珍珠港的影评
pearl harbour film review
Pearl Harbor consists of three incongruous acts, mashed together into an ungainly whole. It appears to be more interested in reproducing 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 reduces the historical backdrop into a series of action set pieces. Instead of exploring ideas inherent in the events, it extracts them, reducing 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, during, 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 individuals 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 individual: 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
兵临城下英文影评
A gut-wrenching and impressive hide-and-seek thriller that uses the bloody battle of Stalingrad (during the second World War) as the clever disguise here for a real battle of courage and determination. The film follows a young and highly talented Russian sniper from the Urals, Vassili Zaitsev (Jude Law - "eXistenZ", "The Talented Mr. Ripley"), who gains national fame from the help of Danilov (Joesph Fiennes - "Shakespeare in Love"), a propoganda officer and his true love and fellow sniper, Tania (Rachael Weisz), who is also flirting with Danilov.
However, the Germans have an ace sniper of their own in Erwin Koning (Ed Harris - "Pollock"), a seasoned and out-spoken Major who comes to Stalingrad only to pick off Vassili. And before Koning leaves, his superior officer asks how he'll find Vassili. Koning says, " I'll fix it so he finds me."
The love triangle that director Jean-Jacques Annaud and co-writer Alain Godard put in the story shows that the pair took a chance and I'll give them credit for doing it. Plus, the love scene that Law and Weisz have is one of the strangest (no offense to either one) that I've seen.
The film's best moments come when Vassili tries to catch Koning off guard, but the problem is Koning is aware of what Vassili is capable of. I won't say how it's done, but the final confrontation is a genuine nail-bitter.
All of the performances here are powerhouse and that includes Bob Hoskins as Nikita Kruschev, a snarling and impatient man and Ron Perlman, who portrays Koulikov, a lieutenant whose teeth are all metal and serves as a guide for Vassili.
Robert Frassie ("Ronin") handles the movie's photography with care and the appearrence of Stalingrad itself reminded me heavily of the war-torn cities shown in Spielsburg's "Saving Private Ryan" and Kubrick's "Full Metal Jacket". Also, James Horner conducts a tender and extremely mournful score that leaves a quiet yet important reminder of how awful war is.
"ENEMY AT THE GATES" is an extrodinary work of raw skill and imagination.
《美丽人生》英文影评：
This is one of those movies that have a lasting effect on you. After watching it, I found that it has less to do with the Holocaust and more to do with the human feelings and the beautiful relationship of a father and his son. The holocaust provides the ultimate context, that brings and highlights the story and adds yet another deep dimension to the movie. No such piece of art has ever before combined laughter and tears of sadness in me before and that is the miracle of the movie. The realism of the movie is not its strong point, but then again it is not supposed to be; this helps in bringing the audiences to a state of mind away from reality, focusing on the feelings generated by forgetting about all external events and developments of the war. Despite that, the movie does not fail to point out an element of the nazi psychology demonstrated by the doctor who was obsessed with riddles. This portrayed the nazi 'state of mind' (if ever such an expression existed) as a sick mentally disturbed state. Life is really beautiful as you watch Guido's relentless efforts to make a lovely exciting experience of the concentration camp to his son. You get exhausted just watching him going through his painful day and yet you smile as he speaks to his son and makes him laugh. One can go on forever describing the creativity of this movie, but one will not be able to capture all its beauty in writing.
--------------------------------
《导盲犬小Q》英文内容介绍：
As a labrador puppy, Quill is sent to live with a couple, Isamu (Teruyuki Kagawa) and Mitsuko Nii (Shinobu Terajima), who work as volunteers, training guide dogs (seeing eye dogs). When he grows to an adult dog, he is taken to a guide dog school, by a friendly, yet firm trainer Satoru Tawada. Although Quill is a little slower than the other dogs at the school, he seems to have an unusual 'empathy' and remarkable patience with his trainers. Tawade decides that Quill would be the ideal guide dog for Mitsuru Watanabe (Kaoru Kobayashi), but Wanatabe, a lonely and ill-tempered middle aged man, isn't as enthusiastic - he would "would rather sleep than be dragged around by a dog.". From here, the story is narrated by Wanatabe's daughter, Mitsuko (Yukika Sakuratani), and slowly, Wantanbe is rehabilitated, venturing into the outside world, and learning, not only to trust other humans, but the animal at his side who guides him.
英文影评：
This is an emotional movie, very heartwarming. A true life story cycle of a guide dog. I've seen it and it warms you up directly for animal lovers and indirectly for non animal lovers. Overall, a good cinematography but more can be add on. They should make more films like this, where they can show us how it looks like in the eyes of these superb creatures created by god for a purpose. Directorship is of this film is good and the director emphasize on balancing the act of both animals and humans in this film. At least, I know now how an animal feels when things like this happens. It just warms your heart when watching this film. In words, its a good movie to watch with your girlfriend who will definitely hold your hand whilst watching this movie.
pearl harbour film review
Pearl Harbor consists of three incongruous acts, mashed together into an ungainly whole. It appears to be more interested in reproducing 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 reduces the historical backdrop into a series of action set pieces. Instead of exploring ideas inherent in the events, it extracts them, reducing 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, during, 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 individuals 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 individual: 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
兵临城下英文影评
A gut-wrenching and impressive hide-and-seek thriller that uses the bloody battle of Stalingrad (during the second World War) as the clever disguise here for a real battle of courage and determination. The film follows a young and highly talented Russian sniper from the Urals, Vassili Zaitsev (Jude Law - "eXistenZ", "The Talented Mr. Ripley"), who gains national fame from the help of Danilov (Joesph Fiennes - "Shakespeare in Love"), a propoganda officer and his true love and fellow sniper, Tania (Rachael Weisz), who is also flirting with Danilov.
However, the Germans have an ace sniper of their own in Erwin Koning (Ed Harris - "Pollock"), a seasoned and out-spoken Major who comes to Stalingrad only to pick off Vassili. And before Koning leaves, his superior officer asks how he'll find Vassili. Koning says, " I'll fix it so he finds me."
The love triangle that director Jean-Jacques Annaud and co-writer Alain Godard put in the story shows that the pair took a chance and I'll give them credit for doing it. Plus, the love scene that Law and Weisz have is one of the strangest (no offense to either one) that I've seen.
The film's best moments come when Vassili tries to catch Koning off guard, but the problem is Koning is aware of what Vassili is capable of. I won't say how it's done, but the final confrontation is a genuine nail-bitter.
All of the performances here are powerhouse and that includes Bob Hoskins as Nikita Kruschev, a snarling and impatient man and Ron Perlman, who portrays Koulikov, a lieutenant whose teeth are all metal and serves as a guide for Vassili.
Robert Frassie ("Ronin") handles the movie's photography with care and the appearrence of Stalingrad itself reminded me heavily of the war-torn cities shown in Spielsburg's "Saving Private Ryan" and Kubrick's "Full Metal Jacket". Also, James Horner conducts a tender and extremely mournful score that leaves a quiet yet important reminder of how awful war is.
"ENEMY AT THE GATES" is an extrodinary work of raw skill and imagination.
《美丽人生》英文影评：
This is one of those movies that have a lasting effect on you. After watching it, I found that it has less to do with the Holocaust and more to do with the human feelings and the beautiful relationship of a father and his son. The holocaust provides the ultimate context, that brings and highlights the story and adds yet another deep dimension to the movie. No such piece of art has ever before combined laughter and tears of sadness in me before and that is the miracle of the movie. The realism of the movie is not its strong point, but then again it is not supposed to be; this helps in bringing the audiences to a state of mind away from reality, focusing on the feelings generated by forgetting about all external events and developments of the war. Despite that, the movie does not fail to point out an element of the nazi psychology demonstrated by the doctor who was obsessed with riddles. This portrayed the nazi 'state of mind' (if ever such an expression existed) as a sick mentally disturbed state. Life is really beautiful as you watch Guido's relentless efforts to make a lovely exciting experience of the concentration camp to his son. You get exhausted just watching him going through his painful day and yet you smile as he speaks to his son and makes him laugh. One can go on forever describing the creativity of this movie, but one will not be able to capture all its beauty in writing.
--------------------------------
《导盲犬小Q》英文内容介绍：
As a labrador puppy, Quill is sent to live with a couple, Isamu (Teruyuki Kagawa) and Mitsuko Nii (Shinobu Terajima), who work as volunteers, training guide dogs (seeing eye dogs). When he grows to an adult dog, he is taken to a guide dog school, by a friendly, yet firm trainer Satoru Tawada. Although Quill is a little slower than the other dogs at the school, he seems to have an unusual 'empathy' and remarkable patience with his trainers. Tawade decides that Quill would be the ideal guide dog for Mitsuru Watanabe (Kaoru Kobayashi), but Wanatabe, a lonely and ill-tempered middle aged man, isn't as enthusiastic - he would "would rather sleep than be dragged around by a dog.". From here, the story is narrated by Wanatabe's daughter, Mitsuko (Yukika Sakuratani), and slowly, Wantanbe is rehabilitated, venturing into the outside world, and learning, not only to trust other humans, but the animal at his side who guides him.
英文影评：
This is an emotional movie, very heartwarming. A true life story cycle of a guide dog. I've seen it and it warms you up directly for animal lovers and indirectly for non animal lovers. Overall, a good cinematography but more can be add on. They should make more films like this, where they can show us how it looks like in the eyes of these superb creatures created by god for a purpose. Directorship is of this film is good and the director emphasize on balancing the act of both animals and humans in this film. At least, I know now how an animal feels when things like this happens. It just warms your heart when watching this film. In words, its a good movie to watch with your girlfriend who will definitely hold your hand whilst watching this movie.
温馨提示：内容为网友见解，仅供参考
无其他回答
相似回答
