⑴ 求一篇200字電影《後天》的觀後感
今天，媽媽帶我去看了一部很好看的電影，名字叫做「後天(Thedayaftertomorrow)」，「後天」是部災難片。
第一個出現災難的是日本的東京。有一天，有一個叔叔他下班去喝酒，他喝了一會兒就下冰雹了。他家人給他打電話，話還沒說完，他就被冰雹打死了。世界各地還有很多類似的災難，我還要給大家說的是：美國紐約出現了水災，是最嚴重的國家。有些人被餓死了，有些人被冷死了。因此，我們就應該保護小草，小樹，不能傷害他們。
⑵ 電影名將之後觀後感的主要內容748568
動作電影《名將之後》是由楊勇導演，視頻內詳等明星主演的一部國產電影。
村裡小胖遭同是留守兒童的石磊欺負，小胖朋友毛蛋相傳岳飛的後人，出頭復仇未果反被羞辱，為爭一口英雄氣節，毛蛋，小胖王福三人篝火結拜，私密鑄槍，後大事未成，夥伴以及對手都被父母接到城市，離開自己玩鬧的家鄉
⑶ 奧斯卡電影 《後裔》 英語觀後感、急求!!!!!
The Descendants was a pleasant surprise. As a series of character studies, the cast rises above what could have been a fairly pedestrian tale of loss and discovery (in other words, the movie that you expect to see after viewing the trailer). George Clooney plays a fellow (Matt King) trying his best to be a nice guy in the face of conflict. His portrayal as a man trapped between doing the right thing and the thing he wants to do is the central theme of the movie played out against the backdrops of business, family and death.
The supporting cast was excellent as a collection of family and friends caught in much of the same dilemma as Matt, but coming to terms with it in far different ways. Special mention to the ever interesting Robert Forster and Beau Bridges (and those decadent eyebrows).
A special word about the King family. The trailer would leave us to believe that the two children are spoiled rotten offspring. In fact, they love their father and rally to his support when needed. Even the elder daughter's stoner boyfriend ends up as an important aspect of Matt's trip to resolve his "dilemma".
Finally, a word about George Clooney's award-nominated performance. Mr. Clooney is that odd kind of actor that everyone knows gives good performances, but that is probably discounted because he is a bit too cute. Perhaps that is why we're so comfortable with him blowing things up and being a tongue-in-cheek tough guy in the movies. In this film, he showed the torment and conflict of his character clearly and simply, without flourish and flash and the result was satisfying in the extreme.
⑷ 看完英文電影之後的觀後感
獲70年代奧斯卡獎的<飛躍瘋人院>，我去年看的，很好。我也寫了篇觀後感。《飛躍瘋人院》：越黑暗的地方也越靠近光明 幾十年前的電影，自己現在才知道，真的該嘲笑一下自己。可是看完了這部電影，我卻怎麼也笑不出來了,真的很壓抑。這部電影很深刻，有機會還是要再看看的，真的還想再看一遍。
故事的大部分情節是在瘋人院這個狹小陰暗的地方展開的，裡面有各式各樣的人，像是一個社會的縮影，折射出當時的世態炎涼。我們看了是心痛的，我很同情那些「病人」，在我看來，他們真實，富有人情味，他們嚮往自由，卻處處受到牽制。他們並不是不正常，只是心裡總有一道跨越不過的坎。而片中的權威者——瑞秋護士，是偽善的，面對處於弱勢的他們，她總是一副冷峻的表情，她總以他們心裡最薄弱的東西來嚇唬，威脅他們，以此來鞏固自己的絕對權威。讓我覺得那些所謂「瘋子」的靈魂比她的更加高尚。
主人公麥克墨菲是一直在追求自由的，他為了不進警局而假裝精神病患者，他以為那裡是自由的。可是事與願違，瘋人院里的一切都由不得自己做主，吃葯，治療，睡覺......裡面有著嚴格的規章制度。影片的前部分還是很多彩的，麥克墨菲使得瘋人院里的病人重新獲得了活力，應該說是麥克墨菲喚醒了他們內心一直被壓抑的人性和慾望。他們知道要反抗，知道要讓瑞秋護士修改那一成不變的制度，他們會對著並沒有開的電視狂歡，他們會逃出去出海釣魚，當他們抱著自己釣的大魚回來的時候，真的很為他們高興，他們會一起打牌，打球，還會和墨菲打賭，雖然每次都會輸......
片中的幾位主人公演的都很出色，看不出任何造作。看完這部影片，酋長在我心中的形象是高大的，正如他高大的身軀。他因為受到他父親的影響，他覺得只有不說話才可以活下去，所以他一直裝聾裝啞，瘋人院里沒有人知道。可是他卻告訴了麥克墨菲，並決定和墨菲一起逃出去。那一晚，墨菲和他本可以逃出去的，可是他們喝醉了，看到這里，真的為他們可惜，多麼好的機會啊，就這么錯過了。比利是個不可缺少的角色，當他末尾從房間急急忙忙出來後，他敢和瑞秋護士大膽交談了，我們很興奮，他居然不結巴了，可是當瑞秋護士再一次提起他的母親的時候，可憐的比利又變得結巴了，他懇求她不要告訴他母親，可是她依舊是那副冷酷無情的嘴臉。比利自殺了，血流了滿地......我不懂，醫院本是救人的地方，可是在那個瘋人院，進去了就再也出不來了，醫生和護士對待病人真的很殘酷。他們完全不顧病人的感受，盡管馬提尼在被拖去電擊前，叫了好多個「No」,可是結果是不變的。馬提尼，比利，甚至是聰明的麥克墨菲，墨菲最終被做了腦部手術，變成了完完全全的白痴，沒有記憶，也沒有感情。這讓我不禁懷念剛開始那個有著許多點子，並為瘋人院帶去希望的墨菲。最後酋長做出了一個驚人的舉動，墨菲死了，酋長是帶著墨菲的靈魂走的吧！他砸碎了窗戶，逃出了那個黑暗的地方，大步奔向了光明。其他病人也都驚醒了，他們大概懂得了一些什麼......
看完後覺得社會真黑暗，可是在自由和性命之間，我們還是會選擇性命，就好比是社會適應我們還是我們適應社會一樣，我選擇後者。對未來，對社會，我們還是要充滿希望的，因為畢竟還有個酋長。 真的很好的一部電影，大家可以看一看。
⑸ 電影《後天》的觀後感
片名《The Day After Tomorrow》無疑是個警示：溫室效應將導致地球災難，環保問題需政府重視，人民自覺。2004年的老電影，教育意義不用贅述，世界早已關注並執行。今天推薦這部電影，純粹是為它強烈的視覺美感所震撼，讓我一度忘記高科技的效用。其空前的想像力和磅礴氣勢，迄今無人超越。它是後繼者朝拜跟模仿的經典。《The Day After Tomorrow》，絕對是災難片的巔峰之作。
故事伊始在南極洲拉森冰川，一望無際的冰面，遠處盡頭的霞光。幾個黑點是勘測隊所在地。半分鍾內橫生變故。隊員站立的地面驀地下陷，深淵深不可測。鏡頭拉遠，茫茫的冰川一分為二。盡頭，仍然是一無所知的霞光。
與此同時，印度新德里開始飄雪；蘇格蘭平原下陷，都是很好玩的創意。東京，卻開始下冰雹。拳頭大小的冰雹，突如其來地砸在車窗、屋頂上。重重的、圓圓的，火花跟晶瑩沒有絲毫的爛漫氣息，因為行人逃避不及，死於災難。
最類似的天災電影有1997年的《龍卷風》和1996年的《天崩地裂》。在描述群眾奪路而逃的前半個小時是災難片的重頭戲，某些大膽想像如果成功即是傳世經典。譬如《龍卷風》，就有女主角開車過程中，一隻奶牛被龍卷風席捲上天，然後對准鏡頭直飛過來。在《The Day After Tomorrow》里，選景在紐約。十個路口塞車，象徵環保問題迫在眉睫。毫不知情的男主角下車，發現天空顏色陰暗，數以萬計的鳥倉惶逃散；圈養的動物驚恐不安，災難前夕的恐怖預兆醞釀十分精彩。
影片進行到25分鍾，出現了第一個龍卷風。太酷了！我們見過太多成型的龍卷風，卻從沒見識它的形成過程。城市上空壓得低低的雲層，好像擁有極大的魔力，如吸塵機一樣將地表灰塵向上牽引。霎時，淺色的塵粒連接天地，由散亂變得有序，逐漸成型。時尚頂級城市紐約，矗立成排高樓的背面，是成群結隊的龍卷風。災難效果簡單到不可思議，反正街上車多，那麼就直接將汽車卷上去摔下來。特別之處是快，摔得快，沖擊力狠。
影片第30分鍾，人們還未在驟變中醒覺，我們迎來了該片的傳世經典：一名男子緩緩推開隔壁的門，發現自己站在懸崖邊緣，大樓的另一邊不見蹤影。對面的大樓全是斷壁殘垣，而更大的龍卷風正在形成。音樂徐徐響起，空靈的女聲縹緲、遙遠，透著死寂。
影片第40分鍾，飛行勘測隊查看地形。因天氣驟冷凍壞油管而墜機。一名雪地生還的機師推開機窗，正要慶賀生的喜悅，3秒內雪跡爬上他的臉，嘴還張著，人就凍死了。
電影海報是被雪地掩埋的自由女神像。雖然我更喜歡斷壁殘垣的那幅景象，但是理解政治意義的高度。盡管災難遍及全球，自由女神像並沒有遭到損壞，這大概也是影片的善意。她在影片出現過兩次，都帶來炫惑的美麗和震撼。一次是海嘯，翻騰的海浪以魔鬼般的猙獰呼嘯過來，她堅強而孤獨地站立原地，頭頂一道閃電，奪目驚心。這是一場神與魔的較量，但是信念已逐漸崩塌。另一次已接近電影的尾聲，就是海報那幅。男主角他爹從帳篷出來，發現晶瑩一片，女神像安靜地半埋於地，手上的火炬仍不失尊嚴的高舉，肅穆地哀悼，更多的是希冀。
誠然影片在故事脈絡方面稍顯單薄，結構上災難情境較短，抗災的篇幅過長。而抗災兩條線未免太容易：受災群眾只要在屋內躲避即可；救世英雄是南極勘測隊員，只需走到紐約救兒子就成了。結尾當然粗糙，因為很多父親都不是專業探險的，他們同樣在屋頂得到直升機的救援。年輕的男主角Jake Gyllenhaal出演過《斷背山》和《十二宮殺手》，在這里還稍顯稚嫩。但是瑕不掩瑜，對於喜愛災難電影的同好，《The Day After Tomorrow》是必修課。
⑹ 看電影後的觀後感寫一篇作文
今天下午我們小記者班的同學一起觀看《功夫熊貓》。
這部電影的主人公是一隻普普通通的熊貓。主要演義著這只熊貓通過自己的信心，浣熊師傅的信任，勤勞、刻苦的練習功夫，遇到困難不輕易放棄，最終練出一身好功夫打敗了太郎。影片贊揚了這只熊貓相信自我，不輕易放棄，勤勞刻苦的奮斗精神。
在這部影片中給我印象最深的畫面還是浣熊師傅在廚房發現熊貓只要有了食物，就會實現它原本不可能實現的事。浣熊師傅就利用食物了引導它學功夫。這一畫面，給我的印象特別深。我深深的體會到浣熊師傅的用心良苦。師傅它以引食學功夫的方法來刺激熊貓學功夫的興趣，熊貓也知道這是激起它學功夫的興趣，但它沒有放棄，而是更加勤奮和刻苦的堅持學下去。熊貓的這種不屈不撓的奮斗精神永遠留在我的心中。同時我也從熊貓這種精神中想到自己的親身經歷的一件事。
那是一年寒假，媽媽認為我寫日記方面很欠缺，便讓我每天寫一篇日記。我聽後十分不情願，每次三言兩語就沒了下文，最後徹底放棄了寫日記，現在想起來都有些慚愧，與功夫熊貓中的主人公不能相比。
通過觀看功夫熊貓，我明白了這些道理，世上沒有不可能的事，凡事都要相信自己，遇到困難不要輕易放棄機會，在以後的學習上，時時牢記《功夫熊貓》這部電影，以影片中的主人公為榜樣，認認真真的走好每一步，爭取成為一名對社會有用的人。
⑺ 觀後感：Ever After（是英語就太感謝啦～！）
1
Danielle De Barbarac (Drew Barrymore) lives alone with her father and their servants after the death of her mother, until one day her father brings home a new bride, the Baroness Rodmilla De Ghent (Anjelica Huston) and her two daughters, Marguerite and Jacqueline. When Danielle's father dies, the Baroness turns Danielle into a servant to wait on her and her spoiled daughters.
Danielle accidently meets young Prince Henry (Dougray Scott) when the Prince pilfers a horse from their manor in order to escape his parents restrictions. For her silence, he gives her coins, which she uses to pose as a courtier to buy back their old servant the Baroness sold to pay her taxes.
She meets Prince Henry again, but this time posed as a Lady, and Henry finds himself enchanted not simply by her beauty but by her intelligence and spirit. He becomes determined to know more about her, but first must find her for she keeps slipping away from him. In the meantime, Marguerite has set her sights on the handsome prince, with the help of her mother and a michevious courtier.
I won't give away any more of the movie, but absolutely must mention that there is a great deal of humor in this unique telling of the Cinderella story (take special note of the wedding chapel scene with the Spanish Princess). The acting is supurb and the script very tight and well written, the costumes are stunning, the scenery is breathtaking, and the photography brilliant.
Overall, this is a wonderful movie that softened even my cold, hard heart, allowing it to pump warm blood if only for the length of the movie. This is a love story without sappiness, a handsome hero with faults of his own, and a beautiful heroine who knows how to save herself. Enjoy!
2
This is a wonderful movie. The premise may be cliché, but this is much, much more than just another "Cinderella" movie. Its effects are really quite magical--it will make you laugh, it will make you cry, and it will totally immerse you in its spell. If you are human, it will proce a lump in your throat that will remain there for hours. Some people might call this a "woman's" movie, but I, as a man, will proclaim that it really touches my heart every time I watch it, and I freely admit that it does bring tears to my eyes. I need not go into detail describing the plot--it is a somewhat modernized Cinderella story, replete with the evil stepmother, charming prince, and angelic, mistreated heroine. Instead of a fairy godmother, there is Leonardo da Vinci--an unexpected but brilliant scripting decision, I feel. There are no magic pumpkins turning into horses and carriages, but there is magic; it is the magic of true love.
The entire cast is superb, particularly Anjelica Huston as the evil stepmother, but all of them are overshadowed by Drew Barrymore. Anyone who does not feel that Drew Barrymore is one of the greatest actresses of this and any other generation has obviously not seen this movie. I love all of Drew's movies, but I really believe this movie represents her finest performance. Even down to the most unimportant nuances of acting, she is simply brilliant. She is equally convincing as a peasant in the field as she is a royal courtier among the nobility of France. The emotion she is able to express to the audience is deep and amazingly real. I really can't say enough about her performance here.
All I can do is encourage you to experience this movie. I believe you will want to watch it more than once; it is just as fresh and moving the second and third time as it is the first. Don't dismiss it as a "sappy love story" or think its 16th century setting will make it hard to relate to. This is a story as old as time itself, really, and it is a story that will always be relevant to humankind. It celebrates the power of true love and shows all of us that dreams can indeed come true.
3This is the kind of movie that no self-respecting guy would admit to liking in front of his friends. Seeing as i have no self-respect and even fewer friends, i have no reservations in stating that i loved this one from start to finish. It is a clever and highly original retelling of the classic Cinderella story, set in France. The entire cast does an inspired job. Drew Barrymore hasn't been this endearing since "E.T." (or was it "Doppelganger" ? I keep confusing the two), Anjelica Huston is a fittingly loathsome stepmother and even the featured "prince charming" i found easy to stomach. Need i recount the (allegedly true) tale ? (daughter turned lowly servant turned pretend courtier turned princess) Check elsewhere !
The pre-feminist subtext is hard to overlook, but far from obtrusive. Couldn't help liking the not so evil second stepsister. No fantastic elements are introced: there is no evidence of sorcery, or a pumpkin anywhere to be found. Replacing the fairy godmother with Leonardo da Vinci of all people is a stroke of genius, adding to the credibility of the storyline. The payoff is thoroughly satisfactory, leaving you with a smile on your face. My fellow countryman Jeroen Krabbé (Barrymore's father) sees his acting career cut short as he is killed off within the first five minutes or so. The whole thing is accompanied by a great music score. Set aside your prejudice & suspend your disbelief.
4
Every once in a while, a movie surprises me. Such is the case with Andy Tennant's Ever After. Based on the lackluster previews, I was prepared for the worst, but, instead of getting a juvenile, pointless re-telling of the classic "Cinderella" fairy tale, I was confronted with a delightful re-interpretation. While I won't claim that Ever After is the best cinematic version of the fable, this is deft storytelling, and sure to be a hit with almost everyone who sees it (except, perhaps, unromantic cynics).
One of the most curious things about this movie is the PG-13 rating bestowed upon it by the MPAA. This is the third would-be family film in less than a month to carry that classification, and, while it is understandable in the case of the other two, Dr. Dolittle and Small Soldiers, I am at a loss to explain why Ever After was treated so harshly. Aside from a couple of mild swordfights, the evidence of a whipping (the actual event is not shown), and an inconsequential instance of profanity, there's nothing remotely objectionable about Ever After's content. Parents made wary by the PG-13 need not fret; this picture is entirely suitable for viewing by children of all ages.
Ever After's twist is that it's telling the "real" Cinderella story from which the Brothers Grimm fable was derived (the two famous fairy tale scribes make a brief appearance in a prologue that also features a cameo by the incomparable Jeanne Moreau). Consequently, there are no pumpkins, mice, magic spells, or fairy godmothers. The love story between a peasant girl and a prince is still at the core, although, in this case, "Cinderella" (whose name is Danielle), has the kind of progressive attitude that would be more at home in the 1990s than in the 1500s.
The broad strokes of the story are certainly familiar. After the tragic death of her father (Jeroen Krabbe), Danielle (played by Anna Maguire as a little girl, and Drew Barrymore thereafter) is consigned to a life of servitude for her cruel stepmother, Rodmilla (Anjelica Huston), and vain step-sister, Marguerite (Megan Dodds). Danielle has an ally in the household, her second step-sister, Jacqueline (Melanie Lynskey, last seen opposite Kate Winslet in Heavenly Creatures), but she's too meek to stand up to her mother. While Rodmilla, Marguerite, and Jacqueline enjoy as much luxury as their farm house provides, Danielle (bbed "Cinderella" by Marguerite for the cinders that always stain her clothing) is forced to scrub the floors, cook the meals, and feed the animals.
One day, when Danielle is picking apples, she spies a man stealing one of her step-mother's horses. It's actually Prince Henry (Dougray Scott), the heir to the throne of France, in the process of running away from his father because he is unwilling to be trapped in a loveless, arranged marriage. Mistaking Henry for a common thief, Danielle knocks him from the horse with a well-aimed apple. After she realizes who he is, she is apologetic, but the meeting leaves an impression on both of them. At the time of their next encounter, Danielle is posing as a countess in order to rescue a family retainer from debtors' prison. She engages the Prince in a spirited debate, and, although he thinks he recognizes her, he can't put a name to the face. Soon, he is scouring the countryside looking for her, and, although Danielle is attracted to him, she avoids contact, fearing that if he learns that she isn't a member of the nobility, he will shun her. Through all of this, there is a fairy godmother of sorts -- Leonardo da Vinci (Patrick Godfrey), who uses science, not magic, to smooth the path of true love.
Movies like Ever After, if fashioned with little skill, become curiosities for pre-teen girls looking for a summer afternoon at the movies. However, Tennant takes this familiar material and crafts a charming, captivating motion picture. He gives the villains a few human qualities, but still manages to make them despicable enough that we feel justified in cheering when they receive their comeuppance. The all-important romance is nicely-developed. Danielle and Henry are clearly fated to be together, but they have to overcome a number of obstacles along the way, including her dishonesty, her step-family's plicity, and his prejudice. Of course, everything turns out "happily ever after" (hence, the title), but, as in all romances, our enjoyment lies in observing the games played by the two smitten protagonists en route to that ending.
As good as the costumes and setting are, Tennant does not craft a flawless period piece. In fact, Ever After transpires in a pseudo-16th century that bears only a passing resemblance to the historical reality. Anachronisms abound, both in attitudes and in speech. The characters talk as if they are procts of the 1900s, not the 1500s, using idioms that, at the time, were centuries away from making their way into the language. Tennant doesn't appear to be bothered by these inaccuracies, but those who are sticklers for period detail may be distracted by this sort of thing.
Drew Barrymore, continuing to rehabilitate her once-tarnished image, proves that her winning turn as a romantic lead in the otherwise-dreadful The Wedding Singer was no fluke. As Danielle, she radiates tremendous appeal. Like Prince Henry, we are immediately taken not only with Danielle's beauty (which shines through the dirt on her face) but with her spirit. Speaking of the Prince, Dougray Scott (who can also be seen in this summer's Deep Impact) manages the difficult feat of making Henry likable rather than bland (blandness is often the unfortunate fate of the male leads in movies like this). Anjelica Huston and Megan Dodds turn on the bitchiness as step-mom and step-sister, and veteran actors Timothy West and Judy Parfitt have comical turns as the King and Queen of France. Patrick Godfrey's wise-but-humorous da Vinci is a delight.
Tennant, who showed skill at the helm of a romance with his last film, Fools Rush In, has found the right tone for this effort. The love story is wrapped around interludes of comedy, adventure, and drama. It never seems to matter that we know the entire story from the beginning -- the characters, not the plot, capture our attention. One concern I have about this film is that, because it's not high-profile, it has the potential to become lost in the summer crush. Here's hoping that enough viewers discover Ever After to give it a happy ending at the box office.
5
「Once Upon A Time…」 begins the classic tale of Cinderella, hapless victim of a cruel stepmother and wicked stepsisters. This time do not look for fairy godmothers or magic pumpkins and mice, and Cinderella may not be the demure damsel portrayed by Disney. Cinderella, AKA Danielle (Drew Barrymore) is a spunky, independent young woman who reads Sir Thomas More's 「Utopia」 and dreams of running the estate of her deceased father sans stepmother and stepsisters. Prince Charming Henry (Dougray Scott) is a young man struggling to define his own identity in the midst of an arranged marriage and a domineering father. When the two meet, a twisted tale of class struggle, political power brokering and love mix in this retelling of the Cinderella classic called 「Ever After: A Cinderella Story」.
A suprisingly well assembled cast along with some original additions to the Cinderella tale make 「Ever After」 captivating despite any previous exposure to the story. Anjelica Huston makes one mean stepmother, shockingly icy and venomous at times. So well portrayed is the wicked stepmother than you cannot help but be endeared to young Danielle. Drew Barrymore is a master of (acting) youthful innocence and her simple sweet smile was everything I needed to forget some of the racier characters she has played. Even the 「bit parts」 we filled with charming characters, from quaint country folk to legends from the annals of history. Don't expect history here though; remember this is a fairy tale (and at some points quite anachronistic) but a lively retelling of a well loved story.
「Ever After: A Cinderella Story」 contains two instances of profanity, some violence, and some alt topics (including some sexual innuendo). In spite of the above, I was pleased to see positive (albeit brief) references to Christian values. There is even a mention (and I quote) of 「the Son of God」! There is a brief instance of prayer and a mention of the positive role that Christian monks played in the ecation of society. This does not excuse the negative and sometimes too frequent sexual innuendo (which many viewers did not even notice, however) but it was good to see Christianity displayed somewhat openly and positively!
「Ever After: A Cinderella Story」」 was originally rated PG-13. However, the video version is slightly edited to make it a PG rating. Even with this in mind, however, some topics are better left alone with younger audiences. But otherwise a great film with some positive references to the Christian faith—perhaps you could use this to discuss your Christian faith with a friend!
6
Drew Barrymore as Cinderella? What a perfect fit for an update, like when Alicia Silverstone did a 1995 modern-dress version of Jane Austen's Emma in Clueless. But wait. Ever After doesn't step a toe out of the sixteenth century. Director Andy Tennant shot the film in France, with fairy-tale costumes by Jenny Beavan. Luckily, Barrymore is not the kind of actress who'd settle for a musty retread. The last time she and Tennant worked together, she was a hellcat Lolita in his TV version of The Amy Fisher Story. Barrymore's take on Cinderella is more Betty Friedan than Brothers Grimm. No prince would mistake her for a docile dolly.
Let's start with her attitude. As the orphaned Danielle, Barrymore is willing to take just so much shit from her stepmother, Rodmilla (Anjelica Huston). Danielle doesn't pine for a fairy godmother to solve her problems. Good thing: The script by Tennant, Susannah Grant and Rick Parks doesn't give her one. Danielle makes her own miracles, though she does get sound advice from Leonardo da Vinci (Patrick Godfrey) -- you heard me -- in handling her stepsisters (Megan Dodds and Melanie Lynskey) and Prince Henry (Dougray Scott), a handsome snob with a thing about servants; he recoils in horror when he finds out that Danielle is one.
Enough remains of the Cinderella myth -- masked ball, glass slipper -- to please purists. But it's the feminist spin that makes Ever After mischievous fun. The radiant Barrymore energizes Cinderella with a tough core of intelligence and wit. And Huston is a devilish delight, wringing laughs and a grudging sympathy from a role usually caricatured as pure evil. Shake off the cobwebs. These sisters are doing it for themselves
⑻ 看完電影後的 觀後感
電影（海洋天堂）：主演：李連傑、文章、桂綸鎂
90分鍾的海洋天堂，像一部溫情細膩緩慢而又充滿感情的小說。我以冷眼淡漠的看著前80分鍾的一個一個真實的生活細節，毫無動搖，甚至懷疑電影的索然無味，更無一點點感動湧上心頭。然而這種感覺，在最後的10分鍾內，讓近乎無法抑制的淚水給了自己強烈的反擊，雖然預料到的結局，卻不曾預料到的情感爆發。
一個沉溺於自己世界的孤獨症孩子，他開心時的笑臉，真誠的雙眼，讓人溫暖。他幸福時修長的手指晃動在空氣中歡快的搖曳，他寒冷時手掌渴望得到的真實的觸摸感，他害怕無奈時大聲的喊叫，他憤怒委屈時不停抽搐的身體以及在父親身上留下深深地牙印兒，他失落時靠在麥當勞叔叔身上含在眼中的淚水，他自由時像魚兒一樣在海洋中的無拘無束...這一切都昭示了，他是一個和普通人一樣有各種情感的孩子，只是他不知如何表達，只是他充滿了懼怕，所以他選擇本能的逃避了世界，逃避了他人，活在自己的世界裡，留下孤獨的自己。該怎麼說明他是幸福的還是不幸的？紛亂的世界中只留下了孤單的自己，還不能像正常人一樣生活，難道他是幸福的？可本就是活在自己的世界裡，剩下自己又怎樣?有那麼偉大的父親的愛，有海中一直陪伴自己的大海龜，有溫暖的陽光，又寬廣的大海，難道他是不幸的？
影片的最後，看著在父親墳前蜷縮著身體，有手指觸摸溫暖的大福時，我是溫暖的。在看到大福自己脫衣服，自己上下車，乖乖的把電視上的小狗拿掉，一步一步認認真真的拖地，自己煮蛋的時候，情感在冗長的沉睡之後，盛大的像自己撲來，眼淚無法抑制，也無法敘說真正哭泣的原因，文字的蒼白與單薄被自己深深察覺。那些父母親在瑣碎的生活中給的點滴的愛，只有在一個人承受的時候，才會被自己察覺，才會猛然間醒悟，那些深沉，那些無私是多麼彌足珍貴。審視自己，發現自己的自私，發現自己的渺小，發現那永遠報答不完的深深的親情。
海洋天堂，一個永遠有自由，有父親，有依靠的地方，那是內心最後的歸宿，最舒適的棲息港灣。。。
這愛與孤獨的矛盾，讓我深陷...
⑼ 後天電影的觀後感
世界都快末日了還有什麼好想的。
珍惜當下，不要等到沒有明天了，才去尋找生命的意義。
愛護環境從身邊做起吧。