同时也插入了另一个校友的捣乱，舍友对她的友情开始怀疑，男友对她的利用感到生气，她百般解释也是徒劳，在郁闷中，晚上她独自来到一间休息室，无意将窗帘点燃，引发了一场大火，在大火中她救出了同舍好友，她的勇敢得到了大家对她的好感，在她可能因为这场大火离开这所学校时，她才觉得了不舍和留恋。在学校的审判大会上，她说出了自己的真实感受，承认了引发大火的错误行为，当舍友们调查清楚消除她们之间的误会，也弄明白了引发大火的并非是她，而是另有其人，友情将她留了下来。她们将友情升华，在球赛上努力对抗着队友们，成为冠军。而这时她已不再是那个青春叛逆期的女孩，已成为球队队长，获得自信，当父亲来看她的球赛时对她简直不敢相信，看到了具有青春朝气的女儿，脱胎换骨的她让父亲喜悦非常。

看到篇中如此的青春没有几人是不羡慕的，看到她的青春期，很庆幸她遇上这么好的校长。聪明、自信，这就是在青春期中无法抵抗的力量，有过失望，有过抗拒，有过悔过，有过努力，还缺什么呢，点燃青春的火花，让它汹汹燃烧。

青春是激情，是张扬，在那段美好的时光里，尽情燃放青春的炮竹，让它渲染天空;青春是木棉花，是悄悄来临的春天，等你眸然回首，它已花落结果；青春每个人都拥有，但不是永远，所以，青春就让它尽情绽放吧。

希望可以帮到你！

5. 求用英文写一篇 美国电影电影《野孩子》的观后感

A youth inspirational film, the hero is a vibrant beautiful girl, she has a rebellious character, in the film she graally grow and improve the ability to judge things, in friendship, family's help, she was from a "arouses tired "wild child grow into a good girl, so that rebellious is not terrible, terrible is whether there is the correct attitude towards the film has a strong ecational value for children ecation. Youth is a passion, is unassuming, in the good times, enjoy setting off firecrackers youth, it rendered the sky; youth is Kapok, is quietly coming spring, so you eye back then, it has Whispering results; youth everyone has, but not always, so let it enjoy the bloom of youth now.

6. 求一个电影野孩子300字左右的观后感

何为“野孩子”？就是与社会脱轨的，比如狼孩、猪孩、熊孩等。

这部电影以野孩子为题就是为了突出主题，以一个不合群的孩子的个人成长经历贯穿整部电影，从不知道自己到底想要什么、看不清自己到经历了友情爱情的洗礼直到变成熟的过程。

在美国，这种拍以年轻人为主的电影非常多，而且大多以校园为背景，不管现实中是否如此，那就是这些在我们看来不学无术的调皮鬼，总能在一次次的经历之后找到自己人生的目标，找到自己真正感兴趣，并愿意为之而奋斗的东西。这让我想起前几年风靡校园的偶像剧《流星花园》，但当时被国内封杀了，原因是因为觉得这部偶像剧是校园暴力，但是直到现如今还有很多国内偶像剧是仿《流星花园》拍的。

学习成绩在西方人眼中也同样重要，而且可能要比国内还要重视，在哈佛大学的图书馆凌晨4点时已经看不到空位了，而在国内图书馆的凌晨还没有开门，但是也不能完全否定中国人不勤奋，要是没有“杂交水稻之父袁隆平”，我想全世界的人都会被饿死吧！但我想他们的大部分学校，教育的目的都在于培养学生的创造力和实践能力，可能这就是美国人天生乐观的原因之一吧。在我看来这也是一部青春励志片。

父亲的抉择让她在这所寄宿学校，她找到了真正的友谊，真正的爱情。虽然有时我们羡慕有钱人的上等生活，但却不知这也会使我们变得蛮横无理。所以，在平常的生活中才能找回真正的自己，最自然的自己，最原先的自己。

7. 类似野孩子的电影

这些行吗?
<<贱女孩>>
<<女男变错身>>
<<倒霉爱神>>
<<辣妈辣妹>>
<<足球尤物>>
<<恋爱刺客>>
<<麻雀变王妃>>
<<少儿不宜>>
<<灰姑娘的玻璃手机>>
劲歌飞扬
高校天后
舞出我人生
物质女孩
倒霉爱神
平民天后
灰姑娘的玻璃手机
魔法灰姑娘
超完美男人
歌舞青春
牛仔裤的夏天
天生一对

<<贱女孩>>
(她贱,是因为爱情.不错的电影.女主角就是因为这部电影红的.)

原著：罗莎琳德·怀斯曼
编剧：蒂娜·妃
导演：马克·沃特斯
主演：莲莎·露夏恩、蒂娜·妃、瑞秋·麦克亚当斯、乔纳森·本尼特、丽芝·嘉帕兰
类型：喜剧/爱情
发行：派拉蒙影业
上映日期：2004年4月30日

15岁的青春少女凯蒂(林赛-洛韩 饰)，跟随她动物学家的父母搬到了美国伊利诺斯州生活。活泼好动的凯蒂很快就认识了一群新朋友，并有幸进入一个小圈里，有了许多新女伴。不过，习惯了在非洲生活的凯蒂，在新环境里却感到有些措手不及，几次暗地里被人骂为“老土冒”。

有一天，她在午餐桌上认识了一位名叫亚伦(乔纳森-班奈特 饰)男孩。他性感忧郁的气质立刻吸引住了凯蒂，被他一双迷人的电眼迷倒了。然而，凯蒂迷上的男孩亚伦，却是学校出名的青春女王、校花(瑞秋-麦克亚当斯 饰)的前男友。校花是这个学校里最风光的女孩，同时也是最泼辣厉害的女孩，当她知道凯蒂想跟他抢男孩时，校花抓狂了，处处与凯蒂作对，她们采用散播谣言、骂她是“贱女孩”、排斥她进入餐桌、发送辱骂的网络信息、对她保持沉默等孤立方式报复她。

自以为可以适应任何艰困环境的凯蒂对“求生法则”有了全新的理解，她很快也找到了报复她那些从前所谓的“好朋友”的好办法，那就是以彼之道，还施彼身……

<<女男变错身>>
(我很喜欢那个男主角,好帅!)

片名：女男变错身
英文名：It's a Boy Girl Thing
导演：尼克·休伦 Nick Hurran
编剧：杰夫·戴尼 Geoff Deane
女男变错身主演：凯文·席格斯 Kevin Zegers
莎蜜拉·阿姆斯特朗 Samaire Armstrong
艾米莉·哈普斯莱 Emily Hampshire
布鲁克·徳奥塞 Brooke D'Orsay
丽贝·亚当斯 Libby Adams
约翰·布莱格 John Bregar
类型：喜剧/爱情 分级：PG-13
发行：Icon Entertainment International
上映日期：2007年2月14日

女男变错身剧情简介：

伍迪和妮儿虽然住在彼此隔壁，又上同一所高中，但两人个性天差地别，彼此互看不顺眼，是不共戴天的死对头。伍迪是西达高中足球队里最闪亮的四分卫，他人长得帅、个性亲切大方、极富运动细胞又十足超人气，是学校里的运动明星风云人物[女男变错身主演演员女主角剧情介绍影评

眼看校友日足球友谊赛即将到来，伍迪非常期待能代表学校出赛。而住在他家隔壁也跟他同校的，是功课名列前茅但社交笨拙的书呆子女生妮儿。对她来说，人生最重要的意义与目的就是要好好用功念书，然后进入梦寐以求的长春藤联盟中的耶鲁大学，才有光明未来。

某次校外教学他们又爆发激烈争执，并且互相吵骂，没想到这次惹来淘气的阿兹特克大神想要插手管管这对冤家。于是第二天他们一早醒来，竟发现自己被换成了对方的身体！

<<倒霉爱神>>
(男女主角都很靓!)

主演：琳赛·罗韩/Lindsay Lohan

克里斯·派恩/Chris Pine

萨梅瑞·阿姆斯特朗/Samaire Armstrong

费松·拉夫/Faizon Love

剧情介绍：

试想一下,你是一个叫做阿什莉(琳赛·罗韩饰)的曼哈顿可人儿,天生丽姿,讨人喜爱,一踏出校门就得到一家极负盛名的大企业的青睐,胡乱买个彩票却能中大奖,上下班高峰期只有你能轻松打到的士,司机哥哥还乐意给你打个折……反正是要风得风,要雨得雨,从上帝造物那天似乎就注定要把全世界的运气都赠于你.

你是世界的宠儿,直到你在一个化装舞会遇到他（克里斯·派恩饰）-他也是被神眷恋的对象,只是包围他的是全世界的倒霉,他怀才不遇,英俊挺拔却只能混迹在保龄球场洗厕所;他命犯太岁,天生霉运糗事吸铁石;不过,最起码他从未放弃理想,仍然期待能让自己的乐队被发掘一朝成名,这样的男子还不错,所以你们翩翩共舞后深深一吻.

可这块吸铁石不但吸霉运,一个吻却把你积攒了二十年的好运全吸走了.恍如时空逆转,倒霉汉突然被赏识、名成利就，你却被厄运相伴的噩梦日夜纠缠。从天堂跌入地狱，你要怎么办才能夺回属于自己的运气？

<<辣妈辣妹>>
(亲情与爱情参半,不错哦.很搞笑)

如果发生怪事的话，没有比发生在13号星期五这一天更适合了。??这个故事就是发生在一个诡异的星期五早晨。

单身母亲苔丝?科尔曼和自己15岁的女儿安娜对各种事情的意见都不一致，两人总在斗嘴。母亲不理解女儿的高中生活，女儿也不明白做医生的母亲的责任和她的未婚夫。这天两人又闹起来，并认为对方在生活中的表现让自己很不满意，觉得如果相同的情况让自己来应付，肯定可以轻松搞定，活得漂漂亮亮，而不象现在这样。

这天在唐人街的一家餐馆，两人同时冒出个念头，希望自己变成对方，好让对方看看自己是如何应对的。这种幻想，在一块神秘的幸运饼干的参与下，在这个奇怪的星期五，居然实现了……妈妈跑到了女儿的身体中，而女儿则变成了妈妈的样子。这还不算完，就在这个星期六，苔丝就要嫁人，再做新妇了。她当然不想错过自己的婚礼！而女儿也不想糊里糊涂成了继父的新娘，这太超过她的想象了。

在星期五的这一天当中，她们不仅必须以对方的身分应付各自原本认为简单轻松的日常生活，还必须想出办法在星期六婚礼之前恢复原来面貌，否则，事情就大糟特糟了。

<<足球尤物>>

少女薇欧拉（阿曼达·拜恩斯）长相青春可人，笑起来也杀伤力一片，可漂亮的她却是个疯狂足球迷。但该死的学校居然砍掉了女生足球项目，教练也不许薇欧拉进男子队伍，她只能在家闷闷不乐。这时，本该去新学校报到的双胞胎弟弟赛巴斯蒂安却决定离家出走两个星期，去伦敦追求自己的音乐梦。 薇欧拉突然灵机一动，为什么不代替身材相似的弟弟报名呢，何况弟弟学校的足球队正是自己以前足球队的最强敌手！足球的吸引力加小小的复仇心态，心动不如行动，造型师一番打扮，薇欧拉果然报名成功！但一切可没她想象的容易，住进男生宿舍的她要保持不穿帮简直太困难了！更让薇欧拉不知所措的是，她居然爱上了英俊室友杜克（钱宁·塔图姆） 大帅哥一心把她当成知心兄弟，薇欧拉更第一个知晓了杜克喜欢学校最漂亮的奥莉维亚的消息。还以为事情不会更糟，她却发现大美女奥莉维亚喜欢上了有点书呆子气的赛巴斯蒂安，当然，也就是自己！谁让女扮男装的薇欧拉完全符合大美女完美情人的条件——敏感而又善解人意。坏事一箩筐而来，不仅塞巴斯蒂安的前女友莫妮卡来凑热闹，连弟弟赛巴斯蒂安也居然提前回来了，偏偏这傻弟弟还完全不知道自己的身份已经被占用了……

<<恋爱刺客>>
(友情与爱情的电影)

恋爱刺客[2006美国最新喜剧大片]xiazai
◎译 名 恋爱刺客/约翰·塔克必死/爱杀强塔克
◎片 名 John Tucker Must Die
◎年 代 2006
◎国 家 美国
◎类 别 喜剧
◎语 言 英语
◎字 幕 中文（TLF）
◎IMDB评分 5.1/10 (2,537 votes)
◎IMDB链接 http://www.imdb.com/title/tt0455967
◎视频尺寸 720 x 384
◎片 长 90 Min
◎导 演 贝蒂·托马斯 Betty Thomas
◎主 演 Ashanti .... Heather
Penn Badgley .... Scott Tucker
Jeffrey Ballard .... Cute Boy
Amber Borycki .... Jennifer
Sophia Bush .... Beth
弗尔维奥·希希尔 Fulvio Cecere .... Chemistry Teacher
Stephen Chang .... Italian speaking Chinese fisherman
Fatso-Fasano .... Tommy
阿里尔·凯贝尔 Arielle Kebbel .... Carrie
Taylor Kitsch .... Justin
Nicole LaPlaca .... Molly
詹尼·麦卡锡 Jenny McCarthy .... Lori
Heather McEwen .... Freshman Girl #2
Jesse Metcalfe .... John Tucker
Dan Payne .... Steve
◎简 介
◇ 剧情：高校公主复仇记
贝丝（索菲亚·布什）、海瑟（阿香缇）和凯莉（艾瑞尔·克博）是某高校最受欢迎的三朵校花，虽然如此，分属三个派系的美女们却从来都是互不搭理。直到一天，同在拉拉队训练的三人突然发现，她们约会的竟然是同一个男孩子--学校的篮球队长、花心情圣约翰·塔克（杰西·麦特卡尔菲）！当场气得七窍生烟的她们，恼羞成怒之余决定施展报复，给塔克一个永生难忘的教训。
为了“复仇”，她们团结一起无所不用其极，可偏偏魅力无穷的塔克就有办法让每次“危机”都成为自己的优势表现点。就连让塔克误食过量的雌性激素，也让塔克领衔的篮球队当天表现尤其特别，更使得大票女孩子为他的“温柔一面”动心不已。没辙的三人思来想去，终于想到了报复的最完美方法--让这个花花肠子真正坠入情网，再狠狠被抛弃，让他也心碎一回！
学校新来的女生凯特（布里坦尼·斯洛），成了校花们共同相中的对象。在三位校花的联手魔鬼培训下，本来就资质不错的凯特很快脱胎换骨，不仅成了塔克的泡妞热门人选，也成了学校新任校花之一，可面对人人皆知的迷人塔克，突击打造的凯特真能“坐怀不乱”？这场“必死”的报复，到底谁赢得了谁，一切还是未知数！

<<麻雀变王妃>>
(很喜欢的一部电影哦~)

“丹麦的王室继承人”——有这么一顶大帽子往脑袋上一扣，再加上俊秀挺拨的外表，爱德华王子(卢克·梅伯利饰)就有如刷了金粉的希腊雕像一样尊贵得让人难以正视。可惜，“众星拱月”的生活似乎宠坏了这么一位本应该很优秀的领导者，爱德华王子就像一个惯于穿梭在花丛中的花花公子，开着名贵的跑车、享受着速食爱情，身边的女伴永远都是哥本哈根最可爱的姑娘。想当然，爱德华那异常出轨的不羁生活也成为了地方媒体争相报道的焦点话题，这些都颇为有损于王室的尊严，对此，就连罗莎琳德女王(米兰达·理查森饰)也无计可施。
地球的另一边，佩吉·摩根(朱莉娅·斯黛尔斯饰)是一位立志要成为医生有抱负的美国女孩，她利用上学的空档做兼职，同时还要抽出时间帮助家里料理位于威斯康星州的乳牛场，佩吉那排得满满的作息时间表永远都不会为了“浪漫”、“爱情”、“约会”这种无谓的字眼做浪费。
在一个电视广告的错误诱导下，当然，也是为了避开恼人的小报记者，爱德华王子化名为“埃迪”，和忠实的家臣索尔(本·米勒饰)以普通的身份来到美国佩吉就读的学校。跨越了半个地球，两个本来毫不相干的青春男女有了交集，虽然他们初次会面的情形并不十分愉快，但这只不过是爱情红娘开的小玩笑而已……爱情的不期而遇，打乱了佩吉有方向的生活步调。然而，爱德华王子注定要回到丹麦成为一国之王，佩吉能够放弃自己毕生的理想，去过“王子与公主的幸福生活”吗？

<<少儿不宜>>
(可不要被电影名称给吓到了,很不错的一部电影)

杰克（克里斯·埃文斯饰）是学校橄榄球队的队长，也是无数女生心中的白马王子。这天，闲的无聊的杰克和同伴打赌，要把学校最不起眼的女生洁妮（切乐·利饰）变成最美丽最耀眼的校园舞会皇后。为了赢得赌局杰克开始接触这个邋邋遢遢、没有一点女人味的丑小鸭。很快杰克就和洁妮打成一片，这可让那些平时看洁妮百般不顺眼的女生又气又恨！她们决定千方百计的阻挠杰克的计划，于是，一场笑料百出的校园戏剧开幕了…… 女生洁妮（切乐·利饰）梦想成为一名艺术家，然而在学校里，她的外形邋邋遢遢，不修边幅的穿戴使她看起来活像是个怪胎，根本没法同周围花枝招展的女孩联系在一起，她显得那么奇怪，同龄的女孩都为此而孤立她。同洁妮正好相反，男生杰克（克里斯·埃文斯饰）是学校里最受欢迎的足球队长，也是无数女生心中的白马王子。某天，闲着无聊的杰克和同伴打赌，要把不起眼的洁妮变成最美丽、最耀眼的校园舞会皇后，于是为了赢得赌局，杰克开始对洁妮狂追不舍。与此同时，一直看洁妮百般不顺眼的女生“大姐头”——一位风骚的啦啦队长，在不明就里、又嫉又恨的情况下，她想方设法地对杰克的追求加以阻挠。最终的结局其实大家都能够猜到，猜不到的可能就是怎样达到这个解决的过程。

<<灰姑娘的玻璃手机>>
(我觉得很浪漫的电影,就像经典爱情片<<风月俏佳人>>一样浪漫)
珊曼（希拉里德芙）曾经是世界上最幸福的小女孩，然而父亲去世后，她的生活便陷入了水深火热之中。她那超级自恋的继母费欧娜（珍妮弗库里吉）与一对愚蠢的双胞胎继妹，成天把她当菲佣使唤。珊曼只希望自己能够顺利进入普林斯顿大学，好早点离开这个没有温暖的家。 在日复一日的忙碌生活中，珊曼最大的寄托，就是与一名无话不聊，心灵相通的网友上网聊天和传简讯。万圣节舞会当晚，王子与灰姑娘在舞池正中央相遇了。学校里人气第一的足球队长奥斯汀安姆斯（查德麦可莫瑞），并没有认出他眼中的美丽公主的真面目。午夜来临，灰姑娘匆匆离去，只留下一支来不及捡起的手机。 然而当奥斯汀终于发现了灰姑娘的真实身分，错愕的表情伤透了珊曼的心，此时费欧娜又送来普林斯顿大学的拒绝信。无法离开家里，又失去王子的拯救，万念俱灰的珊曼，只好继续为继母继妹做牛做马，当一辈子的灰姑娘。 又或者……灰姑娘可以鼓起勇气，拒绝继母的剥削，追求自己理想中的人生，顺便拯救一直不敢活出自我的王子。灰姑娘会怎么做呢？王子与公主究竟能不能从此过着幸福快乐的生活？

8. 野孩子的英文观后感 急！

1
Wild Child is one of those guilty pleasures, a bit like Mean Girls and Thirteen Going On Thirty, which cuts through all acquired patinas of sophistication and go straight to the inner twelve year old girl inside.
Poppy (Roberts) is a fairly typical LA teenager, self-obsessed, vacuous, spoiled and utterly sheltered. After the death of her mother, she and her father (Quinn) have been increasingly distant; he makes up for it by showering her with material goods and money while failing to give her the attention she craves; when a prank finally goes too far, rather than dealing with her properly he packs her off to an English boarding school – worse, an all girls’ English boarding school - where she is expected to learn lacrosse, wear a hideous uniform, and hand her mobile phone over to Matron (Henderson, in the second of two roles this week). Her father, and the headmistress (Richardson) hope that some discipline will turn Poppy into a lady.

And of course it works. After some initial – and frankly not too naughty – acts of rebellion (these girls don’t even smoke, let alone do drugs), Poppy is won over by our British charms. She discovers that her dorm mates, including ‘Angus, Thongs and Perfect Snogging’’ Kimberly Nxon and ‘Atonement’s’ Juno Temple won’t tolerate her brattish ways and, realizing that her friends in LA have forgotten her, decides to knuckle down and get on with things. And though she makes an enemy of the dominatrix-lite head girl Harriet (Georgia King) she discovers there are compensations in the form of Freddie (Pettyfer), the Head’s cute son, who is forbidden to date the girls.

Wild Child is about as deep as a mug of hot chocolate and just as enjoyable. It’s the classic poor little rich girl redeems herself story and while there’s nothing particularly new about it girls will love it. Poppy is never so bad that we don’t side with her; she is mostly ridiculous with her sanitizer spray and her shrieking, which is soon beaten out of her by England, plus we have already realized that she is actually lost and lonely, grieving for her dead mother, and needs real friends who will give her a hard time when they realise she is behaving like an idiot.

The romance with Freddie is a bit soppy; it’s never terribly clear what Freddie actually does or where he lives. He is totally set up as boyfriend material for Poppy and it doesn’t really matter about his personality; he exists simply as an object of desire, and to be the cause of Harriet’s jealousy – he is a plot device pure and simple. And pretty with it, if you like blonds. But actually where the story is much more interesting is where it touches on that old and almost forgotten idea of a woman’s film. Poppy leaves her world of boys and flirting for what almost amounts to an enclosed order, and she learns to bond with other girls. Their friendship, and not Freddie’s clumsy kisses, are what causes her emotional growth and ironically, this is where Wild Child is very old-fashioned. Poppy dies her blond hair brown, buys a party outfit from a charity shop and leads the lacrosse team to victory, embracing the uber-English values of fair play, thrift and teamwork. There is even a sort of homage to ‘Spartacus’ when Poppy is accused of a crime she didn’t commit. And this at a time when WAGs and conspicuous consumption is all the rage? Maybe Wild Child was anticipating the credit crunch?

2
‘That’s the final straw, you are going to England!’ belts out Malibu dad Aidan Quinn as he sends his brat daughter Emma Roberts across the Atlantic for yet another film set at a British boarding school. Roberts’s roller-coaster accent of rising vowels and spoiled ‘be-atch’ attitude don’t go down well among the jolly hockeysticks crowd, but those girls, led by uppity head Georgia King, aren’t so palatable either. It takes Roberts’s level-headed roommates to pesuade her of the benefits of a more agreeable approach to life.

Alt co-stars Shirley Henderson and Natasha Richardson struggle valiantly as a matron and headmistress and Daisy Donovan and Nick Frost have amusing small roles as a teacher and a hairdresser, but young Alex Pettyfer (‘Stormbreaker’) as the headmistress’s dishy son is as wooden as Gordon Brown at a Southwold photocall. The directing by Working Title’s longtime editor Nick Moore (‘Notting Hill’, ‘Love Actually’) shows little knack for comic timing – but the script offers few gags beyond fart jokes and the basest of cultural-clash observations. This celebration of mid-Atlantic compromise is one for the youngest and most forgiving of teenage girls.

3
Here is another girly-tweeny movie on which I suspect I am about as qualified to pass judgment as on variant patterns of weather on the moons of Saturn. It is about a spoilt 16-year-old LA princess called Poppy, played by Emma Roberts, whose cross dad (Aidan Quinn) sends her to a posh English boarding school to straighten her out. The script is by Lucy Dahl, daughter of Roald, though the proction company website originally listed two more writers: Kate Kondell, author of Legally Blonde 2, and Britain's Daisy Donovan, who here plays the Grenfellish PE mistress. (Their credits now appear to have vanished.) Inevitably, Poppy finds friendship and real values with her new British pals, and has a crush on the headmistress's improbable hottie son, played by Alex Pettyfer. All amiable enough, but still a bit tame compared to, say, Clueless, or Lindsay Lohan's Freaky Friday remake.

4
This teen romp has Emma Roberts(niece of Julia) as Poppy, an out-of-control Malibu princess who is sent off to an exclusive private school in England where her now dead mother was put on the right path in life. She hates it at first, since iPods and mobile phones are not allowed and the uniform makes her look distinctly uncool. Added to that, the snooty head girl (Georgia King) takes an instant dislike to her.

However, Kate (Kimberley Nixon) extends an olive branch and soon Freddie (Alex Pettyfer), the handsome son of Natasha Richardson�s headmistress, takes a fancy to her. She begins to get into the swing of school life, survives the perfidy of the head girl, and a nasty fire which she is thought to have started, before encouraging the school to do better than ever before in the lacrosse competition.

Wild Child is the directing debut of Nick Moore, editor of Love Actually, About a Boy and Notting Hill. It may be manna for teen girls but any kind of critical eye will find it about as convincingly made as the last St Trinian�s movie. It is played, though, with lively abandon.

5
"Shit" is the first word spoken by Wild Child's 16 year-old heroine Poppy (Roberts), and rarely has an opening line been such an accurate assessment of what's to follow.

A ghastly teenage comedy written by Roald Dahl's daughter Lucy, Wild Child makes 2007's St Trinian's look like an Ingmar Bergman film. It makes you pine for the days of John Hughes, when he gave us Ferris Bueller's Day Off and the crew from The Breakfast Club.

The film proper begins after Poppy's long-suffering father (Quinn) sends her packing from their flash Malibu pad to an English boarding school, Abbey Mount. Faster than you can say 'whatever', Poppy makes herself unpopular with her roommates by refusing to adhere to the school's rules. She makes a particular enemy of haughty head-girl Harriet (King), who has a thing for Freddie (Pettyfer), the handsome son of the school's headmistress, Mrs Kingsley (Richardson).

Distraught without her LA trappings - therapist, iPhone, and Jimmy Choo shoes - Poppy comes across like an extra from Mean Girls. At mealtimes she utters Buddhist chants while everyone else says grace, then refuses to eat the food on offer, claiming she's vegetarian, pescatarian and fruititarian. With the help of her roommates - who take pity on her when they discover Poppy's mother died in a car crash when she was 11 - our girl resolves to leave the school by getting herself expelled.

6
Like others who toil in the classroom (I’m a long-time film-studies professor at Suffolk University), I constantly fret over whether all those semesters of teacher talk have made a bona fide dent in students’ lives. Thousands in my charge have graated to the real world, but did I inspire them with my passion for cinema? Do they watch more classic movies, independent and foreign-language works, difficult art films, because of the exposure to such in my classroom?
On a bad day, I doubt it all: my ex-students have reverted to mainstream Americana. They’ve forgotten Kurosawa and Bergman. They’re blissed-out at the multiplex. Maybe that’s why I’m such a sentimental sucker for movies that see the classroom as a transformative, magical place where determined teachers make their mark and those in their tutelage are better and wiser for having sat at their desks. Recall earnest Jon Voight and his motivated black pupils on a South Carolina island in Conrack (1974). And in To Sir, with Love (1967), Sidney Poitier’s caring teacher in East End London taking his rowdy blue-collar kids on a class trip to the city’s great art museums.

I can abide even that drippy old pedant lecturing to æons of prep lads in the Hollywood fossil Goodbye, Mr. Chips (1939). Recently, we’ve been blessed with Nicolas Philibert’s tender 1992 documentary, To Be and To Have [Être et Avoir], which shows a real-life teacher doing wonders in a one-room classroom in rural France.

I don’t endorse every celluloid classroom movie. The most popular of them all, The Dead Poets Society (1989), is downright embarrassing. That’s not exemplary teaching that Robin Williams does, just the opposite. He showboats by climbing on desks. He bullies his worshipping students, in the name of non-conformity, into believing what he believes. Fie on his fascistic methods!

But forget Dead Poets — two sublime French movies about the teaching experience are very much alive this week at the Kendall Square. There’s a must-see 35mm revival of François Truffaut’s 1970 classic, The Wild Child [L’enfant sauvage]. And there’s the much-honored nominee for Best Foreign Film at the upcoming Oscars, Laurent Cantet’s The Class [Entre les murs].

Was there ever a more persistently autobiographical filmmaker than François Truffaut, who died at age 52, from a brain tumor, in 1984? His celebrated series of Antoine Doinel films, from The 400 Blows (1959) to Love on the Run (1979), are fictionalized stops at stations of his own dramatic life, with Jean-Pierre Léaud’s Doinel standing in for Truffaut. The Wild Child, which is dedicated to Léaud, has Truffaut’s markings everywhere. He cast himself as the benevolent doctor, Jean-Marc-Gaspard Itard, who takes in the Wild Child, a screeching, filthy human animal found in the woods. In part, Truffaut conceived his Itard as an homage to his mentor, the legendary film critic André Bazin. In the early 1950s, Bazin allowed into his flat an unhappy, undisciplined Parisian child and encouraged the boy’s passion for moviegoing and heavy books. That semi-civilized boy, ignored by his own feuding parents, was François. He was a love-starved auto-didact feasting on Balzac and American genre movies. What Flaubert said of Madame Bovary, Truffaut could assert of The Wild Child: “C’est moi!”

Truffaut’s film is based on long-ago events. A “Wild Boy” was captured in 1798 in the French countryside and brought into Paris to be ogled. Was this smelly, howling being “the noble savage” that Jean-Jacques Rousseau had rhapsodized about? Dr. Itard rescued him from the urban mob and took the Wild Boy to his country estate to befriend him. But far more important for Itard was to study him and to civilize him. The Wild Boy, who was given the name Victor, would be less wild with Itard’s determined guidance. Soundly rejecting Rousseau, Itard would prove that rigorous ecation elevated humankind instead of corrupting us. The Wild Boy would ascend the chain of being if he could be taught to see and to hear instead of sniffing at the world, if he could sit at a table and eat with silverware. Victor had to be taught to speak, to read, to obey. Ultimately, he was to learn morality, a sense of justice.

A truly remarkable man, Itard published a simple-to-read 50-page tract, The Wild Boy of Aveyron, that’s a potent declaration of humanism at a historic time when charity barely was invented — it’s an amazing text! Truffaut’s movie stays close, in fact and spirit, to its source. The year 1798 is translated visually in black and white by Truffaut’s great cinematographer, Nestor Almendros, and shot in a classic style reminiscent of silent cinema. Most prominent, both for transitions and to frame the culture-shocked Wild Boy, is the free use of archaic “iris in” and “iris out,” a prevalent device in cinema through the 1920s. The extreme long shots of D.W. Griffith seem a source of visual inspiration. The tough-love dynamic between Itard and Victor must have been inspired by Arthur Penn’s The Miracle Worker (1962), by Annie Sullivan’s tug-of-war efforts to ecate the obstinate, seemingly deaf-and-mb Helen Keller.

9. 求《野孩子》500字电影影评

野孩子影评：我就爱老妹的颠覆！
老美最让我佩服的，就是他们天生有一种似乎永不止歇的精神——颠覆。

威尔史密斯在《幸福来敲门》里对他上幼儿园的儿子说：永远别让别人告诉你去做什么。哪怕是我也不行。如果你有梦想，就坚持下去。

想起同样的年纪，我却在学校里被告知：书上说的就是对的，老师讲的就是要遵守的。真是相当伤感的回忆。

于是，我在以成为一个好孩子的目标下谨言慎行的长大，长大之后发现世界完全不是书里的样子。怀疑、失落、厌恶，成年之后才滋生的逆反情绪显然是不健康且无用的。它只能让你更加压抑更加悲愤更加看不清楚人生之路是为谁而走。

爱因斯坦说：想象力比知识更重要。
只可惜在一个专为扼杀想象力而创造的环境里，这句想象力之父的名言显然更像奢侈的摆设。而山寨的崛起却在验证着另一条更为贴合实际的游戏规则：在这里，模仿力比想象力更重要。

好吧，某国教育制度的失败，已经是不争的事实。一辈又一辈周而复始的命运，几乎已经磨灭掉期待改变的力量。越来越聪明的小孩，越来越在信息化中晕头转向失去个性的小孩。

还是说回电影吧。
编剧上并不出彩的好莱坞青春喜剧。拍摄手法的连贯自如，以及演员的靓丽出演并不能掩盖落入俗套的剧情。出生在洛杉矶富人区的二世祖波比，从小失去母亲，父亲娇纵，难免助长了她飞扬跋扈的性格。一次恶作剧之后，公主大人的父亲忍无可忍，将波比扔进了一所以严肃传统著称的英国名媛寄宿学校。用时尚堆砌成16年成长道路的波比仿若进入了修道院，与一切显得格格不入。后来的故事顺理成章，波比挑战坏心眼的学校“女王”成功，揭穿好友RUBY的虚伪面具，结交到一群真正的闺中密友，带领全校女队首次夺下球赛冠军，收获了“王子”的爱情，更重要的是，在发现这也是她深爱的妈妈的母校的同时，她终于也找到了自己的位置：now i may have looked like a california girl,but in my heart i've discovered that i really am an Abey Munt girl。

我一直觉得在老美的青春片里，你看不到父母老师去生硬的告诉一个小孩什么该做什么不该做，而是给他们选择的机会，并且让他们自己去寻找属于每个人自己的答案。这在我这个青春期过的相当压抑的成年人来看，是一件多么让人欣喜若狂的事情。他们从小被根植的思想不就是一种颠覆的思想吗？！OK，波比，你看不惯这所学校，你看不惯欺负你的HEAD GIRL，你看不惯你老爸，那你就自己去颠覆它们。说服，或者被说服，JUST A CHOICE。学校，即是一个社会。要成为强者，你需要拿出实力。当然，如果你颠覆的不是理念，而是道德底线，那好，会有荣誉法庭给你公正的裁决（当然，你一点不用担心，这种片子里的法庭永远会站在光明的那面）。

最有意思的是，我记得片中的女校长曾经对波比说，这是一个培养“给戴安娜王妃当修脚师”的学校，如果你希望的是成为美国周刊的封面人物，那可能你进错了地方。言外之意是你要低调，隐忍，礼节，优雅，制度化，一如英国几百年奉行的传统，做一个恰当得体的淑女。哈，可是好玩的是，是女校长一次又一次给了波比认识自己、释放个性的机会。她一定和波比的那些室友一样，一开始，就看到了波比内心深处的温暖和明亮。我想，其实女校长比谁都明白，个性，才是最鲜活最长久的生命力。即使给戴安娜王妃当修脚师，谁又规定那个修脚师不能同时是个FASHION DESIGNER呢？同理，波比在舞会上，以性感造型（那段舞蹈棒极了）挑战《理智与情感》造型出境的HEAD GIRL，也是极富隐喻。陈旧的，不合时宜的，终将淡出舞台。

这座规整的校园建筑内，洋溢的，是最美好最自由的灵魂。

冲它给我的那么多感慨，我给这部青春片打4颗星。

画外音，艾玛罗伯茨，很有星相的姑娘。男主角也是相当的养眼。

10. 电影野孩子的英文观后感 急！

嗯。赞同上面的看法。

因为这是在是一部很好的电影，

在青春校园电影里是很出色的版。

你自己去看应该会权有很多感慨的。

也可以用在线翻译器啊，

而且不可能会有人愿意自己写200词的英文观后感，

所以这个要求其实很麻烦，

而且又不允许复制！

推荐用谷歌的英文在线翻译，

感觉比较好，不好意思，没办法帮到你。