once的影评

⑴ 《穿Prada的女王》影评

有点长
The Devil & the Gray Lady
All about vogue.

By Mark Goldblatt

ruman Capote, who had a stake in saying so, once famously declared, "All literature is gossip." He was wrong, of course, but it's the kind of declaration that bamboozles literary types by its very implausibility; something so obviously false must be profound, so it gets repeated at cocktail parties and invoked in book reviews (like this one) until it becomes an inside-out cliché, a false truism, a knowing nod towards nothing whatsoever.
Still, an interesting question emerges if you reverse Capote's dictum and ask whether all gossip is literature. It's a question that surrounds the most gossipy novel in recent years, The Devil Wears Prada by Lauren Weisberger, and percolates within the critical jihad the book ignited at the New York Times. The fact that the paper twice reviewed a literary debut by a previously unknown author would be noteworthy in itself; what's unprecedented is the fact that its reviewers twice ripped the book to shreds — arguing not simply that it fails as literature, but that it should never have been published in the first place.

Why all the fuss?

Weisberger, it seems, once worked as a personal assistant to Vogue editor Anna Wintour, and the novel is thinly veiled account of her nightmarish experiences at the magazine. That this should matter to reviewers at the Times is slightly bizarre — even if, unlike me, you care about Anna Wintour, or you think Vogue has made a significant contribution to Western Civilization. It's not as though Weisberger is sailing into morally uncharted waters. Saul Bellow's latest work, Ravelstein, is a thinly veiled account of his friendship with the critic Allan Bloom, and arguably Bellow's greatest work, Humboldt's Gift, is a thinly veiled account of his friendship with the poet Delmore Schwartz. Both of Bellow's books are warts-and-all portraits, and the same can be said, in spades, for Weisberger's portrait of Wintour. The fact that Wintour is still alive, whereas Bloom and Schwartz were deceased when Bellow immortalized them, cuts both ways. Wintour may be psychically injured by the appearance of her fictional counterpart, Miranda Priestly, but at least she has the chance to distance herself from the ogre Weisberger gives us. With a nod to Capote, then, if at least some gossip is literature, why should Weisberger be pilloried for engaging in it?

None of which is to suggest that The Devil Wear Prada is great art. It is, rather, a wildly uneven book, by turns clumsily self-righteous and wickedly funny. The wafer-thin plot recounts the struggles of the narrator, Andrea Sachs, to maintain both her integrity and her sanity after she lands a "dream job" as personal assistant to Miranda Priestly at Runway. The detail that Andrea's real ambition is to write for The New Yorker would be a perfect ironic touch — she must enre the slickness of fashion in order to achieve fashionable slickness — except that the author seems to regard this as a altogether commendable goal. She is reminded to keep her eyes on the prize by her devoted boyfriend, Alex, who (gag me) teaches underprivileged children; also keeping Andrea grounded is her roommate Lily, whose hard drinking and promiscuity derive from the fact that "she loved anyone and anything that didn't love her back, so long as it made her feel alive."

The chapters with Alex and Lily are at times almost unbearable. Fortunately, they are offset by chapters in which Miranda Priestly takes center stage. Miranda is one of the great comic monsters of recent literature; Cruella de Ville is an obvious antecedent, but Miranda more closely resembles a Hermes-scarf wearing Ahab in pursuit of the great white whale of immediate, absolute inlgence. In Miranda's universe, two pre-publication copies of the latest Harry Potter book must be flown by private jet to Paris so that her twin daughters can read them before their friends; it's up to Andrea to make the arrangements on a moment's notice. Tough, but do-able. More finesse is required when Miranda asks Andrea to hunt down the address of "that antique store in the seventies, the one where I saw the vintage dresser." Of course, Andrea wasn't with Miranda when she saw the dresser, so she winds up trekking to every antique store — and, just to be safe, every furniture store — between 70th and 80th Street in Manhattan, grilling clerks to find out whether the famous Miranda Priestly had stopped by recently. Three days later, Andrea admits defeat . . . only to have Miranda inform her, impatiently, that she's just located the store's business card, the one she thought she'd lost. The address is on East 68th Street.

Miranda requires up to five breakfasts per morning so that whenever she arrives at the office, a hot meal will be waiting; reheating isn't an option. The other four must be thrown out because her assistants aren't permitted to eat in her presence. Nor are they permitted to hang their coats next to hers. Nor to request clarifications if her demands are indecipherable: "Cassidy wants one of those nylon bags all the little girls are carrying. Order her one in the medium size and a color she'd like."

There's a kind of grotesque heroism in this, an obliviousness to the feelings of others that is larger than life — and thus mesmerizing. When Weisberger's novel succeeds, it succeeds on these terms. No one who reads the book will forget Miranda Priestly.

Towards the end of The Devil Wears Prada, Andrea's novelist friend informs her, "What you don't seem to realize is that the writing world is a small one. Whether you write mysteries or feature stories or newspaper articles, everyone knows everyone." Indeed, it's hard for an outsider to grasp just how incestuous, how inbred, the New York publishing scene is nowadays. The odds of finding a non-conflicted reviewer for a gossipy roman a clef about the scene itself are therefore remote. In theory, this isn't a problem — as long as the reviewer approaches the task in good faith. (In good faith, for example, I should note that Weisberger's former writing teacher is a close friend and co-author of mine; on the other hand, her editor at Doubleday once turned down a book I wrote . . . and keep in mind that I'm really an academic, so I'm kind of bivouacked on the outskirts of the milieu Weisberger describes.) To say that the Times lacked good faith in reviewing The Devil Wears Prada understates the utterly unconscionable, and downright vindictive, way the paper went after the thing.

The onslaught began with a full-page review in its Sunday edition by former Harper's Bazaar editor Kate Betts. Betts herself was once Anna Wintour's protégé, a point Betts mentions in her final paragraph — not as a disclaimer but rather as an excuse to lecture Weisberger on the ethics of having written her novel: "I have to say Weisberger could have learned a few things in the year she sold her soul to the devil of fashion for $32,500. She had a ringside seat at one of the great editorial franchises in a business that exerts an enormous influence over women, but she seems to have understood almost nothing about the isolation and pressure of the job her boss was doing...."

This may or may not be true, but it has nothing whatsoever to do with what's between the covers of Weisberger's book. That, however, is the least of Bett's concerns in a review which alternates between sniping at the author and sucking up to former Vogue cronies. "Nobody would be interested in this book," Betts declares, "if Weisberger were spilling the beans about life under the tyrant of the New Yorker." (Tell that to Brendan Gill whose memoir Here at the New Yorker was a bestseller in 1975.) Betts refers to one of Weisberger's characters as "a pale imitation of the incomparable André Leon Talley" (For the record, I know more than a few people in the fashion instry, and they're all remarkably comparable.) and to another as "a cheap shot at the food writer Jeffrey Steingarten, whom she [Weisberger] should have been studying for lessons in how to write." This is nasty stuff. And it's of a piece with the rest of Betts's review — which displays all the emotional maturity and intellectual balance of Leo Gorcey in the old Bowery Boys films. Betts is not critiquing a work of fiction; she's putting up her kes to defend her home turf.

You'd think Betts's outburst would suffice, from the Times's point of view, would stand as an awkward lapse in editorial judgment but nothing more. You'd be wrong. The newspaper, it turns out, was not through with Weisberger by a long shot. One day later, Janet Maslin weighed in for the daily edition — and matched Betts's spitefulness point by point. Maslin's review begins: "If Cinderella were alive today, she would not be waiting patiently for Prince Charming. She would be writing a tell-all book about her ugly stepsisters and wicked stepmother . . . dishing the dirt, wreaking vengeance and complaining all the way. Cinderella may have been too nice for that, but Lauren Weisberger is not."

Again, what's actually between the covers of The Devil Wears Prada is mere background noise; first and foremost, Maslin is reviewing not the novel itself but the idea of the novel. She refers to it as "a mean-spirited 'Gotcha!' of a book, one that offers little indication that the author could interestingly sustain a gossip-free narrative." With an indignant nod towards Weisberger's recent publicity tour, Maslin speculates that the author "can devote a second career to insisting that [the novel] is not exactly, precisely, entirely one long swat at the editor of Vogue." And again: "The book's way of dropping names, labels and price tags while feigning disregard for these things is another of its unattractive qualities. It's fair to assume that nobody oblivious to names like Prada will be reading this story anyway."

Curiously, Maslin neglects to mention the name Anna Wintour even once in her review. "That was very deliberate on my part," she later explained to the Daily News. "I think that when a tell-all author takes a cheap shot at a well-known person — in a book that would have little reason to attract attention without that cheap shot — then reviewers need not compound the insult (or help promote a mediocre book) by reiterating the identity of the target."

Fair enough, but then why review the book in the first place? Given how many books are published each year, and how few the Times actually reviews, why would the paper twice in two days go out of its way to hammer a first novel by a hitherto unpublished writer? (Another point of disclosure: The Times did not review my first novel last year.) The answer cannot be that The Devil Wears Prada was heavily promoted . . . since even a cursory glance at its own bestseller lists will reveal many mega-hyped books the Times wouldn't touch with a ten-foot highlighter.

Of course, the Times has bigger problems these days — Jayson Blair's tendentious, fabricated reporting and subsequent resignation, Howell Raines's white-man's-burden agonizing and subsequent resignation, and Maureen Dowd's sneaky doctoring of a presidential quote — than the integrity of its book-reviewing process. In another sense, however, the treatment of Weisberger's novel is consistent with, for lack of a better phrase, an absence of alt supervision on 43rd Street.

⑵ 求一篇关于电影《赎罪》的影评论文

补充：楼主想要专业影评网站是吧？豆瓣网~~~，我经常看经典老片之前，都会去看看评论，相当有水准！！

剧情简介 ······
1935年夏天，来自一个宽裕的英国小康家庭的13岁的少女布里奥妮（斯奥里兹•罗南 饰）刚刚开始尝试写作,想象力丰富。一天，她暗中发现仆人的儿子——罗比•特纳（詹姆斯•迈克沃伊 饰）和她姐姐塞西利亚（凯特•奈特莉 饰）之间有暧昧关系，而且发现他给她写了一封充满情色意味的情书。布里奥妮丰富的想象力虚构着各种可怕的事情，浮想联翩。当她的表姐罗拉被强奸后，布里奥妮相当肯定她看到是罗比做的，这次指证使罗比蒙冤入狱，留下伤心欲绝的塞西利亚。
第二次世界大战爆发了，出狱后的罗比和塞西利亚都投入了保卫祖国的战斗，布利奥妮也成为了一名军队医务人员。经历世事之后的布里奥妮终于愧疚，主动走向罗比与塞西莉娅，为自己当年的所作所为道歉，但是无情的战争先后夺去了罗比和塞西利亚的生命，留下布里奥妮活在深深的自责中而无法赎罪

________________

之前已经觊觎很久了。从想去看到制定计划去到最终走进电影院去看一共拖了1个月+。所以我的期望可能过高了...然而，

我还是觉得是个好片子。客观的讲，它是：气氛压抑，丰富含蓄，充满张力，英国。有对压抑的情感私密表现，也有宏大的战争场面。
有点纳闷Ian McEwan怎么想到去写这么个故事的。。。就像上次看完Notes on a Scandal之后一样的纳闷。

废话连篇。简短评论两句吧。

1，故事没什么可说的，好故事！当然，原作者功劳很大。
2，但编剧的功劳也还不算被抹杀，1935年那个夏日发生的事情，从Briony的视角和实际事件发生两个角度叙述，很聪明，也很必要。
3，镜头调度非常好。法国敦刻尔克海滩上战场那个长镜头尤其令人印象深刻。
4，表演：

(1)，Keira Knightley无疑是个花瓶。Cecilia这个人物没什么特别的性格。我感觉本片中她大部分时间都是按捺着的气鼓鼓的样子。

(2)，Briony Tallis的老中青三个演员里，Venessa Redgrave最好。她结尾的坦白非常有力量。13岁的Briony也很出挑，我觉得她就是个阴郁的，充满想象和思虑的，令人害怕的小女孩。这个女孩的心理层面很复杂，她以为她理解她看到的东西，但是她没有。她对于事情的怀疑，窥探，揣摩。。。她对于Robbie的懵懂的喜欢。。。总之都把握得挺好。倒是 18 岁的Briony差了点事。败笔败笔。

(3)，James McAvoy非常光彩。1935年的Robbie首先是个善良的男孩，带着年轻人的纯真的感情，就像他信里说的：

Dearest Cecilia, the story can resume. The one I had been planning on that evening walk. I can become again the man who once crossed the surrey park at sk, in my best suit, swaggering on the promise of life. The man who, with the clarity of passion, made love to you in the library. The story can resume. I will return. Find you, love you, marry you and live without shame.

在看到这段话，眼泪就一下子流出来了。
他们都那样充满希望和爱情，然而，他们在一起的时间总共只有。。。图书馆的十几分钟，和在伦敦街上的半个小时。
尤其是当你想到，即使在伦敦Cecilia狭小的房子里的共同生活，他们也不曾拥有过。
当你听到老年的Briony说出了这一切时，心里会非常非常难受，堵着似的难受。

Robbie的善良表现在他毫不犹豫地跳进水里去救Briony，他带着出走的双胞胎慢慢走回来。然而接下来他便面对着那场变故，那一帮子人。。。那个场面非常的英国：你可以想象所有人的心里都是怎样翻江倒海的，但是没有人说一句话，没有人动。妈妈说，Briony，你该上床去睡觉了。
光影的中心站着着一袭绿裙的Cecilia，画面非常好。

历经了那一切之后，Robbie的性格发生了一些转变，这些对演员要求很高。

两人在伦敦餐馆里的会面非常很令人动容。McAvoy居然只有1.7米（正正好好的）。但是他的眼睛，很纯粹的蓝色眼睛，还是不大容易抗拒。

5，音乐很好。很好啊很好。也可能是因为在电影院里看的缘故....? 打字机的声音嗒嗒的，伴着那个急促的钢琴主旋律，酝酿着极大的不安。

本片导演是Joe Wright，前一阵导了新版的傲慢与偏见的。我对那一版P&P的确没有什么好感。但是Atonement还是不错的。

ps 这片子获了金球最佳影片。然而发现自己不像当初那样觉得它有那么好了 - 再看到Keira Knightly的表演就有把它关掉的冲动，连James McAvoy在场也阻止不了。-_-||

时尚、唯美、简单、直观“美女图片网提醒您为了您的身体健康，请每天吃一个苹果，远离电脑，呵护身体”

⑶ My girl影评

LZ好，Audrey Hepburn is radiant and touching as the poor flower seller Eliza Doolittle who challenges her mentor's makeover powers, before eventually passing for a lady in London society... She is skillfully transformed into an elegant lady by a speech professor Henry Higgins (Rex Harrison) and taught to speak properly... From first frame to last, the film is slick, graceful, gorgeous to behold, with costumes and sets richly evoking the Edwardian era...

'My Fair Lady' begins in London, on a rainy evening outside Covent Garden, where a 'respectable girl' is selling bouquets of violets... Professor Henry Higgins, a phonetics and linguistics expert, confronts the 'deliciously low so horribly dirty' Eliza Doolittle for the first time...

In the best tradition, their first songs reveal their characters: 'Wouldn't It Be Loverly?' expresses Eliza's own ideas of what she dreams, while in 'Why Can't the English Learn to Speak' Higgins sings his despair over the deterioration of the English language, and displays his hard, irritable, intolerant, and elegantly arrogant nature...

Lerner and Loewe's songs are shear delight as the story moves from Higgins's wager with sympathetic Colonel Pickering (Wilfrid Hyde-White) that he can change the street girl with a strong cockney accent into a different human being by teaching her 'to speak beautifully' and pass her off in an upper class lady within six months... Higgins and Pickering are both single men, and the housekeeper, Mrs. Pearce, has misgivings about the way in which they are proposing to amuse themselves without caring about the consequences for the "common ignorant girl."

The songs are extraordinary in their ability to enrich our knowledge of the characters... Higgins' early song 'I'm an Ordinary Man' confirms that he is a 'quiet living man' without the need for a woman... Alfred Doolittle's 'With a Little Bit of Luck ' not only states his general philosophy of life, but exposes the perfect portrait of a friendly scoundrel... Eliza's father, who calls himself one of "the undeserving poor" is one of Shaw's best comedy creations... When he arrives to protest at the immorality of Higgins and Pickering treatment of his daughter, it soon becomes clear that he just wants to gain something for himself out of the situation... Eliza, becoming subject to Higgins' intimidation, belts out her discomfort at the rude, selfish Higgins, imagining a king ordering his death, in "Just You Wait, 'Enry 'Iggins."

The music is also a logical extension of the characters' feelings... When Eliza finally pronounces impeccably: 'The rain in Spain stays mainly in the plain,' Higgins can hardly believe what he has heard: ('By George, she's got it. Now once again, where does it rain?'), and Eliza ('On the plain! On the plain!') and Higgins simply cannot be contained ('And where's that soggy plain? ') Eliza responding: In Spain! In Spain! They sing a et together to celebrate their success... The scene leads to one of the most triumphant sequences in musical history...

Further, the stunning scene in which Eliza Doolittle appears in high society when she meets Higgins's mother (the impeccable Gladys Cooper), and attends the Ascot races... She instantly charms a young admirer Jeremy Brett (Freddy) by her slightly odd manner of speaking, who later haunts Higgins' house ("On the Street Where you Live").

The climax comes at the Embassy Ball, where Higgins' protégé, now "an enchanting young lady" charms everyone with her beauty... Her exercise is an unqualified success... Her waltz with the Queen's son, and other dance partners, spreads throughout the audience about her identity...

Henry and Pickering are ecstatic... They congratulate each other for their "glorious victory," ('You Did It'), but Eliza is hurt and angry at being ignored... They barely acknowledge her presence... She is no longer a part of any world... When Higgins returns for his slippers, which he has forgotten, Eliza flings them angrily at him, and voices her feelings: 'Oh, what's to become of me? What am I fit for?'

In an attempt to find her true identity a frustrated Eliza encounters Freddy who declares his love for her, but she returns to the populated flower market outside Covent Garden, where no one recognizes her... Her own 'miserable' father - tuxedo-dressed - gives her the cheerful news that he is about to get married...

In the closing scenes, Higgins is upset to discover Liza has left him and is led to wonder why 'can't a woman be more like a man? Men are so honest, so thoroughly square.' Eliza surprises Higgings with her decision to marry Freddie, and claims: 'I shall not feel alone without you. I can stand on my own without you. I can do bloody well 'Without you!'

At his home, at sk, Higgins ultimately recognizes Liza's quality... He recalls Liza and realizes how much she has come to mean to him... Without her, he is lost and lonely...

The climax is a great ending to a great musical...

'My Fair Lady' has great style and beauty... The film describes what is common in many societies... That accent determines the superficiality of class distinctions... The motion picture is humorous, notably the wonderfully steamy bath in which Prof. Higgens' female staff cleanses the accumulated dirt of the street off Eliza Doolittle...

With the dazzling splendor that director George Cukor offers: the designer's eye for detail, the painter's flair for color, the artist's imagination, and the delicacy of handling, the film garnered no less than twelve Oscar nominations, and took home eight statuettes including Best Picture of the year, Best Actor- Harrison, Best Director- Cukor, as well as Best Art Decoration, Sound, Scoring, Costume Design, and color Cinematography... 40希望对你有帮助！

⑷ 求电影迷失东京影评

lost in translation空白 东京.印象的铁灰开篇是酣睡女孩姣好的身线，青春的臀形却没有半点情色的欲望。随着镜头仿佛定格般的缓慢推进，男人苍老的容颜骤现。梦醒不知身何处，男人溢满酒后疲惫负累的脸庞，沟壑纵横，有谁能说自己更爱他如今饱受摧残的面容？拥挤的东京，连酒吧也找不到清净。红发红衣的歌手把满腔别致而慵懒的热情唱出了口，却没有半个人真正明白她在唱着什么。对他们来说歌曲只是一种氛围，更遑论其中能有多少真心正在用一种他们不懂(查看全文)
2008-12-29 22:388人回应 | 2人推荐 我来回应>> 谢谢观赏懒得私奔 他微笑着，转身消失在人海。那种情绪，是什么？淡淡忧伤，却又释然，坦然，黯然。无从说起，也无处可说。这一场离别，这个深深的拥抱，无法停留也无可停留的不舍，最后，彼此，在人生里消失不见。孤独的心，可以被安慰吗？一瞬交会时的耀眼光芒，会在你的生命里留下美好的梦境一般的回忆。因为美好，所以没有结局，因为没有结局，所以更加美好。迷失东京。迷失一段似是而非的感情。最后他在她耳边的低语，无人知晓。也(查看全文)
2009-02-08 18:386人回应 | 2人推荐 我来回应>> 迷失东京yanglu0521 人总在潜意识中寻找同自己相似的人

于是

他和她自然而然的走到了一起

在东京这个地方

他们的寂寞

无助是如此的显而易见

听不懂的语言

看不懂的节目

周围的喧嚣声响

与他和她格格不入

失意 迷茫 孤独

点到即止。(查看全文)
2008-12-30 19:052人推荐 我来回应>> 另一个版本的Onceliking0602 once里有的是兴趣相投的年轻人的感情，纯情又奔放。 lost里的是共享孤独的往年交，隐忍又热烈。他们都是相遇又分开的故事，都是曾悬在一种微妙的感情边缘的故事，不过幸好，这一段美好的感情都在分别之后让人不曾有过什么额外的遗憾。因为寂寞遇见，在人流的道口分开，满含泪水，却不曾有遗憾。孤独点到即止，狂欢的夜东京。寂寞还是会继续下去，不过至少还是拥有这么一段短暂美好的lost。just once(查看全文)
2009-10-27 03:391人回应 | 我来回应>> recomendedsmile1004 knowing the movie from my teacher,i know the importance of translation and the love between old and young,strangers and acquaintance.because of love,the main two actors loved tokyo.it seems like our f(查看全文)
2010-10-27 15:50我来回应>> 这是经典中的经典，它讲的使我们生活的无助与无奈，每个人试图抗争，试图挽回一些需要的东西，去无能为力，无法沟通，有不可回避。最后，为了生存，或者不那么的痛苦，终于最后回头，cqysdxl 这是经典中的经典，它讲的使我们生活的无助与无奈，每个人试图抗争，试图挽回一些需要的东西，去无能为力，无法沟通，有不可回避。最后，为了生存，或者不那么的痛苦，终于最后回头，继续着抗争与妥协，全因人的希望于对完满的追求。(查看全文)
2010-03-06 19:39我来回应>>

⑸ 肖申克的救赎 影评

The story may sound simple, but the truth behind the words is remarkable. When I heard the name of the film first time, I considered the Shawshank to be a man’ name, but in fact it is a jail’s name——a hell in the world. Not only for the inhumanity of the jailors——they behaved brutally; but also for the jail gnawed at people’ heart by keeping them waiting and waiting as life passed. It seemed that only those utterly worthless people who gave up everything could survive. That’s where the story happened.

The part impressed me most is when Andy got out of the jail. He extended his arms in front of him in the heavy rain as if he were welcoming the fresh air and the freedom. At that moment, I saw the confidence win the darkness, discharging light dazzling the eyes in the dark blue sky. Under the light, I could feel my recreant heart being shivering as his voice said: “Remember, Hope is a good thing, maybe the best of things and no good thing ever dies!”

That’s why I like this film: it encourages people to fight to preserve the dignity of human beings, to appreciate the beauty of life, and the most importance is to keep hope forever. He once that is born, that is die. Everyone is the same. The only difference is whether busy living or busy dying. The film tells us that even a man can live once, but if he keeps confidence, keeps hope and works his life right, then once is enough. The congfidence is the bird that feels the light when the dawn is still dark, the hope is the chief happiness that this world affords, and the life should be full of the singing of the bird and the happiness hope brings. " What’s that do you think? It’s the trembling of the heart, the singing of the mind, the flying of the soul and the hope to be free.”

⑹ 特洛伊影评

其实这部电影就是和神无关的。我们不应该指责尔夫冈·彼德森，他只是努力地希望用自己人性的方式诠释这么一个脍炙人口妇孺皆知的神话故事。十年的漫长战争浓缩成十五天的厮杀，神的子女最后也被凡人所害；而海伦，也就是用普通的美女代替绝色天香的传说了。

沉醉在电影中，我忘记了所有熟悉的背景。忘记了海中漫舞的女神忒提斯的忧伤；忘记了云雾中放出神箭的阿波罗的卑劣。电影中，我只看到了两个人：阿咯琉斯和赫克托尔。彼德森也许只愿意我们看到这两个身处战争旋涡中无法逃避自身悲剧命运的英雄。

悲剧首先在于无法选择的命运和自身内心挣扎的冲突。阿咯琉斯注定是个战士，他生存的唯一目的就是为了战争中的荣誉。正如他自己说的：我不是为某一个人而站，我是为了全希腊，我是为了希腊的战士和他们的妻儿而战。他的母亲再次确认了他的终极宿命，你是为这场战争而生的，你也将为这场战争而亡。

只是他没有想到他还会有爱情的发生，他的温情脉脉和被夺取的惨痛欲绝让他在战场之外同样显得高贵。他甚至已经选择了逃避这场战争，尽管痛惜战友的牺牲，尽管痛心生命的践踏，可是他依旧按捺住自己沸腾的战火。他最后倒下了，为了拯救一个女人。他钻进木马的唯一目的竟然就是找到并且保护这个女人。他奔跑在这个被厮杀抢掠的城市，目光急切，呼喊悲戚。这个时候我感怀于一个神的人性回归。

赫克托尔同样充满着高贵和悲凄的命运，这该是西方艺术的一种主脉络了。西班牙剧作家维伽在《当代编剧的新艺术》一文中提到：“悲剧是王室和高贵的行动。”赫克托尔该是电影中的一个悲剧性人物代表了。从允诺承担弟弟的行为后果开始，他就已经知道城邦和自己的命运。尽管他鄙视弟弟的怯懦，可是作为兄长他承担了罪责；而在误杀阿咯琉斯的堂弟后，他坦然地接受挑战，走向死亡。他让他的士兵明白一个男人的尊严：维护自己的荣誉，爱护自己的妻儿，保卫自己的国家。做个简单的男人，是那个时候多么难以实现的梦想！

一个崇尚武力的世界竟然存在着这么两位彼此惺惺相惜，厌恶战争憎恶死亡，却又是被万人景仰的勇士。他们向往着安宁和平快乐的生活，不仅是满足个人，更是希望这个世界有着美好共荣的时候。可是他们总是被驱策着扑向战场，刀起剑落，热血喷溅，而厮杀的胜利和战争的荣誉中似乎看不见他们的笑脸。他们用生命谱写了一场神话战争中的人性悲歌。

In fact, the film is nothing to do with God. We should not blame Wolfgang Petersen, who is just hard to want to use their own interpretation of human nature such a popular way of including women and children's fairy tale. Condensed into a decade long war in 15 days of the athletic field, God's children, the last of the victims have been ordinary mortals; and Helen, that is, instead of stunning beauty with the general legend of a heavenly fragrance.

Basking in the movie, I forgot all of the familiar background. Forgotten waving sea goddess Thetis sorrow; forget the clouds release the Apollo sky despicable. The movie, I only saw two people: A strategic Grand Adams and Hector. Peterson may be only willing we can see that these two are in the vortex of war can not escape the tragic fate of their hero.

First, the tragedy is that no choice in destiny and their own inner struggle conflict. A strategy destined to be a fighter Grand Sri Lanka, his sole purpose of existence is to honor the war. As he himself said: I am not for a specific indivial and station, I was the whole of Greece, I was in Greece in order to soldiers and their wives and children fight for it. His mother once again confirmed his ultimate fate, you are born for this war, you will also died from the war.

Only that he did not think he will have taken place of love, his sentimental and tragic stricken captured on the battlefield outside of him the same look noble. He even has chosen to escape the war, although deplored the sacrifice of his comrades in arms, despite the sad life of trampling, but he still restrain the fighting to live their own boiling. Finally, he fell, in order to save a woman. He even got into Trojan for the sole purpose is to find and protect this woman. He has been killing one run in the looting of the city, anxious eyes, shouting grief. Thanks for the Memories at this time I return to a God of human nature.

Hector also is full of noble and mournful fate, and this is a kind of Western art in the main thread. Spanish playwright Wei Jia in the "Contemporary writers of the new art," one article said: "Tragedy is the royal and noble action." Hector in the film a tragic figure representatives. Promised to take his brother's behavior from the consequences of the beginning, he would have known city-states and their own destiny. Despite his contempt for his brother's cowardice, but as a brother, he assumed the guilt; in manslaughter A strategic Grand Adams's cousin, he calmly accepted the challenge to death. He let his soldiers to understand a man's dignity: to protect their honor, love their wives and children, to defend their own country. Be a simple man, at that time how difficult it is to dream!

1 Chongshang Wu forces in the world even the existence of such a two, shows appreciation of each other, hate hate war, death, but was admired warriors million people. They aspire to the tranquil peace and happy life, not only to meet the indivial, but also hope that the world has a wonderful time of prosperity. But they are always driven forward toward the battlefield, sword from the sword down, blood splashes, while the close fight for the honor of victory and the war seemed to see their faces. They used life, he composed a myth in the human tragedies of war.

⑺ 推荐几个影评高的电影

电锯惊魂系列
once
肖中克的救赎

⑻ 求电影《特洛伊》的影评。

三爱、三恨、神论与人性看完这部电影，我呆了。这是一部内容相当丰富的电影，包含了三种爱、三种恨、一种神论和一种人性的体现。一、三种神圣的爱：男女之爱，兄弟之爱，父子之爱。男女之爱：帕里斯虽然以前风流成性，可他对已为人妻的女子海伦却投入了忠贞永恒的爱，甚至不惜为了她而引发战争，海伦同样是一个敢为爱情，而不畏权势的烈性女子。阿基里斯亦是如此，他对敌国的女祭司布利塞伊斯的爱也是无法阻挡了，当特洛伊沦陷时，阿基里斯不再追求名声的千古流传，而是在战火中寻找年轻的布利塞伊斯，直至最后为爱而死，这是什么？是爱的召唤。而布利塞伊斯也被阿基里斯这一强壮的有独特魅力的男子所吸引，放弃了对神的敬仰，与阿基里斯云雨中缠绵。特洛伊国王对自己次子帕里斯将敌国王后带回本国时，并不是很生气，而说“我一生为荣誉、权力、地位而战，而我的孩子为爱情而将引起一场战争，值得啊！”，可见他对爱情的支持。兄弟之爱：长子赫克托对其弟弟帕里斯的爱，将其弟弟的风流视而不理，在那样“女子是男人奴隶”的社会，无非流露出对弟弟的溺爱；还有当弟弟与敌国斯巴达国王米奈劳斯搏斗失败后，帕里斯抱住哥哥的腿，赫克托及时将弟弟送回国后，与敌奋战，并大获全胜，这表明弟弟对哥哥的依赖和哥哥对弟弟呵护，这种相互关系就是兄弟之爱。阿基里斯对堂弟手把手的传授作战技巧，并将道理与其，体现了兄弟之爱；当其堂弟被赫克托误杀后，阿基斯里恼羞成怒，戴盔披甲，杀死了赫克托，为其弟报了仇，这也是爱的体现。父子之爱：特洛伊国王对次子帕里斯犯的严重错误给予理解，无非体现了对儿子的伟大父爱；他在长子赫克托被杀后半夜亲自前往敌国要回长子赫克托的尸体，年老体衰的他，不为生命危险，这种举动更是父爱使然。赫克托对自己尚嗷嗷待哺的儿子更是无限的关爱，当确信自己必死无疑时，他提前指给妻子一条暗道，让其将儿子抚养大，便体现了他对儿子的爱。这种父子爱不但体现在上层阶级之间，而且在普通士兵中也有所体现，一个很小的镜头——在特洛伊沦陷后，阿基里斯释放的那个普通士兵说“我还有个儿子，放了我吧”，试想假如他没有子女，一个有骨气的士兵绝对不会乞求敌人给自己生路，也许因为父爱，他放弃了尊严。二、三种仇恨：对夺爱之人的仇恨，对侵略者的仇恨，对杀兄弟者的仇恨。对夺爱之人的仇恨：当自己的妻子被别人夺走后，斯巴达国王米奈劳斯一怒之下，决定吞掉敌国特洛伊，虽然说这种进攻与一个女人关系并不大，可却是对夺爱之人的仇恨激发了战争的爆发。对夺爱之人的仇恨更体现了古代男子对女子的霸权和统治，一个男人的女人被另外一个男人抢走就是对自己尊严的一种极大的侮辱。对侵略者的仇恨：被侵略国人民对侵略者的仇恨是必然的，这种仇恨是战争的必然性。人们不希望战争，任何弱小且无野心的国王都希望自己子民安居乐业，特洛伊虽然并不算小国，但是其国王亦是如此，但这种仇恨积累的一定程度后就会爆发出不可抵挡的力量，有促成“以弱胜强”的可能，特洛伊与敌国的第二战敌国被击败的情况大概就如此，虽然敌国战略有所失误。还有在特洛伊即将沦陷时，特洛伊国王带领着剩余的一小部分士兵仍然与敌奋战，这也是仇恨的体现。对杀兄弟者的仇恨：阿基斯里里为堂弟复仇，就是对杀兄弟者的仇恨，更是对亵渎亲情的仇恨。还有帕里斯在特洛伊沦陷后不顾堂妹布利塞伊斯的阻拦仍然将箭射向了阿基斯里，这也是对杀兄弟者的仇恨，对次子帕里斯来说更是对杀死自己一直依赖者的人的极大仇恨。这三种爱和恨在整部影片交融在一起，爱淡化了恨，比如布利塞伊斯的爱改变了阿基斯里，使他的恨意减少了很多，爱心增加了很多。三、一种所谓的神的保佑，最终毁灭了特洛伊王国：长子赫克托不赞同乘胜追击，而祭祀却说“神有好的征兆，可以乘胜追击”，结果损失惨重；木马在城外时，次子建议烧毁它，而祭祀却说“这是神的赏赐，应该将其迎接到城内”。殊不知，特洛伊能够在很多国家都被吞并后仍能独立，是因为他的子民的勇敢和坚固的城墙，而非神的保佑。四、人性：阿基斯里虽为杀手，可他有自己的主张，例如虽然他对长子赫克托恨之入骨，可当特洛伊国王来取回其子的尸体时，在特洛伊国王的真情表白下，他还是归还了其长子的尸体；当特洛伊沦陷时，如他对敌国一个男子士兵的饶恕也体现了这一点。残酷中不失人性！也许这种人性的产生是男女之间神圣爱情的感化结果，也许是人深深埋在心底的共同人性

⑼ 后天的英语影评

the day after tomorrow will also name: What the weekend catastrophe" describes is decreases temperature suddenly suddenly take the US as within representative's Earth one day, enters the drift epoch the science fiction story. In story, climatologist Jake. Hall (Dennis. Quaid plays) after the observation prehistoric climatic study pointed out that the greenhouse effect brings the global warming will cause the Earth unprecedented disaster. Jake Dr. once warned that the government officials take the prevention action, but warned that obviously was too already late. Jake. Dr. Hall therefore informed urgently that American vice president announced latitude 30 N south of entire US populace as fast as possible evacuate to the equator direction, this north of populace must maintain warmth as far as possible. But in this time, Dr. Hall knows son Sam (Jake. The Gillen Holland decoration) goes to New York to rescue the girlfriend solitarily, therefore the decision take risks to go forward New York to launch the relief operations in the world of ice and snow. At this time the disaster starts from New York, the Manhattan skyscraper encounters the intense tornado the attack, big destroys. Suddenly, in the subway tunnel gushes out the turbulent flood which continues wild. The spate has swallowed New York, submerged the US, Europe has also not existed under the flood. Hereafter, the ice layer and the white snow covered the entire earth's surface, the drift epoch time started. When the lens return to the US once more, these return alive by luck the Americans flee to Mexico, requested that enters there refugee camp. End of the movie place American president can not but sigh the acknowledgment saying that he carries out the climate policy is a huge faulty stroke in handwriting. this was once writes down 400,000,000 box offices by "ID4 Interspace End matter" the names to lead Lolan. Amory wonderful brand-new does greatly. The entire piece will have the massive apex special effect, presents throws the day lid place the nature threat, and between the close interweaving fathers and sons and the men and women remember with eternal gratitude the moving emotion, great writer's utilization will leave behind the intense stimulation to the audience.what is worth mentioning was this piece has attacked the environmental protection policy which intensely The US government and President Bush carried out. Director Amory criticizes wonderfully to American president is relentless. He believed that the American people in the environmental protection aspect already walked in front of the government. What what a pity is 4 years ago Democratic Party's presidential candidate Gore defeats in Bush, otherwise Gore this has the greatly strengthened environmental protection thought person to lead US's words, this year's world on

采纳哦

⑽ 我想要电影《Once》英文剧情简介。在网上都找不到啊。

An unnamed, thirty-something Dublin busker (listed in the credits as "Guy", played by Glen Hansard) sings and plays guitar on Grafton Street, a Dublin shopping district. He struggles with the trials of performing on the street, including chasing after a heroin addict (Darren Healy) who attempts to steal his earnings. Lured by his music, an unnamed young Czech immigrant flower seller (listed in the credits as "Girl", played by Markéta Irglová) approaches him and, despite his annoyance, persists in questioning him about his songs. Delighted to learn that he also repairs vacuum cleaners in his father's shop, she insists that he fix her broken cleaner.

The next day she brings her Hoover by and parlays it into lunch together, whereupon she piques his interest by telling him that she is a musician, too. He asks to hear her play, so they visit a music store where she regularly plays piano. After teaching her one of his songs ("Falling Slowly"), which she quickly learns to play, they sing and play the song together, kindling a musical and potentially romantic connection. He invites her and her ailing vacuum back to his father's shop, and on the bus home musically answers her question as to what his songs are about: a long-time girlfriend who cheated on him, then left ("Broken Hearted Hoover Fixer Sucker Guy").

At the shop, he repairs her vacuum and she meets his father (Bill Hodnett), who seems indifferent to his son's musical talent. The Guy takes the Girl up to his room, but when he asks her to stay the night, she is insulted and leaves. The next day, he apologizes and they quickly patch things up, as over the course of a week they excitedly write, rehearse and record songs, and get to know each other. Songs continue to be performed in a real-world, diegetic fashion, often in their entirety, as when the Girl rehearses her lyrics for one of the Guy's songs (which she entitles "If You Want Me"), singing to herself while walking down the street, or when at a party, people perform impromptu (including "Gold", performed by a trio featuring guitarist Hansard singing harmony).

Their flirtation continues, but at the same time, he is thinking about and writing about ("Lies") his ex-girlfriend (Marcella Plunkett), who moved to London. The Girl encourages him to move there, win his girlfriend back and pursue his musical career. Invited home to dinner by the Girl to a house set in Mountjoy Square, the Guy discovers that she has a toddler (Kate Haugh) and lives with her mother (Danuse Ktrestova). He soon decides that it is time to move to London, but he wants to make a high-quality demo of his songs to take with him and asks the Girl to record it with him. She takes the lead as they secure a bank loan - from a bank where the loan officer (Sean Miller) is a musical hobbyist—and reserve time at a professional studio.

On a romantic motorbike jaunt aboard his father's 1966 6T Triumph Thunderbird, she reveals, much to his consternation, that she is married, though her estranged husband is back in the Czech Republic. When Guy asks if she still loves her husband, she answers in Czech, "Miluju tebe",[7] but coyly declines to translate what she said. In the Czech language it means "It is you I love." After recruiting a trio of musicians (Gerard Hendrick, Alaistair Foley, Hugh Walsh), they rehearse, then go into the studio to record. Their lack of experience shows, but they quickly impress the jaded studio engineer Eamon (Geoff Minogue) once they begin recording their first song ("When Your Mind's Made Up"). On a break in the wee hours of the morning, the Girl finds a piano in an empty studio and finally plays the Guy one of her own compositions ("The Hill"), which tells of romantic frustration. She breaks down before finishing the song and he responds by asking her to come with him to London, but is not prepared for the reality of her mother coming along to help with the baby.

Still, he is smitten. After the all-night session wraps up successfully, they walk home. Before they part ways, the Girl reveals that she spoke to her husband and he is coming to live with her in Dublin. The Guy asks her to spend his last night in Dublin with him; she says that it would only result in "hanky-panky", which is a "bad idea", but after the Guy's pestering she ultimately agrees to come over. In the end, she stands him up and he cannot find her to say goodbye before his flight. He plays the demo for his father, who, moved and impressed, gives him money to help him get settled in London. Before leaving for the airport, the Guy buys the Girl a piano and makes arrangements for its delivery, then calls his ex-girlfriend, who is happy about his imminent arrival. The Girl's husband (Senan Haugh) moves to Dublin and they reunite.