❶ 求經典外國電影影評---要英文版本的
珍珠港的影評
pearl harbour film review
Pearl Harbor consists of three incongruous acts, mashed together into an ungainly whole. It appears to be more interested in reprocing the success of Titanic, which also set a fictional love story amidst a tragic historical event, than it is in telling the story of the men and women who fought and died in the attack on Pearl Harbor.
Titanic worked because the central characters were interesting, the story was cohesive, the historical events were handled respectfully and with the proper dramatic tone, and underneath it all was an intelligent reflection on the human failings that permitted such a tragedy in the first place.
Pearl Harbor reces the historical backdrop into a series of action set pieces. Instead of exploring ideas inherent in the events, it extracts them, recing the reason for Japan's attack to something inexplicable at best, and having utterly nothing to say about why the attack happened, how it was carried out, or how we responded. The film is dedicated to the men who died at Pearl Harbor, but what does it dedicate to them? It does not seem very interested in them except as a tool for dramatic imagery. Consider, for example, a scene in which we learn that men are trapped in a sunken ship in the harbor. We learn this to emphasize the brutality of the attack, as if such emphasis were needed. Then the film forgets this point entirely, providing the fates of those men in a narrated line just before the closing credits. Why wasn't the third act of the film about those men, instead of a rushed covering of the Doolittle raid on Tokyo, complete with overblown crash landings and an improbable engagement with Japanese soldiers?
If you want to see a real movie about Pearl Harbor or the Doolittle Raid, one that paints a deep and accurate picture of what it was like, one you can learn from, one that pays tribute to our veterans, or even just one that functions as convincing entertainment, there is no shortage of options. Tora! Tora! Tora! chronicles the events before, ring, and after the attack from both the American and Japanese sides. Thirty Seconds Over Tokyo is as thorough a chronicle of the Doolittle Raid as is probably possible in a feature film, while also following the personal stories of a few indivials involved (any one of which is more interesting than the personal story in Pearl Harbor). The Purple Heart, one of the most heartbreaking movies I've ever seen, tells the story of Americans captured by the Japanese after the raid.
Writing off the historical aspects of the film, I am left with the love triangle that makes up the entire first act and pervades the rest of it. It is wholly uninteresting. This same story has been told better, countless times before. Not one of the three characters is fleshed out into an indivial: they are bland stereotypes, dolled up to look pretty and given trite lines that they recite to convey the illusion of genuine emotion. It's telling that it doesn't much matter to us how the love triangle is resolved. Unless they both die, she'll get one of them, and who cares which? Neither of the men are personable, and we surely suspect early on that her decision will be based more on fate than her own volition anyway. (In plots like this, it's survival of the survivors.) And so, alas, we are denied even the most basic of all elements of storytelling, namely, characters making actual decisions
❷ 英文電影影評
Julie & Julia is a 2009 American comedy-drama film written and directed by Nora Ephron starring Meryl Streep, Stanley Tucci, Amy Adams, and Chris Messina. The film contrasts the life of chef Julia Child in the early years of her culinary career with the life of young New Yorker Julie Powell, who aspires to cook all 524 recipes in Child's cookbook in 365 days, a challenge she described on her popular blog that would make her a published author.
Ephron's screenplay is adapted from two books: My Life in France, Child's autobiography written with Alex Prud'homme, and a memoir by Julie Powell documenting online her daily experiences cooking each of the 524 recipes in Child's Mastering the Art of French Cooking, and she later began reworking that blog, The Julie/Julia Project。 Both of these books were written and published in the same time frame (2004–06). The film is the first major motion picture based on a blog。這是我最喜歡的一部電影之一，我在維基網路上找的資料，你根據那裡的資料改一改，至於觀點，你可以寫堅持自己的興趣和愛好這一方面，寫興趣是最好的老師什麼的，給你個鏈接
❸ 求一篇英文電影的英文影評
Pride & Prejudice (2005)
傲慢與偏見 凱拉奈特莉版
The story is based on Jane Austen's novel about five sisters - Jane, Elizabeth, Mary, Kitty and Lydia Bennet - in Georgian England. Their lives are turned upside down when a wealthy young man (Mr. Bingley) and his best friend (Mr. Darcy) arrive in their neighborhood.
Jane Austen's tale of love and economics reaches us once more with the energy of a thorough novelty. "Pride and Prejudice" has been a favorite novel of mine since I first read it and I've seen Laurence Olivier and Greer Garson, Colin Firth and Jennifer Ehle and now Matthew MacFadyen and Kiera Knightly. Amazingly enough I've never been disappointed. The material seems to be full proof. Colin Firth's Darcy, in many ways, is the Darcy I've always imagined. He's been an actor I've followed feverishly since his glorious Adrian LeDuc in "Apartment Zero", Matthew MacFadyen was totally new to me but he managed to create that sense of longing that makes that final pay off so satisfying. Kiera Knightly is a ravishing revelation. I must confess, I didn't remotely imagined that she was capable of the powerful range she brilliantly shows here. The other big surprise is Joe Wright, the director, in his feature film debut which is more than promising, it's extraordinary. The photography, the art direction and the spectacular supporting cast, in particular Donald Sutherland and Brenda Blethyn, makes this new version of a perennial classic a memorable evening at the movies
❹ 英文影評
《無極》的英文影評，：）~
"The Promise" is this year's big-budget Chinese martial arts lollapalooza; in fact, it's said to be the most expensive movie ever shot in China. It follows hard on "House of Flying Daggers," "Hero," "The Emperor and the Assassin" and "Crouching Tiger, Hidden Dragon" and, in their style, is full of colorful kung fu gymnastics, magical landscapes, yards of billowing robes and weird hats.
The movie is directed by Chen Kaige, who made a more realistic and politically pointed epic, "Farewell My Concubine," a decade ago, but also the less realistic and less pointed "The Emperor and the Assassin" five years ago.
Jang Dong-Gun, as a slave, and Cecilia Cheung, as a princess, play star-crossed lovers in "The Promise." Left, Hiroyuki Sanada as another of the princess's suitors.
The movie's primary flaw is that it doesn't star Ziyi Zhang.
Its secondary flaw is that it doesn't star Jet Li.
《勇敢的心》的英文影評
Sleepless in Seattle《西雅圖不眠夜》影評
Sleepless in Seattle has been billed as a "romantic comedy", but the accent is more on romance than humor. Comic moments are kept to a minimum, and there are only a couple of openly funny scenes (one involves a comparison of "male" and "female" movies -- An Affair to Remember versus The Dirty Dozen). While lacking the unfettered charm and exuberance of Kenneth Branagh's Much Ado About Nothing, this film is nevertheless enjoyable on its own feather-light terms
《修女》英文影評
The story of the making of The Nun's Story (1959) would, in itself, make a great book or documentary. It's extraordinary that this dramatic tale, tackling the very controversial subject of a nun leaving the order, has been nearly forgotten - even more so when one considers the director (Fred Zinnemann), the star (Audrey Hepburn) and the phenomenal reviews and box-office receipts. By the end of its initial play dates, the picture had become the most successful movie Warner Brothers ever made, with grosses surpassing the $7 million mark!
The Nun's Story was to close on a Sunday night, and The Tingler was going to open on Monday. We got in a huge crew...to spend the day wiring the vibrators to the seats. But that night, just at the most tragic moment of The Nun's Story, somebody touched the mastertch and the seats began vibrating in wave after wave. There was absolute pandemonium!"
阿甘正傳中英文影評
http://www.cnwego.com/Article/Print.asp?ArticleID=10763
《阿甘正傳》影評 英文中文對照版
<Forrest Gump> Film review
Forrest Gump who is unfortunately to be born with a lower IQ and the muscle problem, usually, people always think this kind of person can't be successful in doing anything. But, instead, this unlucky man has achieved lots of incredible success, he is a football star, a war hero, and later a millionaire!
In the contention of the best picture of the 67th Oscar Award in 1995, film <Forrest Gump> Have got six Grand Prixes , such as the best picture , the best actor , the best achievement in directing , adapting drama , the best achievement in film editing and the best visual effect bestly ,etc. at one blow . The film was passed to a intellectual disturbance person the description of life has reflected every aspect of U.S.A.'s life, important incident of social political life make and represent to these decades such as U.S.A. from one unique angle. Film adapt Winston · novel of the same name of Groom since. Only the original work is that one is full of fantastic novels with a satiric flavour, but the film modifies and beautifies the story. Have abandoned the absurdity of the original work and revealed that satirizes meaning , have added a kind of tender feeling for the film. This undoubtedly makes the film suit audience and judging panel's taste even more, but has sacrificed the struggle spirit of the rebel of the original work , make the film become one kind and idealize ethical symbol .
Forrest Gump mould incarnation of virtue is honest keeping one's word , conscientiously , brave paying attention to emotioning among film. In the film, Forrest Gump is a very pure image, but Jenny has become the degenerate symbol . And write the great discrepancy originally in this. To all that narrated, since beginning all behave with a kind of tender feeling and well-meaning attitude after all for the film, having even joined poesy composition, this makes the film seem soft and have no injury. The film advocates to traditional moral concept and embodiment. Make film apt to accept by people, director superb lay out skill and film application of language make the film very attractive too. Success with commercial for film content of the film has given security, and the treatment on director's art makes the film more excellent, this is reason that the film succeeds. It was the box-office hits the most in that year to become U.S.A. in < Forrest Gump>.
Tom · Hanks very much sincere naturally performance having among film. He has obtained the laurel of the best actor of Oscar for the behavior in this film. This second movie emperor's money already whom he obtained in succession looks like. Success of < Forrest Gump>, make Tom Hanks become one of the most popular movie stars in Hollywood too. To Tom Hanks, those two years are the luckiest period of time in his performing art careers .
中文對照：
《阿甘正傳》影評
阿甘是一個出生很不幸的人，通常人們總是認為這種人不能成功， 在做任何事情過程中。 但是，相反，這個不幸的人已經取得許多難以置信的成功，他是一個足球明星，一名戰爭英雄和一個百萬富翁！
1995年的第六十七屆奧斯卡金像獎最佳影片的角逐中，影片《阿甘正傳》一舉獲得了最佳影片、最佳男主角、最佳導演、最佳改編劇本、最佳剪輯和最佳視覺效果等六項大獎。影片通過對一個存在智力障礙者生活的描述反映了美國生活的方方面面，從一個獨特的角度對美國幾十年來社會政治生活中的重要事件作了展現。影片改編自溫斯頓·格魯姆的同名小說。只不過原著是一本充滿了諷刺意味的荒誕小說，而影片則對故事進行了修飾和美化。摒棄了原著的荒誕和揭露諷刺意味，為影片增添了一種溫情。這無疑使影片更合觀眾和評委的口味，但卻犧牲了原著的叛逆斗爭精神，使影片成為了一種理想化道德的象徵。
阿甘在影片中被塑造成了美德的化身，誠實、守信、認真、勇敢而重視感情。在影片中，阿甘是十分純潔的形象，而珍妮則成了墮落的象徵。這與原著有著極大的出入。對於所敘述的一切，影片自始自終都是以一種溫情和善意的態度來表現的，甚至還加入了詩意化的成分，這使得影片顯得柔和而無傷害性。影片對傳統道德觀念的宣揚和體現。使影片變得易為人們所接受，導演高超的編排技巧和電影語言的運用也使影片十分吸引人。影片的內容為影片商業上的成功提供了保證，而導演藝術上的處理也使得影片更加精彩，這就是影片成功的原因所在。《阿甘正傳》成了美國當年最為賣座的電影之一。
湯姆·漢克斯在影片中的表演十分朴實自然。他以在此片中的表現獲得了奧斯卡最佳男主角的桂冠。這已是他連續獲得的第二個影帝金像。《阿甘正傳》的成功，也使湯姆·漢克斯成了好萊塢最受歡迎的影星之一。對湯姆·漢克斯來說，那兩年是他演藝生涯中最為幸運的一段日子。
參考資料：http://www.dccoo.com/Html/movies/gump/093723302_2.html
英文影評-英語影評,英文影評,movie review-Movie English 電影英語 ...
http://www.veryabc.cn/movie/new/article/review/
❺ 英文影評急需!!
預見未來：
Given the number of attempts, surprisingly few really good movies have been made from the writings of sci-fi visionary Philip K. Dick (BLADE RUNNER, MINORITY REPORT, A SCANNER DARKLY). Most range from merely middling (IMPOSTOR, TOTAL RECALL) to downright awful — remember PAYCHECK? This lazy, incoherent adaptation of Dick's strange short story "The Golden Man," however, just might be the worst. It takes only the central character from the source material — a mutant human who can see several minutes into his own future — and throws away everything that made the story interesting.
Cris Johnson (Nicolas Cage), aka Las Vegas clairvoyant "Frank Cadillac," uses his intentionally tacky lounge act to make a living while disguising the fact that he really can see two minutes into his own future. But not everyone in the audience is buying the fake-mentalist act: FBI counterterrorism agent Callie Ferris (a woefully miscast Julianne Moore) knows real "patterns of advanced awareness" when she sees them, and she needs his help on a little job she's been working on: A 10-kiloton WMD has fallen into the hands of a pack of eurotrash terrorists who, for some undisclosed reason, have their hearts set on nuking L.A. Even though she knows Cris' clairvoyance only extends to a couple of minutes into the immediate future, Callie thinks Cris can use his severely limited skill to help her find the device and save eight million lives. He, however, refuses to be treated like a science project and goes on the lam with his new girlfriend, schoolteacher Liz Cooper (Jessica Biel), hotly pursued by both the FBI and the terrorists.
Three big problems plague this misbegotten mess. First, for much of the movie Cris is running from the good guys, who only want to prevent the rest of us from a nuclear holocaust. Secondly, Cage's age-defying look — the uncertain hairline, the dyed eyebrows, the teeth — has reached the point where he's become troubling to look at. Worst of all, director Lee Tamahori repeatedly stages a dramatic event — Cris getting shot in the chest or smashed by a speeding train — only to rewind the action and reveal that the mayhem was nothing more than just one of Cris' premonitions. The first time, it's a legitimate "Gotcha!" When it happens again, it's tremendously irritating. The third time Tamahori hauls this cheap shot out of his near-empty bag of tricks, you'll cease to believe in anything that happens on screen and most likely give up on the movie altogether.
2
To avert the frightening possibility of another terrorist outrage, read the press notes for sci-fi thriller Next. "It would be most valuable if we could see into the future."
Well, of course it would. Come to think of it, ray guns and superhuman strength might come in handy too, as would the power to leap tall buildings in a single bound. In their absence, Lee Tamahori's shamelessly preposterous film has to make do with Cris Johnson (Cage), a Las Vegas clairvoyant whose bargain-basement act masks a genuine extra-sensory ability to see what will happen to him two minutes ahead of time.
Under the pseudonym Frank Cadillac, Johnson is perfectly happy to exploit his gift to impress gullible tourists and cheat at cards. When his winning streak is noticed by the casino's eagle-eyed security, however, Cris is forced to flee - straight into the hands of Callie Ferris (Moore), an FBI agent on the trail of a shadowy cabal intent on exploding a nuclear bomb in downtown Los Angeles. Jack Bauer being otherwise engaged, this seedy showman is her best chance to avert a catastrophe. Cris, though, has other things on his mind, having fallen for a beautiful young teacher (Biel) he's been having premonitions about for months
3
Since the spectacle explosion of the 1980s blockbuster action movie, beginning with The Terminator and Die Hard, the genre has run the course of fresh and exciting to cliché and contrived. It seems that masked heroes sporting spandex have replaced muscling heroes with an endless supply of ammunition. These days, it』s a rare occasion to come across an action movie that doesn』t bore your brain and waste your time. Next does both. Perhaps it』s Cris Johnson's (Nicholas Cage) ability to see only two minutes into the future that explains why he doesn』t see the audience』s feelings of betrayal and disappointment coming.
Veiled by a sleazy Las Vegas club act, Johnson』s powers of future perception keep him one step ahead of the world. When he』s not on stage guessing people』s names and performing dime store magic tricks, he spends his days supplementing his income by gambling and waiting in a diner for the love of his life – the only vision he has seen more than two minutes ahead of time. For whatever reason, FBI agent Callie Farris (Julianne Moore) is convinced that Johnson is the real deal and tries to enlist his help in defusing a nuclear bomb threat by French terrorists. But all Johnson wants to do is get to know his lady love, who, eventually walks into the diner right when he knew she would.
Next』s pre-Terminator 2 computer-generated effects are endlessly distracting, but the film』s greatest flaw is that it introces ideas of destiny and determinism and the role (if any) of freewill yet doesn』t explore them. By being able to look into the future, Johnson is able to choose the best possible personal outcome, but as he explains, 「every time you look at the future, you change it.」 In seeing the future, it』s a given that Johnson will act to preserve his own existence and whatever interests him, which seemingly eliminates freewill.
Taking the loss of freewill idea even further, when Johnson is caught by the FBI and forced to help, his indivial rights are trampled on in favor of the many who could die in a nuclear explosion. It』s funny that the strength of our political system places the power in the indivial and collective 「we,」 but we are quick to forfeit our rights in service of the 「greater good」. It』s a slippery slope that could lead to a unified loss of all indivial rights to preserve our own lives.
Unfortunately, these are topics that the movie barely mentions. It』s more concerned with fancy future fast-forwarding effects and twisting what happens next. The problem is that when the major dramatic twist happens, there is no thematic substance to hold onto and you suddenly realize that you』ve just wasted 2 hours and $10+ on a gimmick. Had the move delved into some sort of subtext and offered something in the way of thematic substance, then the deal-breaker twist wouldn』t be so empty. Instead, Next is a great example of an action movie light show – quick, meaningless and not worth remembering.
4What if you could see two minutes into the future? Would you use your powers for good or would you make a killing in Vegas? You probably would avoid a few embarrassing moments, but how much can a couple of extra minutes really get you? If you believe Next, the new movie starring Nicolas Cage, Julianne Moore and the increasingly-hot Jessica Biel, a power like that would mostly just be a pain in the ass. Cage plays Cris Johnson, a Las Vegas showroom magician who didn't do a very good job of keeping his superpower secret and underwent examinations as a child to figure out just what was wrong with the weird kid. Cris actually does live in Vegas, making a small living with his power, although not drawing too much attention to it. It's only when the world needs him, when a terrorist group threatens to detonate a nuclear bomb in Los Angeles, that Cris goes from gambling with his cash to gambling with the fate of humanity. But is the latest in a long line of Nicolas Cage movies that didn't screen for critics what's really "next" or will it be closer to "last" when you list your favorite movies of 2007?
It will probably be somewhere in the middle. The first startling thing about Next is that there's absolutely no explainable reason that it's been kept from critics. Sure, this trip to Vegas with Cage isn't quite like when he won an Oscar for trying to leave the city of sin, but it's also far more enjoyable than most of the action movies that actually have screened for critics. Yes, it's completely and totally ridiculous, but there's a spirit and an energy in Next, very much propelled by the cast and the action chops of Lee Tamahori (Die Another Day), that's missing from most movies. By the end of Next, which features a twist that is so ridiculous that you almost have to be impressed that it even got filmed, you'll likely have suspended disbelief and gone along for the ride. You should be warned that the ending will definitely leave some moviegoers feeling cheated, but in an era of predictable movies, it's kind of impressive to see something so completely shocking in the final reel.
變形金剛2
so far in the year 2009, only one film truly kept me at the end of my seat and that was Star Trek. Terminator Salavtion was a close second (which you people aka worstpreviews staff ripped apart for some ridiculous reason) but now here comes the film I personally thought would be THE blockbuster of 2009 and thought you guys would love. I read your review and thought what a great to say absolutely nothing about it. You rip Michael Bay apart for making a film to smash robots nto one another. Listen you guys used to be a healthy alternative to the horrible critics who only like artsy films such as Slumdog Millionaire and rip apart good movies such as Transformers. So worstpreviews, way to drop the ball on a great movie.
Onto my review: Transformers: Revenge of the Fallen, hits all the right notes. To the amazing CG and perfect fight scenes, to the just right amount of dialogue and comedic relief, Bay creates a masterpiece that rivals the original. The highlight was definately the fight scene in the woods with Optimus owning the Decepticons. Only low point was Sam's roommate who was a little annoying. So users of Worstpreviews, listen to me when I say that Transformers: Revenge of the Fallen, is nothing shy of EPIC. And again a big FAIL to the staff, how about you take a movie for what it is and not try to make every movie be like what YOU want.
2
It』s no secret that I LOVE Transformers. I grew up playing with the toys as a kid. Aside from the Star Wars prequels I』ve never looked forward to a movie as much as I did for the first Transformers a couple of years ago… and I LOVED the first movie (weaknesses and all). So it』s no surprise that Transfomers 2 (aka Transformers: Revenge of the Fallen) has been my #1 most anticipated movie of the year.
The other night I had a chance to go and see it in IMAX here in Los Angeles and I can tell you this right up front. This movie is bigger than the last one, has more action than the last one, has better effects than the last one but over all is not as good as the last one. As one friend of mine wrote to me 「It』s more spectacular than the first one… but not as good」.
My dear heavens I never would have thought that the effects in Transformers could be outdone… but Transformers 2 did it. The Autobots and Decepticons look far more real and awe inspiring than they did in the first one. They become especially impressive when you see them interacting with real world actors and sets. It』s so hard to believe that these gigantic warriors aren』t real. Exactly what Transformers fans wanted.
The action. Holy sweet nuts cakes the action! This movie just goes and goes and goes. The movie OPENS with a HUGE scale action sequence that just makes your jaw hit the floor in amazement. 「This is what they』re STARTING the movie with?!?!」 went through my head a couple of times in the first 60 seconds. So many more action sequences and battles than the first one. Exactly what Transformers fans wanted.
There is A LOT more screen time for the Autobots and Decepticons than in the first film (something that a bigger budget allowed for I guess). We even get to see a much longer Megatron/Starscream squabble which is something painfully missing from the first movie. Exactly what Transformers fans wanted.
There is a much deeper history revealed about the Transformers in this flick that I thought added some much needed richness to the whole mythology of the Cybertonian race. We learn more about 「The Primes」 (a certain leadership sect within the Transformers of which Optimus is obviously a direct descendant of). We learn more about Energon (no, we don』t get to see 「Energon Cubes」 unfortunately) and the history of the Transformers on earth as well as the grander plans (evil ones… n n uuunnnhhhh) the decepticons have for Earth. Exactly what Transformers fans wanted.
Yes, it seems Transformers 2 takes all the good things about the first movie and builds on them. Exactly what Transformers fans wanted. BUT… they unfortunately also built on all the first movie』s weaknesses and put them on steroids, which leads us too…
❻ 求一本近期電影的影評（英文）
Transformers: Revenge of the Fallen: Movie Review By Joe Lozito
Someone in Hollywood needs to call a doctor for Michael Bay. His condition is deteriorating and it's affecting his work. The notoriously A.D.D. director's "Transformers" sequel, "Transformers: Revenge of the Fallen", is such a pointless, messy assault on the senses that it's hard to even call it a movie. There is little intelligible plot, no characters to root for and hardly even a sense of place. What's left is basically a two-plus hour special effects reel. Even for a Michael Bay movie, it's just truly awful.
Let's get the would-be plot out of the way first (the filmmakers sure did). From what I could discern, for the last two years the benevolent Autobots have partnered with a human army (led by the U.S., of course, but peppered with British accents) to hunt down the planet's remaining Decepticons. In an opening sequence of staggering mayhem (which we are expected to believe gets "covered up"), a dying bad-bot warns "The Fallen is coming". Verb agreement aside, The Fallen, it turns out, is a particularly nasty Decepticon who's been hiding out somewhere in space. He makes Megatron look like a robo-pussycat. He's after a device called "The Matrix of Leadership", which will destroy the Earth's sun and proce energy for all his mechanized minions (so much for solar power).
I think I've got that all straight, but it doesn't really matter. Judging by the human race depicted in the film, the planet's not worth saving anyway.
We find our returning hero, Sam Witwicky (Shia LaBeouf, long past outgrowing these movies), on his way to college with his over-protective (and over-played) parents in tow. Sam is matriculating to M.B.U. (Michael Bay University), a campus populated entirely by lithe, giggling young girls who are buffed to a fine sheen, as only Michael Bay can. It's like a "Maxim" photoshoot; it's almost like there are three races of robots in the film: Autobots, Decepticons and Fembots (with apologies to the old "Six Million Dollar Man" series).
Sam's girlfriend, Mikaela (Megan Fox, playing the Optimus Prime of the Fembots), has apparently chosen to skip college, opting to remain the type of scantily-clad automechanic that exists solely in male prepubescent happy-dreams. Much has been made of Ms. Fox since the first film. And here, thanks to Mr. Bay's fetishistic camerawork, she may be more of a draw than the by-now-rote special effects. By far, the best effect in the film is Ms. Fox's indefatigable lip gloss; even in the midst of an Egyptian sandstorm, the actress still manages to be properly moistened.
Returning screenwriters Roberto Orci and Alex Kurtzman are joined by Ehren Kruger, and there is plenty of blame to go around. The script, such as it is, is a kind of hodge-podge of half-baked action ideas strung together with quick moments of character transportation (wait'll you see how they cross the Jordanian border without passports - or how they got there in the first place). What passes for dialogue in the film involves the kind of hyperactive stammering that is supposed to indicate banter. A little of it goes a long way. There's also a submoronic subplot involving Sam and Mikaela struggling to say the L-word. It's no wonder they're having trouble; neither one of them is a character, so what is there to love?
The writers even crib wholesale from the 1995 alien campfest "Species", introcing the first Transformer that can take the shape of a human female (continuing the Fembot theme - Feminist protesters, take note). This turn of events spawns so many unanswered questions, it isn't even worth asking them. They even have the nerve to open the film in 17,000 BC, with the voice-over: "Earth. Birthplace of the humans." It all leads to a protracted climax in an (unconvincing) Egyptian desert which involves Sam and Mikaela desperately attempting to run two miles to safety. Meanwhile, they're surrounded by Autobots. If memory serves, those machines can transform into vehicles, right? So why are the characters running? Get in one of those things and drive!
Since there is no plot to follow and no characters to care about, what's left is spectacle. And, yes, there's plenty of that. Two-and-a-half long hours of it to be exact. The robot-on-robot battles amount to little more than twirling hunks of CGI wizardry. I never thought I'd say this, but at least the robots in the first movie had some personality. Here, there's virtually no way to tell the different 'bots apart (except, sadly, for two offensive stereotypes voiced by Tom Kenny and Reno Wilson). What's worse is that the good-guy Autobots are completely ineffectual, with the exception of Optimus Prime (voiced as always by Peter Cullen) who's given Jesus status this time around.
Yes, this is the film that finally got away from Michael Bay. Despite the constant use of title cards ("The Pentagon", "The North Atlantic", "New Jersey"), the film still has no sense of place. At one point, the characters walk out the back door of the Smithsonian Air & Space Museum and are revealed to be...in a desert, complete with distant mountains! Glad to see there's still so much primo real estate in downtown D.C.
Since there's so little that's positive to say about the film, it's worth pointing out that the special effects are flawless. Man and machine share the screen completely convincingly for every frame. The film also marks one important milestone: it's the first appearance of irony (inadvertent though it may be) in a Michael Bay movie. Late in the film, an aging robot (don't ask) recounts the story of an ancient battle that occurred on Earth millennia ago (again, don't ask). When the 'bot begins to ramble, one of our heroes loses patience and gives storytelling advice: "Beginning, middle, end! Plot! Tell it!" Couldn't have said it better myself.
❼ 電影英文影評
極地特快：
Rarely does a movie let you forget who you are and become the main character. This is one of those rare movies.
The movie starts out with a story that every Santa believer experienced. On Christmas eve a boy in Grand Rapids Michigan has reached the age where the statistical impossibility in the Santa story ( the size and speed of Santa's sleigh, the north pole being a barren wasteland) are causing him to doubt the big mans existence. Not knowing for sure the boy drifts into a deep sleep. At 11:55 PM the boy is awakened by the arrival of the Polar Express literally outside his front door. Going to investigate what is going on the boy meets the witty conctor of the Christmas eve train. (Tom Hanks)who informs him that the train is headed to the north pole so the kids can meet Santa Clause. Not totally sure that the train is going to the north pole but to curious to let it go the boy climbs on board. The adventure puts the boy in contact with a girl who is a natural born leader and who's belief in the Christmas magic couldn't be stronger. Other characters include a know it all socially awkward boy, a young underprivileged loner who has never experienced the magic of Christmas and a cast of other more mysterious characters such a a hobo ghost. Through the adventure the combination of great music, flawless animation and fantastic dialog really make you believe you are there and let you relive those days when you thought Santa Clause just might exist. The story ends on Christmas day with a line (narrated by Tom Hanks) about belief that brings back those kid on Christmas eve chills all over again. The themes of belief and friendship are a strong theme in the movie and part of the magic that brings you back to a time when you did believe.Its a great movie for children and alts alike and rekindles the Christmas magic that us alts lost many years ago.
❽ 關於經典英文電影的影評
《百萬英鎊》給我印象深刻的是它的幽默滑稽的手法，生動有趣又入木三分地展現了金錢社會的世態炎涼。具有諷刺意味的是，差不多一個世紀過去了，片中描寫的種種現象都存在於現實社會中，讓人聯想到當今社會中人們的感慨，「錢不是萬能的，但沒錢是萬萬不能的」，極具批判現實意義 。派克在片中頹廢加調侃的表演和他在銀幕上大多數嚴肅正義的君子形象迥然不同，顯示了他塑造不同類型人物的功力和演技。
❾ 英語電影影評
侏羅紀公園3英文影評 Jurassic Park III(2001)2010年1月25日 "Jurassic Park III" is neither as dreadful as it might be, nor as perfectly wrought as it could be. For one thing, it moves along as jauntily as one of those horrific raptors scooting alon侏羅紀公園2失落的世界The Lost World英文影評(1997)2010年1月22日 Where is the awe? Where is the sense that if dinosaurs really walked the earth, a film about them would be more than a monster movie? Where are the ooohs and ahhhs? ``The Lost World: Jurassic Park''侏羅紀公園Jurassic park英文影評(1993)2010年1月20日 When young Steven Spielberg was first offered the screenplay for "Jaws," he said he would direct the movie on one condition: That he didn't have to show the shark for the first hour. By sl 後天The Day After Tomorrow英文影評(2004)2010年1月15日 It is such a relief to hear the music swell up at the end of a Roland Emmerich movie, its restorative power giving us new hope. Billions of people may have died, but at least the major characters ha 全金屬外殼Full Metal Jacket英文影評(1987)2010年1月13日 "Full Metal Jacket" is more like a book of short stories than a novel. Many of the passages seem self-contained, some of them are masterful and others look like they came out of the bottom 狂蟒之災3英文影評(2008)2010年1月10日 It's not surprising to note that Anaconda 3: Offspring immediately establishes itself as the weakest entry within this ongoing series, as the film boasts many of the problems and deficiencies one geDeep in the jungles of Borneo lurks the blood orchid, which blooms only once in seven years, and whose red flowers contain a mysterious ingredient, which extends the ability of living cells to reproEvery preconceived notion audiences might have about "Anaconda" is correct. This supposed serpentine shocker features doomed adventurers wading through murky water while a deadly snake app U-571英文影評When it comes to films that take place in submarines, World War II is still the favorite time period. There have been exceptions - The Hunt for Red October and Crimson Tide spring to mind - but the
❿ ！！！！急求英語電影的英語影評
簡愛
Kent
State
University's
school
of
theatre
and
dance
performed
a
rendition
of
the
classic,
Jane
Eyre
this
month.
The
show
was
a
musical
with
all
of
the
necessary
elements
to
lift
you
from
your
seat
and
submerse
youinto
a
society
in
nineteenth
century
England
from
the
time
the
cell
phone
shut-off
announcement
was
made
until
the
last
note
at
the
curtain
call.
The
recurring
arches,
darkened,
soft
lighting,
and
the
use
of
a
classic
chorus
to
go
along
with
them
alluded
that
a
sinister
underbelly
of
social
status
and
reputation
were
present
in
the
performance.
One
of
the
first
things
that
an
audience
member
noticed
was
the
grandeur
of
the
set.
It
was
composed
of
a
gothic-style
foreground
with
rustic
twigs
of
a
root-like
earthy
appearance.
There
were
grand
arches
for
windows
and
entries
as
well.
Also,
the
background
was
a
large
arch
with
the
silhouette
of
roots.
There
were
also
two
matching
greek-style
pillar
arches
on
either
side
of
the
stage.
They
added
a
lot
to
many
messages
of
the
show.
For
one,
they
were
grand
structures
that
were
barren
inside
which
is
much
like
Mr.
Rochester
himself.
He
was
a
man
of
high
social
stature
but
felt
enslaved
by
his
trick
of
a
marriage
and
his
grand
yet
incomplete
(without
a
true
love)
home.
The
arches
also
suggest
the
importance
of
reputation
with
the
same
sort
of
fundamental
grand
image
yet
emptiness.
The
way
that
people
are
enslaved
yet
scramble
to
ascertain
that
solid
image
amongst
their
peers.
The
arches
were
almost
inviting
the
audience
to
come
inside
to
reveal
their
secret,
the
thing
that
was
hidden
deep
inside
that
could
send
the
structure
crumbling
in
ruin.