全職高手電筒影影評英文

『壹』 求英文影評3篇 詳情見下

英文影評：

歌舞青春1
http://www.imdb.com/title/tt0475293/usercomments
歌舞青春2
http://www.imdb.com/title/tt0810900/usercomments
歌舞青春3
http://www.imdb.com/title/tt0962726/usercomments
飛屋環游記
http://www.imdb.com/title/tt1049413/usercomments
當幸福來敲門
http://www.imdb.com/title/tt0454921/usercomments

『貳』 求2篇英文影評

公主日記2
The story opens with Mia graating from college (when we last saw her she was in high school) and zipping off to Genovia, which her grandmother, Queen Clarisse Renaldi (Julie Andrews), hopes she will govern someday soon. As in the original ''Princess Diaries,'' much of the putative comedy involves the free-spirited Mia working in gentle, contrapuntal harmony with her veddy, veddy proper grandmother. Because the ugly ckling has already molted into a swan, however, the plot this time around hinges on some minor palace intrigue and romances with two blow-dried suitors who take turns holding the royal hand while keeping a safe distance from the royal chastity. In between the cooing and wooing, the pratfalls and proct placements, Ms. Hathaway and Ms. Andrews flash smiles of such dazzling wattage they could carry California through its next energy crisis.

''The Princess Diaries 2'' was directed by Garry Marshall, who has been selling wish-fulfillment fantasies for years, most notably in ''Pretty Woman'' and in the first ''Princess Diaries'' movie. Mr. Marshall, whose place in pop-culture heaven was secured long ago by television comedies like ''The Dick Van Dyke Show,'' on which he served as a writer, is not much of a film director. Depending on the budget, his movies look either cheap (like this one) or studio slick (''Pretty Woman''), and tend to have the same flat, presentational visual style that's familiar from most sitcoms. (That's why his movies fit so snugly into airplane monitors.) And as in those sitcoms shot in front of live audiences, Mr. Marshall's actors often play to the camera and wait for laughs, which can be a serious problem when the screenplay is as deeply unfunny as this one.

Built on vintage and newly minted clichés, Shonda Rhimes's script combines a classic storybook scenario with the usual self-help uplift. After undergoing a radical makeover in the first ''Princess'' movie, Anne has metamorphosed into a self-possessed young woman. She knows how to walk in high heels, iron the frizz out of her hair and whirl around the dance floor with ineligible partners without making them feel bad. True, her sexuality comes across as weirdly underdeveloped, closer to that of the preadolescents who constitute this G-rated movie's core audience, than that of most typical college graates. But that's in keeping with the character whose appeal is largely predicated on being essentially unremarkable in every respect in looks, intelligence, personality and that most bious of designated female traits, niceness.

There's nothing wrong with being nice if it means giving succor to the poor and being kind to animals, but there's something unsettling about a character as bland, mushy and fiber-free as soggy corn flakes. Once upon a different time, Mia might have found her truest self by hanging out with the soulfully truculent adolescent girls in ''Ghost World.'' Instead, Ms. Andrews whisked in with a face frozen in do-re-mi beatitude and carried Mia off to a world where every unruly hair and thought is as smoothed down as the grass on a windswept Bavarian mountain. In the first film, Mia discovered she was to the manner born. Now, the princess who would be queen learns what the rest of us know already: happy movie endings generally come to those women who eat their independence and, in time, a wedding cake too.

《貧民窟的百萬富翁》
A gaudy, gorgeous rush of color, sound and motion, 「Slumdog Millionaire,」 the latest from the British shape-shifter Danny Boyle, doesn』t travel through the lower depths, it giddily bounces from one horror to the next. A modern fairy tale about a pauper angling to become a prince, this sensory blowout largely takes place amid the squalor of Mum, India, where lost children and dogs sift through trash so fetid you swear you can smell the discarded mango as well as its peel, or could if the film weren』t already hurtling through another picturesque gutter.

Mr. Boyle, who first stormed the British movie scene in the mid-1990s with flashy entertainments like 「Shallow Grave」 and 「Trainspotting,」 has a flair for the outré. Few other directors could turn a heroin addict rummaging inside a rank toilet bowl into a surrealistic underwater reverie, as he does in 「Trainspotting,」 and fewer still could do so while holding onto the character』s basic humanity. The addict, played by Ewan McGregor, emerges from his repulsive splish-splashing with a near-beatific smile (having successfully retrieved some pills), a terrible if darkly funny image that turns out to have been representative not just of Mr. Boyle』s bent humor but also of his worldview: better to swim than to sink.

Swimming comes naturally to Jamal (the British actor Dev Patel in his feature-film debut), who earns a living as a chai-wallah serving fragrant tea to call-center workers in Mum and who, after a series of alternating exhilarating and unnerving adventures, has landed in the hot seat on the television game show 「Who Wants to Be a Millionaire.」 Yet while the story opens with Jamal on the verge of grabbing the big prize, Simon Beaufoy』s cleverly kinked screenplay, adapted from a novel by Vikas Swarup, embraces a fluid view of time and space, effortlessly shuttling between the young contestant』s past and his present, his childhood spaces and grown-up times. Here, narrative doesn』t begin and end: it flows and eddies — just like life.

By all rights the texture of Jamal』s life should have been brutally coarsened by tragedy and poverty by the time he makes a grab for the television jackpot. But because 「Slumdog Millionaire」 is self-consciously (perhaps commercially) framed as a contemporary fairy tale cum love story, or because Mr. Boyle leans toward the sanguine, this proves to be one of the most upbeat stories about living in hell imaginable. It』s a life that begins in a vast, vibrant, sun-soaked, jampacked ghetto, a kaleidoscopic city of flimsy shacks and struggling humanity and takes an abrupt, cruel turn when Jamal (Ayush Mahesh Khedekar), then an exuberant 7, and his cagier brother, Salim (Azharuddin Mohammed Ismail), witness the murder of their mother (Sanchita Choudhary) by marauding fanatics armed with anti-Muslim epithets and clubs.

Cast into the larger, uncaring world along with another new orphan, a shy beauty named Latika (Rubina Ali plays the child, Freida Pinto the teenager), the three children make their way from one refuge to another before falling prey to a villain whose exploitation pushes the story to the edge of the unspeakable. Although there』s something undeniably fascinating, or at least watchable, about this ghastly interlude — the young actors are very appealing and sympathetic, and the images are invariably pleasing even when they shouldn』t be — it』s unsettling to watch these young characters and, by extension, the young nonprofessionals playing them enact such a pantomime. It doesn』t help even if you remember that Jamal makes it out alive long enough to have his 15 televised minutes.

It』s hard to hold onto any reservations in the face of Mr. Boyle』s resolutely upbeat pitch and sective visual style. Beautifully shot with great sensitivity to color by the cinematographer Anthony Dod Mantle, in both film and digital video, 「Slumdog Millionaire」 makes for a better viewing experience than it does for a reflective one. It』s an undeniably attractive package, a seamless mixture of thrills and tears, armchair tourism (the Taj Mahal makes a guest appearance ring a sprightly interlude) and crackerjack professionalism. Both the reliably great Irrfan Khan (「A Mighty Heart」), as a sadistic detective, and the Bollywood star Anil Kapoor, as the preening game-show host, run circles around the young Mr. Patel, an agreeable enough if vague centerpiece to all this coordinated, insistently happy chaos.

In the end, what gives me reluctant pause about this bright, cheery, hard-to-resist movie is that its joyfulness feels more like a filmmaker』s calculation than an honest cry from the heart about the human spirit (or, better yet, a moral tale). In the past Mr. Boyle has managed to wring giggles out of murder (「Shallow Grave」) and addiction (「Trainspotting」), and invest even the apocalypse with a certain joie de vivre (the excellent zombie flick 「28 Days Later」). He』s a blithely glib entertainer who can dazzle you with technique and, on occasion, blindside you with emotion, as he does in his underrated children』s movie, 「Millions.」 He plucked my heartstrings in 「Slumdog Millionaire」 with well-practiced dexterity, coaxing laughter and sobs out of each sweet, sour and false note.

『叄』 英語影評一篇

《功夫熊貓》採用純東方家庭倫理的敘事邏輯，使得整個故事更輕松。

Kung Fu Panda adopts the narrative logic of pure Oriental family ethics, which makes the whole story more relaxed.

這樣處理使得「主題」略顯單薄，但確實更適合小朋友去看。

This treatment makes the "theme" slightly thin, but it is more suitable for children to see.

這部作品不會感動到落淚，也不會無厘頭到笑翻天，但是這個平衡點才是「小朋友」最輕松的觀看環境。

This work will not be moved to tears, nor will it be ridiculous to laugh, but this balance point is the most relaxed viewing environment for "children".

(3)全職高手電筒影影評英文擴展閱讀

影評目的——

電影評論的目的在於分析、鑒定和評價蘊含在銀幕中的審美價值、認識價值、社會意義、鏡頭語言等方面，達到拍攝影片的目的，解釋影片中所表達的主題，既能通過分析影片的成敗得失，幫助導演開闊視野，

提高創作水平，以促進電影藝術的繁榮和發展；又能通過分析和評價，影響觀眾對影片的理解和鑒賞，提高觀眾的欣賞水平，從而間接促進電影藝術的發展。

『肆』 寫一篇英文影評

This film is best described as a tearjerker. This film tires everything known to get the audience to shed a few tears, and the best way to do this is through an animal. A well- trained Golden Retriever is the animal of choice. The story develops around a girl named Akira and her dog Socks. Akira's mother makes her promise 10 different things to Socks, which is more of an acknowledgment of what Akira needs to do to raise Socks. While the title suggests this film is about a girl's relationship with her dog, it really develops into Akira's story about growing up.

While Socks is a well-trained dog that follows the commands he is the only interesting one to watch. Everything else in the film seems over exaggerated from the acting to the situations that arise. The film tries so hard to make you cry that it seems to have forgotten all about the basic aesthetics. In an attempt to create a specific mood the story gets jumbled and lost. From a story about a dog and its master it becomes a love story. The ending seems out of place, focusing on the romantic side instead of the relationship between Akira and Socks.

If you have seen a film that is about a pet and its owner, then you have already seen this film. Everything is predictable, and especially the ending. This story about the cute dog and the owner, that cares more about them than the dog, has been done and is very overrated. The only point of this film is to try to make you cry, and while it may succeed in that objective, the film seems to have lost the story. Scenes seem to appear for the sake of a tear instead of their importance to the plot. While having an emotional reaction to a film can be good, if emotion is only achieved through certain scenes and not the entire film, it is a waste of time, which is exactly what this film is.

『伍』 要兩篇英文電影的影評，要求是英文，帶翻譯。。

"Spider-Man 3" to the large American-style American justice line, Stars and Stripes provides some background under a continuation of this tradition. Director of the Song and Dance Drama introction of a number of elements to make the movie tough transition soft lines. But many of them still exposed the inadequacies, such as the introction of the three opponents make films delicate enough. Although the three opponents makes the selling point of the film rich enough to describe the convincing. May is a long-time director of the restrictions on expression, that is to be regretted. The feelings expressed in the drama, the drama pm, because shear. Make no feelings lines, "Spider-Man 2" high. Directors may wish to use Parker and Harry's friendship elements to complement this part, it is regrettable that these were part of human nature to hide. After all, more than two hours of film shear Association inevitable lot of directors was reluctant to cut off part. Oh, the film overall is very strong. It should be said that the main thrust of expression is very delicate, very chewing head. Rhythm is still continuation of a rapid tradition. The taste is worth careful film. 《蜘蛛俠3》繼續了美式大片美國式的正義路線，星條旗下的背影延續了這個傳統。導演引入了一些歌舞劇的的元素力求使得影片硬朗的線條變的柔和。但當中還是露出很多的不足，比如三個敵手的引入使得影片的細膩不夠。雖然三個敵手使得電影的賣點豐富，可刻畫的不夠有說服力。可能是片長的時間限制了導演的表達，可不得不說是個遺憾。在感情戲的表達方面，戲分被剪切的所剩無幾。使得感情線路沒有《蜘蛛俠2》的飽滿。可能導演希望用帕克和哈里的友誼元素來補充這部分，但是很遺憾這些被人性的部分給掩蓋了。 review: Se jie (Lust, Caution) (Venice 2007) 影評《色戒》 因為字數限制，只貼網址給你： http://www.mtime.com/my/shengzi/blog/583312/

希望採納

『陸』 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/

『柒』 求助關於電影《men of honor 》的英文影評要全英文的

http://www.tiscali.co.uk/entertainment/film/reviews/men_of_honour.html

http://www.moviesforguys.com/drama/reviews/menofhonor.shtml

http://www.contactmusic.com/new/film.nsf/reviews/menofhonor

http://www.currentfilm.com/dvdreviews2/menofhonordvd.html

以上四個都是他的review,也就是影評。 都是來自外國的網站。

自己看看喜歡那一個:)

『捌』 the aviator英文影評

《十面埋伏》英文影評

《十面埋伏》英文影評

Here are some reviews about the movie House of Flying Daggers.

1.China's great movie directors change focus

By Cai Shangyao(蔡尚耀)

Zhang Yimou is considered to be one of the best directors of our time.Zhang Yimou did an excellent job as the cinematographer on the movie "Huang Tudi"(Yellow Earth),and his debut as a director on the movie "Hong Gaoliang"(Red Sorghum) won him many awards and established him as a leading member of the so-called Fifth Generation Movement of Chinese Movie-makers」.

Considering his creative camera work and direction,it must be said that Zhang is a movie genius of world stature,and the pride of Chinese movie-goers.

In interview,foreign students from 10 countries said that of all Chinese movie directors they knew only Zhang Yimou,and they mentioned such movies as "Red Sorghum", "Qiuju Da guansi"(The Story of Qiuju),and "Huozhe"(To Live)

They said they felt the tremor of life's force in "Red Sorghum",and were deeply moved by "Huozhe"(To Live)

They also had seen "Yingxiong"(Hero),but made no comment about it.

In fact,people talked mostly about the images and colors of 「Hero」 when discussing the movie as if they were talking about the work of the cinematographer rather than the director .

I have long been following Zhang's film-making career and as I watched "Shimian maifu"(House of Flying Daggers)I felt a sudden burst of sympathy for him--the sympathy one feels for a hero at the end of a movie.I then recalled the rain that poured on the night of celebration and the sudden blizzard that descended when the cast and crew were filming the movie in the Ukraine.I couldn't help wondering if Zhang Yimou had shown us a glimpse of the retreating form of a tragic hero.

"House of Flying Daggers" has been bombarded with criticism in both the media and online BBS discussion forums since its release in China , many viewers have expressed great dissastifaction with the movie.

The criticism mirrors the difficulty caused by the commercialization of the movie instry in China.When Zhang Yimou and other Fifth-Generation directors first began making movies they rebelled against making commercial movies,openly rejecting conventional movie notions of story-telling and character development.

Their movie-making style gave the group of Fifth-Generation directors fame and glory.Zhang Yimou and Chen Kaige were the two directors who gained fame ,but in recent years they have unknowingly or unconsciously abandoned their previous styles in favour of the traditional storytelling movies.

Perhaps Zhang Yimou back in the days when he was making "Red sorghum" never realized that some day he would be getting into commercial movie making.

After making of "Yige dou buneng shao "(Not One Less) and "Xingfu shiguang" (Happy Times),Zhang Yimou became commercial.

Zhang's reputation as a Fifth-Generation director no longer protect him and his 「surrender」 to commercial cinema could be seen as a self-imposed challenge.

The Chinese movie instry can only succeed with commercial movies. Zhang's foray into this form of movie-making is a reflection of some directors' renunciation of their former mode of filming.Zhang Yimou is marching in the vanguard and setting an example.His success or failure should serve as a warning to us that Making a commercial movie is not as easy as we think it is.

2..House of Flying Daggers

From Jurgen Fauth （賈根·佛斯）

Zhang Yimou has tasted blood. Following his surprise hit "Hero," the first martial arts movie by the Chinese auteur best known for his tasteful dramas, Yimou is back with another wire-fu adventure full of gorgeously photographed fights and overblown melodrama. And once again, the former art house darling appears lost.

『玖』 請各位英語高手用英文幫我寫四篇電影影評

1. 虎膽龍威（DIE HARD)：

What makes Die Hard the all-time classic it has rightfully become was the lack of extravagance and fantasy: there were no decades-old war grudges, no jungle action, no superhuman powers and only the occasional physics-defying stunts we are usually overloaded with. The characters in this film were regular people, with regular jobs and regular attitudes, confronted with an extraordinary situation, responding as most regular people would, by doing things which go beyond what they would "regularly" consider. Each character's backstory is one that could easily be ours if we were born in their shoes, and we all know at least one or two people like someone from the film. These are the people we live with, work with, and interact with, and the film captured them perfectly. This realism makes it very easy for the audience to believe that it too could have been caught at that party and had to face the situation.

Die Hard took the action genre in a new direction, adding a human touch and bit of reluctance to their invulnerability, while also showing them (as Spider Man would do so as well later on) as people who are much better at making others' personal lives work out than they are with their own.

Even if you haven't seen Die Hard, you've seen its legacy in many other films since. The formula was a brilliant one, and this was its birth.

2. 鐵血戰士（PREDATOR)：

Huge guns, Huge tough guys, macho dialogue, funny banter, One liners and an Alien. John McTiernan's 1987 classic 'Predator' is a action fans dream and a true guys film. What's not to like? Quick setup. Dutch (Arnold Schwarzenegger) and his team of bad-asses are sent to the South American jungles to rescue a group of POW's from an enemy hideout. Simple enough, but that's before they start getting picked off by a hunter from another planet. The rest of the movie relies on suspense, an over the top macho atmosphere and a entertaining team.

John McTiernan's style of creating a believable atmosphere shines out through the characters and dialogue. Every member of the rescue team is memorable and likable e to their humorous dialogue and over the top macho-ism. Dutch chomping on cigars, Blain wielding a mini gun, Mac shaving with his own sweat and Billy's huge knife are all examples of the manliness portrayed in the film.

The Predator is great in its first portrayal, brought to life thanks to Stan Winston's incredibly lifelike effect. His gadgets and weaponry stay cool and interesting right until the end. One of the things that make the film interesting is watching the team come up with new ways to kill this creature that's picking them off like flies.

The film is filled with memorable quotes and scenes that will linger in your mind any time you think of masculinity. Any fan of action or Schwarzenegger will know this is a must see and one of the quintessential 80's flicks.

3. 青春年少（RUSHMORE）：

Rushmore is an extremely well written movie about obsessive love.

The acting is a quality of Rushmore that contributes greatly to its appeal. I've seen a lot of Bill Murray movies, an I've always had a high opinion of him. Saying that Bill Murray is good in a movie usually means that he was really funny (which, with a few exceptions, goes without saying). In this film, though, there is something more to his performance. With his facial expressions alone capturing the tortured soul of Mr. Blume accompanied by his impeccable comic timing, Murray is plainly terrific. Jason Schwartzman is also outstanding as Max, although his appearance shows more years than the mere 15 he is supposed to be. Olivia Williams is subtle and extremely effective as the British object of affection. Finally, in a key role as Max's chapel partner, Dirk Calloway, Mason Gamble (from Dennis the Menace), convey's his bitterness and anger with such acuity and humor that one can't imagine that there he is actually acting in front of a camera.

The humor of Rushmore is so delightfully offbeat, hilarity sometimes being found in such places as silent pauses with the camera directed right at the actor's face, that it might not be for every taste (but be sure to give it a try first). In fact, everything about this movie is different. I've seen this film twice and from the surreal use of really vivid colors to the quick-paced direction by the obviously very talented Wes Anderson, it seems destined to have cult status in the future. Finally, I would like to mention the soundtrack, a compilation of primarily British "invasion" rock (along with a brilliant original score), for it almost perfectly captures the spirit and life of this amazing achievement.

4. 死亡證據（DEATH PROOF)：

Like classic directors invented the western imagery, Tarantino recreates a world of vinyl jukebox, groovy cars and adventurer-girls that only exists as an illusion. The girls, low-middle class , behaves with an independence that many housewives would envy and they are clearly inspired in the Russ Meyer pictures. But they are real, even one of the girls is credited as 'herself'.

The famous Tarantino's dialogs are a hit-and miss in this one. Sometimes they seem forced, others they flow naturally, the sheer pleasure of conversation, and they help to make the movie a lightweight experience, that could keep on running. I said that the world exists only as an illusion, but that doesn't apply to the objects (the cars, the jukebox). Tarantino is like an antiquarian that doesn't want to see his beloved treasures getting st.

Did I mention the virtuosity? The cinematography is ostentatious and generous, showing colorful scenarios. They don't try to be pervasive, on the contrary it is a "Hey, look what I'm doing" way all the time, and it works.

My only complaint is that I'm sure I'm gonna see a few semi-obscure movies from the 70s and think: "I've seen this before somewhere..." It is time for QT to do something that could be described as 'original'. Only Pulp Fiction fits in that category.

『拾』 aquaman英語影評怎麼寫

用中文寫再翻成英文
或真懶惰的話
上imdb或爛番茄找吧