㈠ 求電影《澳大利亞》的英語影評
Australia
Proction year: 2008
Country: Rest of the world
Cert (UK): 12A
Runtime: 165 mins
Directors: Baz Luhrmann
Cast: Ben Mendelsohn, Bill Hunter, Bryan Brown, David Gulpilil, David Wenham, Hugh Jackman, Nicole Kidman
The ambitious, not to say hubristic, title Australia brings to mind the blockbuster novels of James A Michener that took a place (Hawaii, Poland, Texas) and gave us its history from the Stone Age to the present, incorporating in the later stages a romantic tale of the struggles of three or four generations. Baz Luhrmann does something vaguely like this by having a 12-year-old Aboriginal boy steeped in the lore of his people narrate the story, though the setting is confined to the Northern Territory and the time frame a mere three years from the outbreak of war in 1939 to the Japanese air raids on Darwin in 1942. But a condensed TV mini-series is nearer the mark.
Australia is populated by faces made familiar by Australian films of the past 40-odd years - Ray Barrett, Jack Thompson, Bryan Brown, Bill Hunter, Tony Barry, David Gulpilil among them - and in a superficial way it revisits the heroic period of Australian cinema in the 1970s and 80s. That was when Peter Weir, Fred Schepisi, Bruce Beresford and others were exploring - in movies like Picnic at Hanging Rock, The Chant of Jimmie Blacksmith and Gallipoli - such pressing issues as the relationship of white Australians to this mysterious new land, guilt over the treatment of dispossessed natives, the burden of cultural inferiority and the shaping of a national identity. The next wave of film-makers turned away from these big subjects, focusing on comedies and small-scale dramas of suburban life.
Luhrmann's Strictly Ballroom was a major example of this new antiheroic cinema and his next two movies - a Romeo and Juliet set in Latin America and the musical extravaganza of fin-de-siècle Paris, Moulin Rouge - took him into worlds of artifice far removed from everyday life. But Australia isn't really taking up the themes that once made Australian cinema so vital. It's imposing Hollywood styles and forms on the Australian experience and it falls into two distinct parts, the first a western, the second a war movie.
Australian film historian Brian McFarlane coined the term "wallaby western" to describe Outback adventures inspired by the Hollywood horse operas that have been a regular feature of cinema Down Under since the silent days. In Luhrmann's film, Nicole Kidman plays Lady Sarah Ashley, a parodic British aristocrat who flies in September 1939 to Australia, where her errant husband runs a cattle station in the Northern Territory. Meeting her in Darwin to escort her to the farm is "the Drover" (Hugh Jackman), a tough, independent wrangler.
They correspond exactly to the haughty East Coast sophisticate arriving on the American frontier with her fancy city ways and the plainspoken cowboy at home on the range, so often played by Maureen O'Hara and John Wayne. Initially hostile to each other, the pair develop a mutual respect and romance inevitably follows. This occurs when Lady Ashley's husband is found dead (murdered by thugs employed by a rival cattle baron) and to save the station's fortunes, she and the Drover must take a herd hundreds of miles to be shipped out of Darwin.
Two major Wayne westerns are here brought together - Red River and The Cowboys - and in an exciting, melodramatic manner the cattle drive takes place over awesome terrain to music that echoes familiar scores by Dmitri Tiomkin and Elmer Bernstein. A subplot centres on Lady Ashley's protective relationship to the narrator Nullah (affectingly played by Brandon Walters), a half-Aboriginal boy. She attempts to save him from being sent by law to a mission school and raised as a déraciné white child. This parallels the half-Indians torn between conflicting cultures in the western.
The war movie genre forms the second half of Australia. The escalation of hostilities following Pearl Harbor coincides with the deep-dyed villain conspiring to have Nullah taken into custody. As European children are sent south from Darwin for safety, Nullah and other half-Aboriginal orphans are dispatched to a mission island near Darwin that puts them directly in harm's way.
Fortunately, Lady Ashley, having separated, à la Scarlett and Rhett, from the Drover, has left her equivalent of Tara to do her bit for the war effort in Darwin. While they rush around trying to save Nullah, one mini-climax follows another as the Japanese air force attacks the city and their army lands on the orphans' island. At this point, Luhrmann evokes From Here to Eternity, Pearl Harbor, Gone With the Wind (the burning of Atlanta and its aftermath) and wartime anti-Japanese action movies.
It is all absurd, and yet absurdly entertaining, the stylised special effects adding to the weirdly unreal feeling. But you don't go to Baz Luhrmann expecting to find Patrick White, any more than you buy a ticket for South Pacific expecting to experience The Naked and the Dead. Meanwhile, the numinous presence of the Aboriginal shaman, Nullah's grandfather King George (David Gulpilil), and the movie of The Wizard of Oz hover over the picture. Lady Ashley cheers up Nullah on the cattle drive by telling him the story of Dorothy's quest and singing a half-remembered version of Over the Rainbow; later, Nullah sees the movie at an open-air cinema. As Baum's Oz meets Baz's Oz, "dream time" merges into the Hollywood cliche of "living your dream".
The movie ends with Nimrod from Elgar's Enigma Variations accompanying Nullah on walkabout with King George. The world is at war, but Europe and Australia, city and country, past and future are at peace as the Drover and Lady Ashley embrace in their outback paradise. When they marry, will she be called Lady Drover?
㈡ 電影 荊棘鳥 觀後感 600字
這算是我看得最長的外國小說，一共500多頁。是空前，但不是絕後。因為家裡才買了本700多頁的小說。這篇小說的文案不吸引人，但是卻被第一章吸引住了。我覺得文章的開頭非常重要，甚至比結尾還重要，只有開頭能夠攫住讀者的，才能夠讓人有繼續的慾望。這篇小說就是開頭吸引了我。真正吸引人的開頭不一定要轟轟烈烈，不一定要死去活來，真正有水平的作者，哪怕開頭用的是一個很平淡的事情，也可以寫得引人入勝，或許這就是妙筆生花吧。
開頭平凡到不能再平凡，一個小女孩，梅吉，收到了一個夢寐以求的四歲生日禮物，一個芭比娃娃。梅吉給她起了名字：艾格尼絲。然而還沒等梅吉興奮完，兩個淘氣的哥哥就跑來蹂躪她的艾格尼絲。梅吉又氣又急，只能在一邊哭喊著，直到家裡的長兄弗蘭克出現的時候，才趕跑了兩個淘氣的弟弟。然而艾格尼絲已經段成幾段了。
作者的筆法勝在多人物的細膩描繪上。從梅吉在拆開禮物之前的心理，一直到最後都是相當地細致。當梅吉拆開禮物的時候，那種驚喜甚至有點點難以置信的心理，她一直以為她不會得到這個小娃娃，竟然在生日的時候得到了；兩個淘氣的哥哥過來搶走了她的艾格尼絲，梅吉那種悲傷無助的心情。弗蘭克趕走兩個弟弟之後，對妹妹的細心安慰，當梅吉看到被扯得四分五裂的艾格尼絲時那種驚慌的表情。一個場景下來，我幾乎是立刻喜歡上了小梅吉，如此純潔的小女孩，如此溫馨的家庭場景。
梅吉的家庭是一個龐大的家庭，前後共有九個兒女，但只有梅吉一個女兒，兒子之中先後又死了兩個。所以到最後這個家族還是有七個兒女。這讓我頗為汗顏。
全書分成七部，每一部都以一個人物作為中心。但其中最牽動人心的，也是全書的最亮點的是梅吉和神父拉爾夫之間的愛情。
梅吉一家以前是住在紐西蘭，後來遷往澳大利亞的姑媽瑪麗·卡森家，澳洲最大的牧場之一德羅海達，從此便一直在那裡生活。而拉爾夫神父跟梅吉其實是忘年戀，認識拉爾夫的時候，梅吉還只是一個七八歲的小女孩。天主教的神父是不能結婚的，所以這段愛情是禁愛，所以這兩個人，尤其是梅吉一直陷於欲愛不能的痛苦之中。梅吉一家熱愛那片德羅海達的土地，盡管這片土地奪去了他們的父親和一個兄弟的生命，為了這片土地，梅吉的幾個兄弟都沒有結婚。而梅吉也只有一兒一女。
拉爾夫一直陪在梅吉身邊，看著她成長，直到瑪麗·卡森一張遺囑把德羅海達的一切交給拉爾夫、交給教會，無論梅吉一家是否接受這份遺囑，拉爾夫都沒臉再跟他們一家長期相處。為了教士的忠貞、為了將來，拉爾夫公開了這份遺囑，然而梅吉的爸爸卻沒有因此感到氣憤，梅吉家族的寬容讓拉爾夫無法再在德羅海達呆下去，於是便離開了梅吉。梅吉後來嫁給了新請來的長的很像拉爾夫的牧場工人盧克，並且離開了德羅海達，跟著盧克去昆士蘭州闖盪。但是盧克一直沉迷於工作，這讓梅吉傷透了心，在她一個人前往大堡礁度假的時候，在那裡與拉爾夫度過一生中最浪漫的時光並懷上了他的孩子後，她終於決心離開盧克，回到德羅海達。之後便是開始她的一雙兒女的故事。戴恩長得很像拉爾夫，而且最後也成為了一名神父，只可惜年僅26歲便死於一次海上救助。女兒朱絲婷最終也確定在歐洲發展她的演員事業。
書很長，概括主要內容起來還真不容易啊。我好不容易才寫到這樣「短」，而且也已經是刪掉了好多經典的橋段。也好，寫太多就「書透」了。
在這本小說裡面，最讓我思考的不是拉爾夫和梅吉之間的愛情，而是男人是如何對待事業和愛情的。作為一個「來自金星」的人要去揣摩一群「來自火星」的人的心理還真是不容易，所以我也不得不說我一直都沒有弄出結果。
說回遺囑那件事情，拉爾夫為了他的誓言、為了他的事業，他公開了瑪麗·卡森臨死前寫給他的一份遺囑，這份遺囑雖然讓他在教會獲得了很高的地位，但是他付出的代價是離開德羅海達，離開梅吉。就像他後來說的，為了他的事業，他把梅吉給賣了。最後他扶搖直上，最好到了羅馬做紅衣主教。
雖然是這樣，我確信拉爾夫是深愛梅吉的，在德羅海達發生大火之後，拉爾夫連夜趕來，當聽到梅吉的父兄在這場大火中死去的時候，他第一句話就是：梅吉呢？梅吉呢？
梅吉難產，而這個時候，讓所有人都吃驚的是，拉爾夫居然來了。
而當梅吉一個人去大堡礁度假的時候，他立刻前往大堡礁去找梅吉。在那個沒有任何人打擾的小島上，他們度過了一生中最幸福的時光。
至於盧克，開始我對他還報有希望，希望他能讓梅吉幸福。但是當發現他是個情場老手，更發現他沖著梅吉來原因之一是梅吉是德羅海達的唯一女性繼承人的時候，我就感覺不妙了。盧克帶著梅吉到昆士蘭州創業，盧克把梅吉留在穆勒夫婦家中當管家，而自己卻迷上了收甘蔗的工作，他常年在外幾乎沒有怎麼跟梅吉一起。男人出去打拚，讓妻女留守也是常有的，很難說盧克不愛梅吉，但很確定的是他從來沒有關心過梅吉。
這種男人更適合當情人吧。更無語的是，按照穆勒夫人的說法，盧克不僅沒有生意頭腦，還是個守財奴，不敢聽從穆勒夫人的意見買下一塊土地來投資。到了最後，估計他一輩子都在割甘蔗，直到割不動了。所以梅吉離開他是相當明智的。
拉爾夫和梅吉是真心相愛，只是神父的身份讓他無法成為梅吉的丈夫（我倒覺得忘年戀不是問題）。
全書裡面，最讓我驚訝的是梅吉的母親菲奧娜（小說中一直簡稱為「菲」）。那個優雅、性格沉默溫和，在弗蘭克離家出走、丈夫和兒子死後心如死灰的人，表面看上去她誰也不關心的人，卻是最了解梅吉的人。她和梅吉感情不算很親密，但是自從菲從女兒手上接過孫子戴恩的時候，她就知道戴恩不是盧克的兒子，而是拉爾夫的兒子。這在很後面才交代了出來，那時候還真是嚇了我一跳。她理解梅吉，不僅因為她明白既然梅吉不想跟盧克過日子了，自然就不會跟他再有第二個孩子。更是因為她和梅吉的經歷是驚人地相似。她的大兒子弗蘭克是她和別人的兒子（她是帶著弗蘭克嫁給後來的丈夫的），而弗蘭克的生父在紐西蘭是一個有頭有臉的有婦之夫，他們也是相愛但註定無法在一起，當她懷上弗蘭克的時候，她非常開心，因為菲覺得就算沒辦法嫁給他，也能從他那裡得到一個孩子，也能從他身上「偷」來一個孩子。這個想法跟梅吉懷上拉爾夫的孩子時一模一樣。然而她也告訴梅吉，是「偷」來的終究要付出代價，弗蘭克身陷囹圄，而彷彿預言一般，戴恩年僅26歲就死了。
荊棘鳥，明知用荊棘刺穿胸膛後，在那首生命絕唱完成之後，自己也會死去，然而它不得不如此，明知事情行不通卻仍然要這樣做。然而還是菲的那一席話點破了一切：每個人都唱著自己那支小小的曲子，相信這是世界從未聆聽過的最動聽的聲音。難道你不明白嗎？咱們自己製造了自己的荊棘叢，而且從不停下來計算其代價。我們所做的一切就是忍受痛苦的煎熬，並且告訴自己，這是非常值得的。
㈢ 10部英美電影的觀後感 200字左右
選一部寫它的英文影評 The Liz Murray Story Thora Birch stars as ! 參考資料：網路文庫 分確實太少了。還要用英語。
㈣ 求一篇英文電影觀後感
公主日記 1
<Princess Dairies> is my first English fiction.This book is very funny and imaginable.Make me feel like I am the one of the book.<Princess Dairies> talk about our little girl's dreams.Let us can have a life like "Pricess".I like this book.I hope you guys can have fun of it.
《The pursuit of happyness》當幸福來敲門
After watching it i learned that catch every chance what i meet and be activly to the life.And god will never miss us or give us upLike the actor, he can be such a life in the bottom of society commitment-phobe deced, at least, I was really touched. In order to pay the rent and looked at his son to send the kindergarten fees, looking at his envy ground to looking at a securities broker's figure, looked at him with a securities broker to win the opportunity to communicate with time, sit on the same car, looking at him and they are expecting to speak, he wants to become a securities broker. At last, he finally out of the crowd
海上鋼琴師
Leggenda del pianista sull'oceano,la
Take a piano. The keys begin, the keys end. You know there are eightyeight of them, nobody can tell you any different. They are not infinite. You are infinite. And on these keys the music that you can make is infinite. I like that. That I can live by.
What I didn't see. In all that sprawling city there was everything except an end. There was no end. What I did not see was where the whole thing came to an end. The end of the world...
You get me up on that gangway and you're rolling out in front of me a keyboard of millions of keys, millions and billions of keys that never end.That they never end. That keyboard is infinite. And if that keyboard is infinite, then on that keyboard there is no music you can play. You're sitting on the wrong bench. That's God's piano.
How do you choose just one? One woman, one house, one piece of land to call your own, one landscape to look at, one way to die...
I was born on this ship, and the world passed me by, but two thousand people at a time. And there were wishes here, but never more than fit between prow and stern. You played out your happiness, but on a piano that was not infinite. I learned to live that way.
一生與弗吉尼亞號相伴，生於斯,長於斯,死於斯，從未踏上過陸地,即使為了愛情曾嘗試過。
沒有出生證明,沒有戶籍身份,說其未曾存在也不為過.
純潔的心靈和音樂如此的貼近.塵世的浮華,偽裝與面具在流動的音樂面前不堪一擊.
他的一生,對慾望不以為意,卻擁有純粹的追求;與愛情擦肩而過,卻理解更為深刻的美麗，伸手觸摸琴鍵,將人的一生在樂聲中靈性的寫意出來.在他的眼裡,每個人都是一段樂章.
我不認為這是悲劇,即便會流淚。那何嘗不是幸福，能夠在一生中追求他所追求的.
㈤ 求一篇英文電影的觀後感
電影《肖申克的救贖》The ShawShank Redemption 觀後感。
Hello, everyone, my topic today is 「The ShawShank Redemption」. Prison as a special place for prisoners is part of the society. It』s special because of its depriving the freedom of the prisoners. The prisoners in that situation are more sensitive to freedom than people in other situations. When they lost it, they found that it was so necessary to them that they looked forward to regaining it. By contrast, the people lived in the political society were interested in courting the fame and gain. They lost most of their inherent character. They put their soul into the fence of their own. They gave up the freedom of thinking. They forgot their original dream. The demands of the spirit were materialized to a position or some numbers.
A prisoner spent almost all the life in the prison. When he got the parole, which was applied for many years but without reply, he didn』t feel happy, but sad. He wanted to go to the prison again. He wanted to live in the place he knew. In the prison, he was a key who had knowledge and position. But when he went out of the prison, he found he was only an old man without anything. He couldn』t finish his work quickly because his hands had suffered the arthritis. Unfortunately, he even had no power to struggle. As a result, He chose to suicide because it was the only thing he could do by himself.
Red was a superman in the prison. He could find things that weren』t in the prison at all. But when he went out of the prison, he could do nothing. He lived in the fear and felt so lonely. He loved freedom but he couldn』t realize his value. In this film, Red said, 「Hope is a dangerous thing. Drive a man insane. Nothing will take place here. You』d better get used to the idea. These walls here are kinds of funny. At the beginning, you hate them, then you will get used to them. As time passes, you will depend on them. That's institutionalizing.」
In this film, Andy as the symbol of the hope lived in the prison for 20 years. He remained his dream all the time. On one hand, he looked forward to getting freedom. On the other hand, he believed that he was innocent of the murder. The real reason was his profound thought about hope. In his opinion, hope is a good thing, maybe the best thing, and no good things ever die. It makes a strong man save himself, and a great man save another one. According to this idea, the life in prison for 20 years did not made Andy give up the hope, but made him comprehend the meaning of the life. In fact, hope is a mood without ambition but it really exists.
The sky, the sea and the beach compose a romantic picture. When Andy and Red, two weather-beaten friends, saw each other again in the island, all hardship of 20 years made Andy tougher and their friendship get harder as the same.
最好你自己也去看看，根據你的感受修改下會表現更好！這實在是一部很Man的電影，拘於困境，受盡委屈卻不屈不撓，對自我的拯救！
㈥ 電影老外觀後感
[電影老外觀後感]今天法盟和武漢法國領事館共同組織了,這部名為老外的電影見面會.本來昨天准備去新天地看這部片子的,因為下雨沒去,沒想到今天竟然看成了.電影講述了一位來自法國的sohoIT工程師和一位來自武漢但在上海教外國人中文的女生的愛情故事.電影的前半段在上海取景,後半段拯救愛情部分都是在武漢取景的,看到了我們熟悉的江灘,戶部巷,黃鶴樓,長江大橋,漢正街,很是驚喜！特別是電影中還出現了不少武漢話,武漢麻將還有在江邊賣唱的那些藝人,還有大寶(法國IT工程師)在武漢遇到的兩個武漢人開解他是的那些武漢式普通話,感覺特真實！也秀有趣！這是在武漢的漢正街取的景,很是熱鬧吧！這是大寶在街邊打武漢麻將,我還聽到有說"這是賴子",好搞笑！這是男女主角,兩人發展戀情時.看電影時感覺男主角,Il est tres aimable.他在電影中唱的中文歌讓我們在場的人有驚艷的感覺,而且他的中文說得真的很棒.今天有幸看到他的真人,還是蠻帥的,用手機照了幾張幾個演員的合影,不過效果不太好,就不發上來了.女主角應該不是武漢人,武漢話說得不標准,不過倒是演出了武漢女孩的火爆脾氣！感覺這部片子還不錯,如果是武漢的朋友推薦看下,一定會找到很多共同點！MSN（）〔電影老外觀後感〕隨文贈言：【人生舞台的大幕隨時都可能拉開，關鍵是你願意表演，還是選擇躲避。】
㈦ 外國影片觀後感
最好自己寫。一般先簡要介紹一下電影內容，然後就劇情、導演、演員、攝影、音樂等某一方面進行分析評論，最後總結一下。
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㈧ 英文電影的觀後感（英文）不要太深奧哦！3篇 謝謝嘍！
初戀50 First Dates
What would it feel if I can wake up
everyday forgetting what happened for the last whole year?
Lucy in the movie 「50 First Dates」 told me
this feeling. Every morning when she woke up, she only rememberred the Sunday
of last year which was her father』s birthday, also the date she had the car
accident which made her only keep memory before Sunday, so she always felt
happy living the same habit as what she did on Sunday a year ago with the kind
set-up by her father and brother. After meeting Henry, she could only remember
who he was on the same day. But after one night, he became a stranger to her.
She couldn』t even recognize he was the one she used to date and love everyday.
Henry tried his best to give her a new different meeting every day so as to win
her smile and regain their 「First Date」. Henry made her tapes every morning to
help her remember what happened the day before and the last whole year. Lucy
thus felt grateful with all she had when she woke up everyday. On the same day,
she always had the same deep gratitude to face Henry with her sweet smile.
What a beautiful feeling it is to always
feel thanksgiving and to always appreciate each other』s effort. A touching
story between a memory lost woman and a devoted man taught all of us, normal
people, the essence of love. When two people can thank each other for their
devotion everyday like what they did for each other on first date, love can
forever be refreshed and energetic. On Lucy』s side, people with memory will ask
for more than yesterday and become critical of their partners day by day, while
people without memory will feel grateful for their life and the people around
them everyday.
In the movie, when one day Lucy decided to
break up with Henry to let him rebuild his life by burning all their diaries
and tapes, I cried for Henry』s broken heart. For her, it was just one day
feeling. For him, it was long-term affection and connection. It was easier for
her than him to give up their love. On Henry』s side, people with memory will
always remember the past happiness and treasure it for the rest of their life,
while people without memory will easily give up at the end of the same day.
What a ruthless feeling it is to end a
relationship just after one minute thought. People with fragile mind would
easily ruin a long-term relationship no matter what reason they have. The
torture between Lucy and Henry tells us the fatal factor to do harm to intimacy
between a couple is their fragile mind of balancing emotion and reason. Thus
most of couple lose their trust for each other after experiencing this weakly
testing broke-up.
颶風Taken
What is the right relationship between the
father and the daughter? There is no certain answer. But the love of Brain's to
his daughter must be one of the best ones.
His daughter, a young pretty 17-year-old
girl was kidnapped ring a tour in Paris. Brain got the news and hurried to France
to take his daughter. He found that the gangsters that kidnapped his daughter
were connected with an old friend which made him exetreme angry. He finally
found the place where was holding an auction selling young virgins and broke in
successfully taking his daughter away.
No matter how hard and stressful the
situation was, and how dangerous things he faced, he never went back just
because of the greatest love of a simple father. In the movie, we are all moved
not only his actions of kindness, but also his insistance and the greatest of
all- a father's love.
魔術師THE ILLUSIONIST FACTS
When word of the famed Eisenheim's (Ed
Norton) illusions reaches Crown Prince Leopold (Rufus Sewell), the ruler
attends one of the magician's shows in order to debunk the performance. But
when the prince's intended, Sophie von Teschen (Jessica Biel), assists the
magician onstage, Eisenheim and Sophie recognize each other from their
childhoods, and pretty soon they're totally hot for each other. As the
clandestine romance continues, the prince's best cop (Paul Giamatti) is charged
with exposing Eisenheim, even while the magician gains a devoted and vocal
public following. Before long, Sophie turns up dead, and the logical suspect is
Eisenheim himself.
一線聲機"Cellular" has the setup for a solid straight-ahead
thriller: A kidnap victim who does not know where she is being held phones a
total stranger who must then stay connected on his cell phone to find her
before she is killed. Joel Schumacher scored earlier with a similarly phone-themed
Larry Cohen story, "Phone Booth." As executed by tone-deaf director
David R. Ellis, however, "Cellular" becomes an unintentionally
hilarious cousin to Brian de Palma's "Raising Cain" and "Snake
Eyes."
Ellis seems to have unwittingly spliced together
two different films with mismatched tones: Kim Basinger as the kidnapee and
Jason Statham as the kidnapper occupy the deadly-serious, straight-to-video
thriller half, while Chris Evans as the rescuer and William H. Macy as a police
officer seem to be in a "Saturday Night Live"-alum action comedy.
Nowhere else is the disjointedness in tone more apparent than when Basinger and
Evans's performances are placed side-by-side ring their conversations: The
scenes keep cutting between an overwrought Basinger wringing out every drop of
melodrama, while a blissfully inept Evans seems to be channeling a cross
between Chris Kattan/Jimmy Fallon and Ben Affleck/Keanu Reeves.
Meanwhile, Ellis pulls out tricks intended
to generate thrills and surprises. He throws in out-of-nowhere
"shocks," a la "Final Destination"; he throws in
flashbacks; he throws in a gun-blazing Macy in Jerry Bruckheimer action-hero
slo-mo; and yet, Ellis has no handle on staging any of them competently. Case
in point: "Cellular" is the proud owner of one of the most ineptly
scored chase sequences ever, as if Ellis simply heard a snippet of the song's
lyrics ("...where you gonna run to?") literally and paid no attention
to the inappropriateness of the accompanying music (which just bop, bop, bops
along). (The song is even reprised ring the closing credits, which itself is
misbegotten in conception.)
And yet, for all of its failures as art,
"Cellular" is always entertaining for those very same faults
㈨ 5篇英文電影觀後感(觀後感中文)！
1.玩具總動員1
最近，我看了一部極具「人情味」的動畫片，它的名字就是《玩具總動員》。
它講述的是：
胡迪是小主人安弟最喜歡的傳統牛仔玩偶，他和其他玩具趁主人不在時，便會「活」起來一起玩鬧。可是好景不常，最新奇的熱門玩具巴斯光年來了，他讓胡迪備受冷落。失寵的胡迪為了鞏固自己的地位，只好處心積慮地想要趕走巴斯。最後，胡迪和巴斯不幸化敵為友的故事。
看完此片，我想到了那些以前被我丟棄的玩具，它們在黑暗的垃圾桶，廢棄堆里，是否會傷心，是否會抱怨？我想是的，因為它們不僅僅是玩具，它們也是有思想的，當你的玩具被你遺忘的時候，他們也會難過的。
或許，你現在覺得那些老玩具已經不潮了，但是你在拋棄他們的時候，沒有懷念過曾經與他們在一起度過的美好時光嗎？
2.功夫熊貓
還是一貫的夢工場的高水準，畫面精緻細膩，人物生動傳神，故事情節曲折動人，最重要的是它以最簡單易解的方式說明白了一個道理，那就是——世界上沒有任何捷徑和秘籍，唯一的制勝法門就是相信自己。
不想再說更多的劇情，因為它真的很出色。看的過程中，頻頻出現人們會意的笑聲，整個氛圍相當的輕松和愜意。這個片子做得非常地道，一點兒也沒有是由西方人演繹的感覺，不論是故事還是其中傳達的意境，不論是畫面還是其中的細節，都是東方式的；唯一特別的可能就是出現的現代的口語，比如ok之類的。
3.美人魚公主
周日中午沒睡午覺，特意看了動畫片《美人魚公主》，相信這部動畫片很多人都看過，因為它美麗，浪漫，充滿了神秘的氣息，而且製作精美，設計巧妙，又尤其美人魚形象堪稱一絕。
美麗的愛麗兒是一條可愛的小美人魚，她一心嚮往人類世界，每天都想盡辦法游出海面，企圖能夠接觸人類。可是接觸人類世界卻是人魚法律所禁止的。她聰明、勇敢、喜歡冒險，常和她最好的朋友小比目魚胖胖還有音樂大臣賽巴斯丁一起出去探險
個人很喜歡美人魚這個動畫角色，也許每個女人潛意識里都會有些浪漫情結吧（老公經常強調我不浪漫，太現實，喜歡斤斤計較，抓住別人的小辮子不放，雖然我一直沒找到機會和辯詞來進行反駁，但我心裡是從來都沒承認過我有這么多的缺點的。），雖然小孩都上幼兒園了，但還是喜歡看這個動畫片。
4.《冰河世紀3》——觀後感
從兩只松鼠的開場到兩只松鼠的結束將此故事做了一個引導的作用。
整個故事給人有種從外界進入一個環境美麗但確又有著難以想像的冒險，最後戰勝敵人最終boss魯迪救回朋友到了自己的家園完美結局。整部影片的故事情節很生動，讓人的心裡有隨著故事發展起伏和誇張的似人情感表現出角色的觀眾的心理舒暢，有讓人在觀看中找到解放天性，狂放野性奔放的想像力等，除此之外還有裡面的角色的擬人行為思想和動作的結合體現給我的感覺是很有趣、很搞笑、很輕松。影片給我的第一感覺是很獨特有種讓人想進入這樣環境的感覺。在影片的畫面和音效的完美結合中給人的第一印象是非常有好感。
5.《飛屋環游記》——觀後感
本影片在沒有冰河時代那種有搞笑和賞心悅目也沒有那種驚奇的搞怪誇張幻想在裡面，只是很似人的故事情感的塑造了一個人物的思想和被改變到最後的為了救羅素和kevin和查爾斯的戰斗讓故事有了一個很好的體現人的性情和理想願望等。他在為了完成心愛人的願望將他們的房子放到天堂瀑布不懈努力堅強執著 一定要將這件事做完而放棄了kevin被查爾斯抓走而為了房子放棄營救，看出他心裡情緒是多麼在乎他妻子的願望不為過之後，看了妻子留給他的……而想通。之後他在回想到與羅素、kevin和狗的生活，這些讓他感受到了朋友的重要。他就馬上行動去救羅素。他就把所有房子里的東西讓自己……在有失去房子他那時的心裡和最後羅素坐在房子旁數車的色彩，說明人物已經從過去的悲傷中走了出來，這里可以體現整部片子的人物生活性情的改變，說明我們現實也許要……
㈩ 電影觀後感(英語,不少於150詞)
提供墨水心電影的英文觀後感，202單詞，見附件。
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