『壹』 珍珠港英文影評
Pearl Harbor is supposed to be a World War 2 based movie. Its the sort of movie anyone would expect to be an accurate enough dramatisation of events that actually happened.
Instead what we get is an attempt to make another Titanic by including a love triangle that is dominant over the whole history aspect. It just doesn't seem right.
Being a historic epic, they could have cut down on the whole love story and focused more on what would have been relevant such as the Japanese preparation of the attack and the situation President Roosevelt was finding himself in. The sequence of the actual attack on Pearl Harbour was spectacular! Perhaps if they extended it and made it a more major part of the film it would have been more worthy. Another major flaw with this movie is that after the attack sequence the movie dragged on for another hour trying to give an epilogue which was totally irrelevant.
『貳』 求一篇250到300詞的珍珠港英文觀後感
Pearl Harbor consists of three incongruous acts, mashed together into an ungainly whole. It appears to be more interested in reprocing the
『叄』 用英語評論電影《珍珠港》
Pearl Harbor is without a doubt the worst world war 2 film of the past decade! The plot was lackluster and unoriginal, the acting pathetic for the most part, and the history inaccurate.
It seems to be more preoccupied with portraying America in the best light than accurately depicting the facts. The love story is out of place and pathetic.
At the end of the film is a 5 minute rant about why America is supposedly great; it actually says "after pearl harbour all America knew was victory", obviously the writers had never heard of Vietnam.
The only good aspect was the special effects, but they could never make up for this absolutely dire film.
『肆』 珍珠港電影英語影評
*** This comment may contain spoilers ***
Pearl Harbor is a monstrous, costly and utterly disrespectful abomination of film with pretensions of serious emotional weight and proper historical context. With the cost of the movie comparable to the damage costs of the actual Dec. 7, 1941, attack, more attention should've been paid to the script and research instead of all the models and gasoline for an attack sequence that, while spectacular, was more appropriate for a Star Wars clone or a video game than an actual World War II-era film.
And that's about the only "positive," if you can call it that, of that hack Michael Bay's Oscar-t project. Many history buffs have ripped the movie from the angle of historical inaccuracy and omission. Assuming that Pearl Harbor is not meant to be a documentary, but a work of historical fiction, lack of historical accuracy and comprehensiveness is by far the least significant of Pearl Harbor's problems, per se, although such blatant historical carelessness certainly starts to say a lot about the movie as a whole.
But, if Pearl Harbor's aim was to be a work of fiction, it has also miserably failed at that. It fails as literature, and it fails as a film. Pearl Harbor tries to be an amalgamation of three past classic movies on the subjects it covers: 1) From Here to Eternity, a clever and well acted telling of the stories of several characters' romantic pursuits and personal struggles right before the attack on Pearl Harbor disrupted everything, 2) Tora! Tora! Tora!, a mostly factual, well balanced depiction of the planning and execution of the actual Pearl Harbor attack with vintage cinematography, and 3) Thirty Seconds Over Tokyo, a meticulously detailed depiction of the Doolittle Raid with a schmaltzy but genuine love subplot involving one actual soldier and his wife. But Pearl Harbor falls far short of all three aforementioned films on not only their own terms, but simply as movies.
Instead of From Here to Eternity's clever dialogues and personal plot twists and romantic moments dripping alternately with irony and genuine warmth, Pearl Harbor wastes its first hour and a half of screen time setting up a sophomoric love triangle that could have been ripped straight from daytime television soap operas and trash talk shows.
The triangle involves two generically glamorous flyboys, played by Ben Affleck and Josh Hartnett, who have been friends since childhood. Even their names, Rafe McCawley and Danny Walker, are mundane. Rafe (Affleck) falls in love with a nurse who presides over his physical named Evelyn (played by Kate Beckinsale), who is also generically glamorous. Rafe and Evelyn spend the next hour or so exchanging pallid lines of dialogue that try too hard to hammer into the audience that, yes, they are in love. Sort of like Shakespeare or Petrarch without any brains and about four centuries too late. In any case, Rafe goes to Britain to fly for the Royal Air Force, where he faces serious butt-kissing from the Brits in a disgustingly patronizing depiction of both British and Americans, and gets shot down over London. But (who didn't see this coming) he lives.
But Evelyn thinks he's dead. And so does Danny (Hartnett). After the token few minutes of mourning, Danny and Evelyn fly above Hawaii and then make it like rabbits under parachutes, invoking obvious parallels to Titanic's "I'm flying" scene followed by good ol' shagging in a car backseat. More faux-sonnet dialogue follows. Then, just like clockwork, Rafe comes back, poor Evelyn is caught in the middle, and Danny and Rafe fight Jerry Springer-style. Then it gets interrupted by the spectacular but oddly fake and inhuman money siphon ... er ... I mean, attack sequence characterized by CGI copies of trapped and screaming people.
Meanwhile, Pearl Harbor occasionally alternates to shots of somber-looking Japanese spies and soldiers planning the attack, all accompanied by evil-sounding music, going out of the way to make the Japanese look like devious souls out for revenge because America wouldn't give them their oil (convenient partial reasoning). Then, in an attempt to make the Japanese appear somewhat remorseful, the script calls for Admiral Yamamoto to utter his famous "brilliant man" and "sleeping giant" lines.
After the attack, Jon Voight does a wonderful impression of Peter Sellers' Dr. Strangelove. Only problem is, he was supposed to be Franklin D. Roosevelt.
O, and as for Rafe and Danny? They've sort of made up. Heck, ring the attack, they even team up to presumptuously usurp the roles of the two historical heroes of the Pearl Harbor attack, Lts. George Welch and Kenneth Taylor, who took to the skies and shot down anywhere from six to 10 Japanese planes.
Then our omnipresent plastic heroes listen in on a Top Gun-esquire rah-rah by Alec Baldwin's interpretation of Col. Jimmy Doolittle, which leads into a half-baked annotation of the historical Doolittle Raid, which has the threefold purpose of making sure our two heroes achieve good ol' American vengeance on the Japanese, to slap some convenient closure on our three-hour General Hospital episode (in case you couldn't figure it out, Danny dies, and Rafe and Evelyn live happily ever after with the parachute baby Danny Jr.), and to make me wonder why this movie was titled "Pearl Harbor" and not "Babes, Bombs and Butt-kicking," or something rather. Then the credits roll, accompanied by a pop song that sounds like a rejected idea for Titanic.
The title "Pearl Harbor" presumes that this movie is the ultimate cinematic authority on the attack. But instead it amounts to little more than a three-hour soap opera with putrid dialogue that has the gall to give credit to generic G.I. Joes for key historical roles. No other work of historical fiction has at the same time taken itself so seriously and managed to show such irreverence both for its subject and for the very craft of film-making.
『伍』 電影《珍珠港事件》英語讀後感
On December 7, 1941 before dawn, Japan for eliminated the south boundexpanded war the main barrier, to beautifully attacked without priornotice, the date united fleets in commander Guanshan this 56 naviessenior general's planning with the direction under, its airplane andthe submarine suddenly attacked US Pacific fleet base Pearl harbor aswell as the United States Army and navy's in Hawaii all United Statesmilitary airport and many the naval vessel which anchored in Pearlharbor. Does not guard against US'S 12 battleships and other ships areattacked and sunk or wreck, 188 airplanes are destroyed, 2,400Americans lost life, only the Arizona number battleship explodes whenthe submersion has over a thousand dead. "The Pearl Harbor Incident"the matter sent after second days on December 8, US has abandoned "theisolated principle", Congress has carried unanimously the resolutionwhich declared war to the date. American President Roosevelt signedproclaimed the war declaration, and announcement on December 7 for US"national humiliation date". "The Pearl Harbor Incident" thoroughlyhas been involved in US Second World War.
『陸』 求來一篇:《偷襲珍珠港》電影的觀後感
二戰是人類歷史上"不可」治癒的創傷，身體的災難給予了那個時代，而心靈的創傷如遺傳一樣，時代相傳下去。所以對待歷史，我們要以求知者的身份來傾聽，來汲取教訓。
前些天看了《珍珠港》這部反應戰爭的影片。一般我們會慣用「欣賞」這樣的字眼來形容電影，的確，電影是給人看的。但是對於這部影片（推而廣之所有反映戰爭的影片）我真的想不出用什麼來形容。在觀看的同時也揭開了人類的傷疤，就好像自己親身經歷戰爭災難一樣。彷彿自己是身處亂世的人，對戰爭的恐懼，對和平的期盼......讓我熔入歷史之中,那一刻歷史就像是滄桑老人，像我們講述那段不堪回首的往事！
對於珍珠港事件，是由日本帝國主義精心策劃的，美國方面未給與充分重視的侵襲戰爭。對於珍珠港基地的重要性和日本進攻的可能性，美國沒有給與足夠的重視。政府在很長一段時間以輕敵姿勢來對待這場無法規避的戰爭。結果這場戰爭幾乎是在美軍的睡夢中打響的，正猶如當頭一棒，驚醒了沉睡中的美國。居安思危的潛危險意識在任何時候都是必須的，在新中國成立之初就以《義勇軍進行曲》作為國歌的問題上，毛主席態度鮮明的指出了「中華民族到了最危險的時候」這句話不會過時。一種潛危險意識，就這樣伴隨著新中國的成長，強大。正所謂「富貴不能淫，威武不能屈，貧賤不能移」。
增加民族凝聚力，國家榮譽感是每個人應承擔的責任，是每個人歷史使命之所在。在任何情況下，擁有這種信仰的國家將無往而不勝！國家的災難每個人都是實際的承擔著，國家與個人的命運是相連的，就如珍珠港事件傳到本土之後，美國各界紛紛動員，士兵，物資，源源不斷的輸往前線，民族凝聚力，責任感油然而生。在去年的汶川地震時，我國軍民團結一致，眾志成城，無不凸顯了新時期的民族精神，和責任感！
戰爭的爆發是利益沖突所導致的，在利益沖突不斷升級，達到一定的程度時就會發生。所以從某種意義上講，戰爭也是出於協調利益矛盾。正義戰爭的目的在於不再戰爭。日本帝國主義出於自身的考慮發動了這場不義戰爭，是違歷史之潮流，人類之期望。所以窮兵黷武的極端分子下場，註定要自己埋葬自己!
二戰是帝國主義政治經濟發展不平衡的階段性產物，以日本為首的法西斯千方百計的轉嫁國內經濟危機，以求對內欺騙鞏固統治，對外侵略擴大統治。戰爭成為他們「理想」的工具。然而，事實告訴我們和平發展才能實現富強與尊重，「力可以的天下，而不可得民心",但是「興百姓苦，亡百姓苦」誰也不希望戰爭的爆發。當今世界正處於變革之中，在變化中充滿宇多不確定因素，其最終也不乏戰爭因素，但是時代的主流是求和平，謀發展，基於此應該盡量避免不必要的戰爭。縱觀歷史戰爭不是解決矛盾的唯一手段，許多戰爭反而適得其反。時下更為微妙的是協商解決利益的沖突。「在戰爭中能取得的，談判桌上也可以」和平應該成為人類之共同信仰！
雖然我們反對不義戰爭，但是我們可以犧牲一切可以犧牲的來維護，國家的榮譽，民族的尊嚴，就像美國人正常的生活秩序被打亂後，美國人民開始了為自由而戰
正如前文所說的「戰爭的創傷是遺傳的」但是有好多人基因變異了，有的變異結果是隱瞞，有的淡化，更有甚者美化！「在對待歷史問題上，中國的態度是'以史為鑒，面向未來'，我們從來不認為歷史上的日本人能軍國主義對中國的侵略要日本人民承擔，我們從不這樣認為」，朱鎔基的話不應該成為日本黨政忘卻歷史的資本，而應該是中日世代友好的根本。針對日本否認侵略，偷襲珍珠港，南京大屠殺......無疑是鐵的血證!
美國軍隊在收到命令之後，迅速集結，快速行動，體現了軍人的使命和天職。胡錦濤主席提出的「忠誠於黨，熱愛人民，報效國家，獻身使命，崇尚榮譽」當代軍人的核心價值體系，是中國特色建軍之路的有益探索。我軍是文明之師，威武之師，文明之師，革命戰爭年代中國共產黨和中國人民，靠這支鐵騎，歷盡艱難困苦終於建立了華族江山，彪炳千古。和平時期，這支雄獅為捍衛國家獨立與主權，維護世界和平建立了卓越功勛。新時期，新變化，中國軍隊更是彰顯了核心價值體系！
忽視過去的人，在未來的行程中，將是一個缺乏准備的思想准備de匆匆過客，忽視過去的國家，面對世界變局將不會有成熟的選擇，甚至有迷失方向的風險。 和平年代，回首那段滄桑歲月，使我倍加珍惜來之不易的和平，歷史留下了許多。讓那些滄桑歲月來激勵我們向前吧!
『柒』 哪位老兄幫忙找一篇《珍珠港》的影評，內容多一點，分析要客觀，感情要真實
簡單的愛情，世俗的感動閑看《珍珠港》 影評
可是我還是認為《珍珠港》做得不好，而且最大的缺陷同樣在劇本。但不是在前面，而是在後面。首先女主角的塑造不夠徹底，思路有變。怎麼看那些女主角同男二號在一起的纏綿片斷也可以讓觀眾認為她是愛上了男二號的。可是男一號回來後，她的痛悔的表現立馬就把前面的一切推翻了，她並沒有愛上男二號，她始終愛的是男一號。那麼前面的纏綿還有其必要嗎？劇情的三心二意使得這個原本與傳統相比有些不同的女主角叛逆得不夠徹底，她就不可以同時愛上兩個男人嗎？主流的觀眾說不，於是導演也就硬生生地把一個原本有點深度的女性角色塞回了傳統花瓶的軌道。而這時女主角已經懷上了不愛的那個男人的骨肉，於是我就猜到兩男必需有一個要死了。那就讓他們在轟炸中互相該原諒的原諒，該告別的告別，該死去的死去吧，這樣災難與愛情兩條線才能得以融合和貫通，才夠乾脆果斷啊。可是還是為了照顧美國主流觀眾的情緒，咱不能只挨打不還手啊，讓咱在珍珠港事件里展開大的還擊雖然是最好的，可美國人也不敢如此公然地篡改歷史呀？於是導演只好畫蛇添足地在轟炸後又加上了美國報復的一幕，本該在轟炸中解決的感情危機也就只好安排在後面的報復行動中來了，以保持懸念。可是此時縱有未了的感情掙扎和精彩的空中戰斗那也是無力回天了，在經歷了四十多分鍾精彩轟炸後的觀眾已經是精疲力竭、無意欣賞了，此時都盼著你結束呢。本身就也精彩不過大轟炸的結尾「高潮」戲也就只能給人一種高潮後的感覺，淪為雞肋似的東西了。
近三小時的大片《珍珠港》就這樣閑閑地看完了，有反感的地方，但大多時候還是看得很投入，而且很多地方還是很感動的。其中有音樂的迷人因素，有演員的自然表演，甚至有劇本的某些小心思。但是也不能忽略了還有攝影的大氣和漂亮，很多地方的攝影都極具心思，比如日軍軍艦上用的那個從高空滑過的鏡頭，就非常乾脆漂亮，氣勢十足。而一對情侶共乘飛機在天上遨遊的時候不禁讓人想起《走出非洲》中的經典愛情，在這里天空的顏色和飛機轉圜時的鏡頭切換以及剎那的光線都是做足功夫的，更別提大轟炸時的場面調度和攝影技巧的全面運用了。而作為好萊塢的專長的美工同樣也毫不遜色。那種四五十年代特有的挺拔干凈、溫文爾雅的服飾在清冷的街景和金黃的陽光下是如此的懷舊。
不過我想我對《珍珠港》的好感，最主要的還是來自於起初對它的期望值的極低。人往往就是這樣，當你把所有的渴望降到最低點時，你才能感覺到讓你欣喜的東西的。一部商業片就應該用世俗的眼光去看，能感動最好，不能感動那一笑置之就行，反正沒指望它能走入你的生命和情感，放輕松的時候是我們最寫意的時候。如果看累了沉重思考的嚴肅電影，那麼不妨世俗地去感動感動簡單的愛情與生命吧!
其他影評還有:
http://www.chinacity.com/blog/user1/2895/archives/2005/30058.shtml
http://yezhanpai.spaces.live.com/Blog/cns!93F55BA913250760!997.entry
http://www.mtime.com/movie/12601/comment.html