① 永不妥协的英文介绍或英文影评
其实是叫Erin Brockovich 永不妥协是根据内容翻译的
② 电影《永不妥协》的英文名
《永不妥协》(艾琳-布劳克维奇, Erin Brockovich)
环球影片公司(Universal, USA)2000年出品
主 演：朱丽娅-罗伯茨(Julia Roberts)
马格-海金伯格(Marg Helgenberger)
阿伦-艾克哈特(Aaron Eckhart)
斯考蒂-利文沃斯(Scotty Leavenworth)
导 演：斯蒂文-索德伯格(Steven Soderbergh)
类 型：传记片
这是部根据影片内容来翻译的电影名。
③ 永不妥协英文影评
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 永不妥协的英文电影，百度云发给我，谢谢
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提取码：2c5l
《永不妥协》是2000年上映的一部美国电影，由史蒂文·索德伯格执导，朱莉娅·罗伯茨、阿尔伯特·芬尼、艾伦·艾克哈特等主演。该电影改编自真实事件，描述了一个没有法律背景的单身母亲，历尽艰辛，以永不妥协的勇气和毅力打赢了美国有史以来最大的一宗民事赔偿案。
⑤ 谁有永不妥协经典英文台词30条
你是外国语的吧？（总校）
⑥ 求电影《永不妥协》、《海上钢琴师》的故事梗概100字左右，100字左右的观后感，还有经典台词
《永不妥协》是2000年上映的一部美国电影，由史蒂文·索德伯格执导，朱莉娅·罗伯茨、阿尔伯特·芬尼、艾伦·艾克哈特等主演。该电影改编自真实事件，描述了一个没有法律背景的单身母亲，历尽艰辛，以永不妥协的勇气和毅力打赢了美国有史以来最大的一宗民事赔偿案
《海上钢琴师》的故事梗概
1900年，Virginian号豪华邮轮上，一个孤儿被遗弃在头等舱，由船上的水手抚养长大，取名1900. 1900慢慢长大，显示了出了无师自通的非凡钢琴天赋，在船上的乐队表演钢琴，每个听过他演奏的人，都被深深打动。爵士乐鼻祖杰尼听说了1900的高超技艺，专门上船和他比赛，最后自叹弗如，黯然离去。 可惜，这一切的事情都发生在海上，1900从来不愿踏上陆地，直到有一天，他爱上了一个女孩，情愫在琴键上流淌。他会不会为了爱情，踏上陆地开始新的生活，用他的琴声惊艳世界？他将怎样谱写自己非凡的人生。
《海上钢琴师》经典台词/名句
We laughed and kept saying"see u soon",but inside we both knew we'd never see each other again.我们笑着说再见，却深知再见遥遥无期。
阻止了我的脚步的，并不是我所看见的东西，而是我所无法看见的那些东西。你明白么？我看不见的那些。在那个无限蔓延的城市里，什么东西都有，可惟独没有尽头。 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.
陆地？陆地对我来说是一艘太大的船，一个太漂亮的女人，一段太长的旅行，一瓶太刺鼻的香水，一种我不会创作的音乐。 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 谁有<<永不妥协>>英文字幕版的啊跪求！
在飞鸟影视里有吧，里面的电影都是中英文双字幕的。自己找吧，不要太懒。
⑧ 永不妥协 英文字幕有么 ，，跪求
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《永不妥协》是2000年上映的一部美国电影，由史蒂文·索德伯格执导，朱莉娅·罗伯茨、阿尔伯特·芬尼、艾伦·艾克哈特等主演。该电影改编自真实事件，描述了一个没有法律背景的单身母亲，历尽艰辛，以永不妥协的勇气和毅力打赢了美国有史以来最大的一宗民事赔偿案。
⑨ 《永不妥协》中的中文台词
一个单身母亲，带着三个孩子，没有受过高等教育，社会地位低下，数度求职而被拒，银行帐户上只有十四元钱，车停在道上挨罚单，还被其他的车撞……
朱丽亚罗伯兹就演这样一个透顶倒霉的人，为了生活厚着脸皮到律师事务所工作，什么也不懂，却误打误撞让她找到了一家大公司污染水源的证据，于是开始漫长的索赔工作。在这几年中，朱丽亚一身是胆，居然拳打脚踢开创了一番事业，不仅有了钱，而且过上了有尊严的生活。 这是一部轻喜剧，虽然题材还有些严肃，这种与强大势力斗争的社会问题片有很多，要拍得沉闷简直太容易了，但换了朱丽亚来演，当然风格也随之改变，变得轻松、平凡，甚至有些儿戏。
我知道在美国要取得律师资格是一件相当艰难的事，朱丽亚本来就早婚早育，与两个丈夫离了婚，带三个八岁以下的小孩，哪里还会有时间接受教育，不过也是教育制度的缺陷，当律师除了有很好的法律知识还不够，还需要朱丽亚这种坚韧顽强、永不妥协的笨拙精神才行。因为是集体诉讼，需要六百多位当事人90%以上的认可，这项工作完成的难度超乎想象，片中那位讨厌的女律师就怀着对朱丽亚的轻蔑想令她知难而退，但朱丽亚终于还是完成了，事后她面对一脸吃惊的首席律师调侃地说：“我没有法律学位，所以我只能对六百三十四位当事人提供性服务，真是累死。” 哈哈，这就是朱丽亚罗伯兹！ 那个大嘴的、乱发的、满口粗言秽语的、胸无城府的、易怒的朱丽亚罗伯兹！她让我们明白一个真理：只有你努力，平凡人也可以做专业性很强的工作。 但也并没有否定教育，否定的只是那种教条式的、与社会脱节的教育。其实朱丽亚能取得这些成就，离不开专业律师的帮助，她只做了她能做得好的事，只是流水线上的一颗螺丝，真正要加工成成品的，还是只有专业人士。 但这样已经足够令我们扬眉吐气的了。 学生是最不能被忽视的类别，因为他们现下虽然没有钱没有势，但谁也无法预知将来他会不会出人头地。同样，贫穷也不能被蔑视，怎知风雨之后不会出现彩虹？
可惜的是，影片对贫穷的理解非常的肤浅，那是富人贫乏的想象，朱丽亚住着独门独户的房子，有花园，有阁楼和地下室，房间里家电厨卫功能齐全，食品丰富，不知道这样的贫穷是不是让我们艳羡？ 唯一跟贫困挨得上边的，是经常出现在灶台上的蟑螂，唉呀，已经把我们胆大包天的朱丽亚吓得花枝乱颤歇斯底里了。一只昆虫，居然就可以把生活档次降低到贫困线以下，开玩笑的吧？因此又想起了安徒生著名的童话，《豌豆上的公主》。
影片是流畅的，色彩是丰满的，音乐是轻快的，没有故弄玄虚，作为商业片，能够拍成这样，也算是一个好的交待。 但我奇怪的是，以朱丽亚这样绝无仅有的才能，言语犀利，作风泼辣，能随机应变，具亲和力，怎么可能会堕入贫困？看来确实是导演的想当然。