① 永不妥協的英文介紹或英文影評
其實是叫Erin Brockovich 永不妥協是根據內容翻譯的
② 電影《永不妥協》的英文名
《永不妥協》(艾琳-布勞克維奇, Erin Brockovich)
環球影片公司(Universal, USA)2000年出品
主 演：朱麗婭-羅伯茨(Julia Roberts)
馬格-海金伯格(Marg Helgenberger)
阿倫-艾克哈特(Aaron Eckhart)
斯考蒂-利文沃斯(Scotty Leavenworth)
導 演：斯蒂文-索德伯格(Steven Soderbergh)
類 型：傳記片
這是部根據影片內容來翻譯的電影名。
③ 永不妥協英文影評
The Nutshell: A feisty young woman, Erin Brockovich (Julia Roberts), arrives at the law offices of Ed Masry (Albert Finney) through the forces of Fate. A twice divorced mother of three with no employable skills, she badgers, cajoles and pleads with Masry to give her a job. He reluctantly hires her as a file clerk. After finding medical records in real estate files, she becomes a de facto investigator to uncover a large utility company's cover-up concerning the contamination of a small town's water supply. As the stakes get higher, the unecated and untrained Erin must use her considerable wits and genuine empathy to the affected townsfolk to stay not only ahead, but in the game.
As is apparent from the description, ERIN BROCKOVICH is film treading on the ground of earlier films. NORMA RAE has given us the gutsy, blue collar woman fighting the big corporation and THE VERDICT has shown us out-of-their-league lawyers having to face very daunting legal challenges. With the Harley-Davidson riding next door neighbor who volunteers (!) to watch her three kids, there's even a shade of MASK's sweet bikers thrown in to boot. When a film has so much past cinema history to compete in the audiences memory against, it has two choices: the minefield or paint-by-numbers. A writer and director could try to approach the story and film in a new way. They can avoid all the clichés and expectations, and go for something wholly original. But like in a minefield, one misstep and the film implodes from the twin anticipations from both the general audience and the cineastes lead to expect something more.
Or, they can capitulate to the idea that there are few new options in presenting real-life stories and make sure they keep the those audience pleasing moment coming at a steady rate. Steven Soderbergh and writer Susannah Grant go the later, and hence, paint-by-numbers route. This is the Soderbergh who gave us OUT OF SIGHT more than the one responsible for THE LIMEY. There is nothing wholly original here in either the film's story line or how it's presented. In fact, BROCKOVICH is such a studio star vehicle he doesn't employ the non-linear editing of those last two films that was becoming his forte.
Considering his last films and that his announced future projects are a remake of the piffle OCEAN'S 11 and a film version of the BBC TV show "Traffic" (about a drug enforcement chief finding out his daughter is a drug mule), Soderbergh seems to be following a one for the studio/one for himself approach to filmmaking. Too bad BROCKOVICH seems to be the studio pic he is doing before starting TRAFFIC. Allowed to work with a more realistic version of Erin (for comparison, pay close attention to the waitress early-on: it's the real Erin Brockovich doing a cameo) and not having to deal with the considerations that go hand in hand with working with someone of Robert's stature it would have been interesting see how different (and very possibly better) this could have been.
This is a showy part and Roberts sinks her teeth into it. Roberts here will remind those who remember it of her breakthrough part in MYSTIC PIZZA - a film that had the bad luck of being a movie aimed at women before "chick flicks" became trendy recently. Definitely worth a rental. She is caustic, forceful and unpretentious. The only problem is Roberts brings so much baggage with her that she never makes the character seem unique. The part suffers from us never being surprised by a larger-than-life character because, well, it's Julia Roberts. It's a wonder why New Jersey Films didn't opt to try this as a low budget film showcasing an actress not as well known. Janet McTeer, who did a similar no-collar turn in TUMBLEWEEDS that prompted several critics to call hers THE performance of 1999, actually looks like the real Erin.
Beginning what will hopefully be the start of a interesting late middle-aged phase of his career, Finney consistently infuses his character with the quirks and a real human tics that are just as consistently missing from Roberts performance. Those who were unlucky enough to catch the pointless and boring SIMPATICO (was there ever a more egregious waste of a good title?) will be excused from thinking his turn as the race horse voucher in that turgid film was a warm-up for Masry. As a man who has worked hard and been careful to arrive where he is in life, he had a helluva lot more to lose than Brockovich who is acting out of necessity. Instead of sounding shrill and selfish, Finney manages a nice balancing act between grounding him enough to be solid and letting him let Erin befuddle him. Its a shame that if anyone remembers the film next winter when the next awards season starts, it will be for the wrong performance.
Universal left nothing to chance marketing BROCKOVICH, unfortunately for regular movie attendees. Every great zinger and most of the "You tell'em, girl!" moments are squandered in the trailers. For those who plunk down their $8.50 to discover what made Erin and her story worth telling find that the awfully nice folk in the Universal marketing department have made sure there is nothing new to discover. It's not hard to like BROCKOVICH. It moves deftly between the expanding professional life of its title character and the repercussions it is having on her home life. It makes a lot of smart choices in what to play up and what events can be skimmed over. As long as its treated as the feel good, unchallenging mainstream studio star vehicle it was fashioned to be, liking the film will come easy. Just don't expect anything deeper. As either a safe-bet outing at the multiplex or a rental half a year from now, ERIN BROCKOVICH is worth a look. But just remember Olympia Dukakis' retort to Cher in MOONSTRUCK - "Playing it safe is the mbest thing a woman like you can do."
④ 永不妥協的英文電影，百度雲發給我，謝謝
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《永不妥協》是2000年上映的一部美國電影，由史蒂文·索德伯格執導，朱莉婭·羅伯茨、阿爾伯特·芬尼、艾倫·艾克哈特等主演。該電影改編自真實事件，描述了一個沒有法律背景的單身母親，歷盡艱辛，以永不妥協的勇氣和毅力打贏了美國有史以來最大的一宗民事賠償案。
⑤ 誰有永不妥協經典英文台詞30條
你是外國語的吧？（總校）
⑥ 求電影《永不妥協》、《海上鋼琴師》的故事梗概100字左右，100字左右的觀後感，還有經典台詞
《永不妥協》是2000年上映的一部美國電影，由史蒂文·索德伯格執導，朱莉婭·羅伯茨、阿爾伯特·芬尼、艾倫·艾克哈特等主演。該電影改編自真實事件，描述了一個沒有法律背景的單身母親，歷盡艱辛，以永不妥協的勇氣和毅力打贏了美國有史以來最大的一宗民事賠償案
《海上鋼琴師》的故事梗概
1900年，Virginian號豪華郵輪上，一個孤兒被遺棄在頭等艙，由船上的水手撫養長大，取名1900. 1900慢慢長大，顯示了出了無師自通的非凡鋼琴天賦，在船上的樂隊表演鋼琴，每個聽過他演奏的人，都被深深打動。爵士樂鼻祖傑尼聽說了1900的高超技藝，專門上船和他比賽，最後自嘆弗如，黯然離去。 可惜，這一切的事情都發生在海上，1900從來不願踏上陸地，直到有一天，他愛上了一個女孩，情愫在琴鍵上流淌。他會不會為了愛情，踏上陸地開始新的生活，用他的琴聲驚艷世界？他將怎樣譜寫自己非凡的人生。
《海上鋼琴師》經典台詞/名句
We laughed and kept saying"see u soon",but inside we both knew we'd never see each other again.我們笑著說再見，卻深知再見遙遙無期。
阻止了我的腳步的，並不是我所看見的東西，而是我所無法看見的那些東西。你明白么？我看不見的那些。在那個無限蔓延的城市裡，什麼東西都有，可惟獨沒有盡頭。 It wasn't what I saw that stopped me, Max. It was what I didn't see. You understand that? What I didn't see. In all that sprawling city there was everything except an end.
陸地？陸地對我來說是一艘太大的船，一個太漂亮的女人，一段太長的旅行，一瓶太刺鼻的香水，一種我不會創作的音樂。 Land? Land is a ship too big for me. It's a woman too beautiful; it's a voyage too long, a perfume too strong. It's a music I don't know how to make.
⑦ 誰有<<永不妥協>>英文字幕版的啊跪求！
在飛鳥影視里有吧，裡面的電影都是中英文雙字幕的。自己找吧，不要太懶。
⑧ 永不妥協 英文字幕有么 ，，跪求
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《永不妥協》是2000年上映的一部美國電影，由史蒂文·索德伯格執導，朱莉婭·羅伯茨、阿爾伯特·芬尼、艾倫·艾克哈特等主演。該電影改編自真實事件，描述了一個沒有法律背景的單身母親，歷盡艱辛，以永不妥協的勇氣和毅力打贏了美國有史以來最大的一宗民事賠償案。
⑨ 《永不妥協》中的中文台詞
一個單身母親，帶著三個孩子，沒有受過高等教育，社會地位低下，數度求職而被拒，銀行帳戶上只有十四元錢，車停在道上挨罰單，還被其他的車撞……
朱麗亞羅伯茲就演這樣一個透頂倒霉的人，為了生活厚著臉皮到律師事務所工作，什麼也不懂，卻誤打誤撞讓她找到了一家大公司污染水源的證據，於是開始漫長的索賠工作。在這幾年中，朱麗亞一身是膽，居然拳打腳踢開創了一番事業，不僅有了錢，而且過上了有尊嚴的生活。 這是一部輕喜劇，雖然題材還有些嚴肅，這種與強大勢力斗爭的社會問題片有很多，要拍得沉悶簡直太容易了，但換了朱麗亞來演，當然風格也隨之改變，變得輕松、平凡，甚至有些兒戲。
我知道在美國要取得律師資格是一件相當艱難的事，朱麗亞本來就早婚早育，與兩個丈夫離了婚，帶三個八歲以下的小孩，哪裡還會有時間接受教育，不過也是教育制度的缺陷，當律師除了有很好的法律知識還不夠，還需要朱麗亞這種堅韌頑強、永不妥協的笨拙精神才行。因為是集體訴訟，需要六百多位當事人90%以上的認可，這項工作完成的難度超乎想像，片中那位討厭的女律師就懷著對朱麗亞的輕蔑想令她知難而退，但朱麗亞終於還是完成了，事後她面對一臉吃驚的首席律師調侃地說：「我沒有法律學位，所以我只能對六百三十四位當事人提供性服務，真是累死。」 哈哈，這就是朱麗亞羅伯茲！ 那個大嘴的、亂發的、滿口粗言穢語的、胸無城府的、易怒的朱麗亞羅伯茲！她讓我們明白一個真理：只有你努力，平凡人也可以做專業性很強的工作。 但也並沒有否定教育，否定的只是那種教條式的、與社會脫節的教育。其實朱麗亞能取得這些成就，離不開專業律師的幫助，她只做了她能做得好的事，只是流水線上的一顆螺絲，真正要加工成成品的，還是只有專業人士。 但這樣已經足夠令我們揚眉吐氣的了。 學生是最不能被忽視的類別，因為他們現下雖然沒有錢沒有勢，但誰也無法預知將來他會不會出人頭地。同樣，貧窮也不能被蔑視，怎知風雨之後不會出現彩虹？
可惜的是，影片對貧窮的理解非常的膚淺，那是富人貧乏的想像，朱麗亞住著獨門獨戶的房子，有花園，有閣樓和地下室，房間里家電廚衛功能齊全，食品豐富，不知道這樣的貧窮是不是讓我們艷羨？ 唯一跟貧困挨得上邊的，是經常出現在灶台上的蟑螂，唉呀，已經把我們膽大包天的朱麗亞嚇得花枝亂顫歇斯底里了。一隻昆蟲，居然就可以把生活檔次降低到貧困線以下，開玩笑的吧？因此又想起了安徒生著名的童話，《豌豆上的公主》。
影片是流暢的，色彩是豐滿的，音樂是輕快的，沒有故弄玄虛，作為商業片，能夠拍成這樣，也算是一個好的交待。 但我奇怪的是，以朱麗亞這樣絕無僅有的才能，言語犀利，作風潑辣，能隨機應變，具親和力，怎麼可能會墮入貧困？看來確實是導演的想當然。