禁闭岛1000字英文影评-禁闭岛影评-英语学习资料
编辑： admin 2017-03-03
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Shutter Island.A film that will divide the film community.A film that will leave many upset,and hating it.A film that has already completely split the critics.A movie that messes with you.And no one likes to be messed with.And that is exactly where it exceeds.Think I'm contradicting myself?
Shutter Island is one of the most well crafted psychological thrillers to come by since Silence Of The Lambs.And it is no coincidence both were brilliantly written novels.Shutter Island is adapted by a book written by Dennis Lehane (wrote gone baby,gone and mystic river).It is a book filled with twists and turns,that will leave the reader dizzy.And,that is what it's film counterpart does to the fullest.Martin Scorsese helms the director chair,in a movie where he is more free than any before.This is Scorsese at his most unrestrained.
Marty takes what he has learned from the great films of the past and puts it into his.The master of suspense Alfred Hitchcock's influence is everywhere you look in this film.And it is no wonder,considering Scorsese even showed one of his greatest works to the crew:Vertigo.And many of those ideas are present in Shutter Island; the cliff scenes scream Hitchcock.This is a film that creeps and crawls,and is filled with dark corners.And it is all heightened by the coming storm that looms over the island.This is classic film noir.
The story follows Teddy,a federal Marshall,and his partner Chuck (Played by DiCaprio and Ruffulo).They go to this mysterious island enveloped in fog to investigate an escape.From these opening scenes,Marty has set up a dark and creepy premise.
Almost the whole movie incorporates this story as Teddy desperately tries to find the truths he seeks.Teddy is shown as a scared man; a man of war and violence as portrayed in various flashbacks.These will go on to be increasingly important as the story progresses.We follow Teddy on his quest,through every dark corridor and perilous confrontations.Slowly,we are given pieces to the puzzle,but the audience does not even realize it.For we,like Teddy,are blind.For the moment at least.It is because of this that the thrilling conclusion will leave many blindsided.But,you see,that is where this thriller becomes something more.We as the audience are put in Teddy's shoes,and we feel all the things he feels.It is a complete assault on the senses,and it works beautifully.
This is a film you must watch carefully.That is another thing that sets this apart,it is a horror film that makes you actually think.In this day and age,I'm not surprised some found it terrible esp.after their brains have been turned to mush by these new gore filled horror films.Scorsese's ultimate goal here is to wake you up.And trust me,you probably wont like it.
This is also a film I would recommend seeing a second time.In fact,it is even better the second time.All those pieces of that puzzle you didn't catch the first time,you will the second.You see,we as the audience are first put in the shoes of Teddy.The second?Well,without giving too much away,lets just say you are put in someones else's shoes entirely during the second viewing.
Shutter Island.A film that will make you question your own sanity.A film that will leave you breathless.A film that has re-ignited the thriller genre.A film that will leave you,and the main character,searching for answers.
类似问题
类似问题1：急需4篇英文电影影评（影评要用英文写的额）,最好是悬疑片的,如致命id,禁闭岛等开头简要介绍一下内容,之后开始谈谈感受,最好能分析下电影给人的启发（大概300字左右每篇）.写完后发至h
已发送~FIGHT FOR HEALTH.
类似问题2：名著读后感,或英语电影影评,1000字以上,要英文的,三篇……谢谢[英语科目]
你不给我加分,怎么对得起我!
英文影评:千与千寻(Spirited Away)
Animated feature from Japanese master Hayao Miyazaki. A young girl finds herself trapped in a mystical realm, where she must find a way to save her parents - who have been turned into pigs
There's something almost criminal about the way Spirited Away took over two years to reach Britain after its original Japanese release. In Japan, Hayao Miyazaki is both commercially successful (his films regularly beat box office records) and highly respected (Akira Kurosawa said: "I am somewhat disturbed when critics lump our works together. One cannot mimimise the importance of Miyazaki's work by comparing it to mine."). In Britain, however, his work has barely got more than a few cursory arts venue screenings. At least Spirited Away - which took the Berlin Golden Bear in 2002 and the Best Animated Film Oscar in 2003 - made it. Better late than never.
After the stress of making his last film, 1997's Princess Mononoke, Miyazaki had a breakdown and retired. But he came out of retirement when an idea to create another, lighter film began to take shape. Princess Mononoke was an action-packed epic that ranged across 15th century Japan. For Spirited Away he returned to the quieter - but no less serious - themes that he addressed to a degree in 1988's My Neighbor Tortoro. Both films feature a family moving house, girls getting used to upheaval, and elements of 'Alice In Wonderland'. But where the 1988 film used a few specific motifs from Carroll's book (a plunge into a 'rabbit hole', a version of the Cheshire cat), Spirited Away casts its 10-year-old protagonist, Chihiro (Hîragi; or Chase in the US dub), fully into a Wonderland, a mystical otherworld populated by animal spirits and gods. Chihiro arrives in this realm by accident. Her parents, heading for their new home, take a road that leads into the woods. Arriving at a dead end, they walk down a corridor through a building and emerge in what dad takes to be "an abandoned theme park". It's something like a Japanese Portmeirion, but eerily deserted. While her parents greedily help themselves to food, Chihiro wanders off and meets Haku (Irino; or Marsden), a boy who warns her to leave before dark. She's too late though - a lake has appeared, blocking her route, ghostly forms have populated the town and her parents have turned into pigs. She's trapped.
The only way to survive, Haku tells her, is to get work in the bath house that dominates the town. Here "eight million gods rest their weary bones", according to Yubaba (Natsuki; or Pleshette), the witch who runs the establishment. Chihiro makes her way to meet Yubaba with the help of Kamajii (Sugawara; Ogden Stiers), a multi-limbed codger who runs the boiler house, Lin (Tamai; Egan), a serving woman with a taste for "roasted newt", and even a 'Radish God', a giant sumo of a chap with tuber-like appendages. Yubaba is hardly forthcoming - her realm is "no place for humans" - but she's forced to give Chihiro work, thanks to an oath she swore. Chihiro gets work helping Lin. But the management give them the worst jobs - such as assisting a hideous oozing creature they take to be a "Stink God; an extra large stinker at that". It's an entity so foul its smell makes food rot instantaneously, while its suppurations fill the room with a noxious gloop.
Chihiro - or Sen as she becomes when Yubaba takes her name as part of her contract - does get by in the bath house, but it's not without further incident. She may lose her identity, but she retains her decency. One act of kindness results in a dangerous spirit, No Face, getting into the bath house and wreaking havoc by playing on the greed of the other employees ("Gold springs from his palms!"). She even gets involved in an adventure that reveals her mysterious bond with Haku. But can she save her parents? It's often said that Katsuhiro Otomo's Akira (1988) is the greatest anime ever. That's as maybe, but every one of Miyazaki's films is a masterpiece, so it's hard to pick just one that stands out. It's also tricky to compare his works with the more traditionally received notion of anime (giant robots, demons with phallic tentacles, telekinetic fighting, atom bomb-style explosions etc).
Although Miyazaki insists it's not his role to be didactic, all of his work (notably his second feature Nausicaa Of The Valley Of The Wind and Princess Mononoke) has strong messages about ecology and the human relationship with the natural world. But he's also fascinated with coming-of-age stories, notably about how girls (many of his protagonists are young females) can not only face up to adult responsibility, but also how they can become strong, principled members of society. Here Chihiro is forced to grow up fast, but the process, while gruelling, is not without real benefits, as her understanding of the way society functions and experience of adult emotions develops exponentially.
Some aspects of the film are likely to be too foreign for Westerners - we're ignorant of Japanese belief systems, with their hierarchies of entities - but Miyazaki's work has the power to transcend such culturally specific elements. While many of his earlier films drew on European stories (such as 1986's Castle In The Sky, from Swift), the folkloric features he reworks are often universal. But most of all, his team's animation - here utilising more digital techniques, while still being grounded in 2D traditions - is always beautiful and, in places, breathtaking. Locations are atmospheric, details are immaculate (you can identify the flower species in the gardens) and characters are diverse. Yubaba, for example, is a bizarre creation, a stocky woman with a huge head and even bigger hairdo; the bath house itself is stocked with all sorts of weird and wonderful creatures, from a Kermit-like assistant, to creatures reminiscent of his cuddly woodland deity from My Neighbor Tortoro, to troll-like beasts that look related to Maurice Sendak's 'Wild Things'). The only factor that could be seen as mildly misjudged is Jô Hisaishi's score, which is overbearing in places.
It's no wonder the likes of Pixar's John Lasseter (who executive produced the US dub) are so full of praise for Miyazaki. He's a true genius, an artist and great filmmaker who happens to work in animation - a medium often belittled as childish in the West. Spirited Away is wonderful.
蜜蜂总动员 Bee Movie review by Roger Ebert
From each according to his ability, to each according to his need.
-- Karl Marx
Applied with strict rigor, that's how bee society works in Jerry Seinfeld's "Bee Movie" and apparently in real life. Doesn't seem like much fun. You are born, grow a little, attend school for three days, and then go to work for the rest of your life. "Are you going to work us to death?" a young bee asks during a briefing. "We certainly hope so!" says the smiling lecturer, to appreciative chuckles all around.
One bee, however, is not so thrilled with the system. His name is Barry B. Benson, and he is voiced by Seinfeld as a rebel who wants to experience the world before settling down to a lifetime job as, for example, a Crud Remover. He sneaks into a formation of ace pollinators, flies out of the hive, has a dizzying flight through Central Park, and ends up (never mind how) making a friend of a human named Vanessa (voice of Renee Zellweger). Then their relationship blossoms into something more, although not very much more, given the physical differences. Compared to them, a Chihuahua and a Great Dane would have it easy.
This friendship is against all the rules. Bees are forbidden to speak to humans. And humans tend to swat bees (there's a good laugh when Barry explains how a friend was offed by a rolled-up copy of French Vogue). What Barry mostly discovers from human society is, gasp!, that humans rob the bees of all their honey and eat it. He and Adam, his best pal (Matthew Broderick), even visit a bee farm, which looks like forced labor of the worst sort. Their instant analysis of the human-bee economic relationship is pure Marxism, if only they knew it.
Barry and Adam end up bringing a lawsuit against the human race for its exploitation of all bees everywhere, and this court case (with a judge voiced by Oprah Winfrey) is enlivened by the rotund, syrupy voiced Layton T. Montgomery (John Goodman), attorney for the human race, who talks like a cross between Fred Thompson and Foghorn Leghorn. If the bees win their case, Montgomery jokes, he'd have to negotiate with silkworms for the stuff that holds up his britches.
All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off. We learn at the outset of the movie that bees theoretically cannot fly. Unfortunately, in the movie, that applies only to the screenplay. It is really, really, really hard to care much about a platonic romantic relationship between Renee Zellweger and a bee, although if anyone could pull if off, she could.
Barry and Adam come across as earnest, articulate young bees who pursue logic into the realm of the bizarre, as sometimes happened on the "Seinfeld" show. Most of the humor is verbal, and tends toward the gently ironic rather than the hilarious. Chris Rock scores best, as a mosquito named Mooseblood, but his biggest laugh comes from a recycled lawyer joke.
In the tradition of many recent animated films, several famous people turn up playing themselves, including Sting (how did he earn that name?) and Ray Liotta, who is called as a witness because his brand of Ray Liotta Honey profiteers from the labors of bees.
Liotta's character and voice work are actually kind of inspired, leaving me to regret the absence of B.B. King, Burt's Bees, Johnny B. Goode, and the evil Canadian bee slavemaster Norman Jewison, who -- oh, I forgot, he exploits maple trees.
贫民富翁(Slumdog Millionaire)
An orphaned Mumbai slum kid tries to change his life by winning TV's 'Who Wants To Be A Millionaire?' in a feelgood fable from director Danny Boyle and the writer of The Full Monty, Simon Beaufoy
Jamal Malik ('Skins' star Dev Patel) is being beaten by Mumbai police for allegedly cheating on hit TV show 'Who Wants To Be A Millionaire?' One question away from the ultimate 20 million rupee prize, no one, including slick show host Prem (Anil Kapoor), believes a chai wallah (teaboy) like Jamal could know all the answers. As the tough inspector (Irfan Khan) replays Jamal's appearance on the show, it's revealed that each question corresponds to a specific life lesson from Jamal's tragic past.
Raised in abject poverty in Mumbai's grimmest slum along with older brother Salim, then orphaned by a Hindu mob attack, Jamal and Salim are forced to fend for themselves on the streets through opportunistic petty crime. They pick up a young girl, fellow orphan Latika (Freida Pinto), escape the clutches of a vicious Fagin-like crime boss, lose Latika, and continue their picaresque adventures, one step ahead of the law. As adolescents, however, Salim becomes entranced by a life of crime and Latika's unexpected return sets brother against brother. Will Jamal salvage his girl, his fortune and his life on 'Millionaire'?
Adapted by Full Monty writer Simon Beaufoy from Vikas Swarup's hit novel 'Q&A', Slumdog is an underdog tale. Beaufoy's lively screenplay scampers after Swarup's self-consciously Dickensian storytelling tradition, and is even built around the 'Millionaire' show, as iconic a symbol of Western capitalist entertainment as exists.
Director Danny Boyle and cinematographer Anthony Dod Mantle have evidently immersed themselves in India's sensory overload. The film revels in the sub-continent's chaotic beauty and raging colours, from Mumbai shantytowns to Agra's regal Taj Mahal. The thrillingly off-the-cuff digital imagery reflects a nation in a state of explosive flux, looming skyscrapers erupting from wasteland, slum kids turning into overnight millionaires through the kiss of television. The film's uniquely vibrant, headlong 21st century rush is that of the infinite possibilities of modern India itself.
Slumdog's such a crowd-pleaser that some critics might brand it Boyle's best since Trainspotting . It even echoes a couple of that film's classic set pieces, notably a slum chase reminiscent of Renton and Co's opening Edinburgh dash and a lavatorial incident so stomach-churning (yet hilarious), it makes Trainspotting's infamous toilet scene seem like Ewan McGregor took an Evian bath.
In fact, the likable Boyle has been on great form for some time - 28 Days Later revamped the zombie movie, Millions is perhaps the best kids film of recent years. No other current British director makes such thrillingly current (all his films are set in either the present or future), kinetic, inherently visual films and proper recognition is long overdue - though, true to form, he's insistent here on crediting co-director Loveleen Tandan, whose major contribution seems to have been unearthing the wonderfully naturalistic kids to play Jamal, Salim and Latika.
Verdict
A spirited underdog fable marinated in modern India's melting pot. Danny Boyle's still the master of spices.
类似问题3：死亡诗社英文观后感 1000字左右1000-1500字[语文科目]
每个人都有自己的学生时代,每个人都有自己的辉煌时刻,谁来带给我们青春的激情,谁来带领我们开始辉煌的起点?是伯乐.
影片开场的蜡烛犹如证明了罗宾.威廉斯的行动：燃烧着自己为了青年得其生命精髓.在老师面前他还带了几分客套,但在学生面前他是如此的实在与亲近.一切只因为真理.
片中的学生们虽然众多,但个个都是个性鲜明,印象深刻.有的软弱,有的顽皮有的叛逆——这些面孔就是年轻时的我们.一所历史悠久、升学率较高的学校对于大人来说,称得上是孩子的天堂.但再听听孩子的看法：对于他们来说私下里称之为地狱罢了.
大人想把孩子们打造成自己,适应于这残酷的社会,可谁来为我们的激情负责?谁来为我们的青春买单?如果青春只有所谓的成绩好那是和年龄不吻合的.只有激情、叛逆、个性、奋发,都存在的生命才成其为生命,校园才成其为校园!
这个世界有两种人：一种人让社会来打造自己,一种人是自己打造社会.基廷老师的出现就是倡导后面一种方法,他打破了所有的教学模式,Carpe Diem (【拉】抓住今天,及时行乐(=seize the day)).这个词说通俗一点就是抓住时间做最好的自己.他将这条道理一直贯彻给他的学生.当学生问起他什么是DeadPoetsSociety他毫无保留的将自己的青春经历传给了他的学生,他不再年轻.可他希望真理可以传承.学生们找到了哪个地方,对于他们来说这不是山洞,是精神的家园.一个山洞可能简陋,但他们的心确实比这潮湿的山洞温暖、丰富.这其实就是俱乐部的前身吧.
你们可以封闭我们的白天,但你们不能封闭我们的黑夜!在那里孩子们做自己想做的任何一件事,对于学校来说这是不对的,错误的,可这不就是文艺复兴吗?13世纪打破传统就是这幅情景呀!革命应该是美丽的.
但革命也是流血的,当学校发现孩子们的事情时,青春的弊端也暴露无疑：有告密的,有胆小的.我不想去对这些学生有任何的评价,每个人都有自己的选择,在那种年龄阶段.你还无法去对他们的人格做分析.我只记得那句：Captain!MyCaptain!.你可以打倒我们的身体,但你永远无法打倒我们的灵魂.影片最后的哪个高潮让我得到了强烈的共鸣.那时,孩子们的青春已不在平凡.理想的种子已根生地固.
人生最难是选择.每个人经历过片中尼尔的处境.自己的理想和现实的无情相碰撞.是向现实妥协,还是放飞自己的理想?当然他的方法让我们应该慎重,生命如此灿烂,确实那容得为别人而活.尼尔之死是对梦想追逐的最高形式.那么这到底是对还是错,我无法去正确的判断,我只知道船长告诉我们：要做生命的主人,而不是生命的奴隶.为了融入社会我们是必须丢失一些浪漫,但还是希望有些东西能够在我的骨子里苟延残存.如果一个人在该冲动的年代冲动不起来,那么到头来也许只剩下“可怜白发生”.是,现实和理想永远有差距.但又如何?医药,法律,商业,工程是维生的必须条件.但是诗,爱,浪漫,美这些才是我们生存之原因.
现代生活的节奏,让我们不得不审视自己为何活着?为何我们一直在做和自己年龄不相符的事?大人们的世界如此复杂,以为学校传统的教育模式就是对我们最好的保护,但却一直缺乏着人文色彩.生命的精髓没人教给我们.就像哪个古板的校长所说：按学校的传统教学,其他方面任其发展.传统,传统!我们存在不是为了传统,而是为了创新,为了革命.
生命是什么?在电影里,生命是诗,生命是音符,生命是戏剧,生命是一场演出里最为充满华彩的那个篇章.
“花开堪折直须折,莫待无花空折枝.”
我们应该从电影中借点激情面对生活,在我的学生生涯中很少遇到一个让我尊重的老师,现实没有,那么死亡诗社,我借你来面对现实,我的船长.
正是有了基廷老师的教诲,尼尔才会放开自己展现表演天赋,诺克斯终于大胆追求自己喜欢的女孩,查理才完全放开了自我,胆小的托德也通过基廷找回了勇气.我们就是剧中人,我们也应该打开自己的心结.
当你的目光炯炯地射向舞台的正前方,当音符渐止,当刹那静寂之后掌声雷动,当鲜花与喝彩涌向前台,当你的面孔重又写满一个人所应具有的自信,那一瞬间,你仿佛看见了你的理想,是这种理想鼓舞着你,引导着你,哪怕你将会走向死亡--
这就是生命,桀骜不逊的生命.
I went to the woods because I wanted to live deliberately.I wanted to live deep and suck out all the marrow of life!To put to rout all that was not life.And not,when I came to die,discover that I had not lived.
我步入丛林,因为我希望生活得有意义,我希望活得深刻,汲取生命中所有的精华,
把非生命的一切都击溃,以免让我在生命终结时,发现自己从来没有活过.
人的一生,其实只需要一课.
类似问题4：电影教父的观后感 要英文的 1000字左右不要在线翻译[英语科目]
User Comments (Comment on this title)
70 out of 112 people found the following comment useful:-
Initially, I wasn't a fan... but then I realised, 14 October 2006
Author: mattrochman from Australia
This is a masterpiece. A timeless masterpiece. Initially, I didn't like this film all that much - I found it rather over-hyped and boring. This was until the advent of DVD, which gave me the feature I needed for this sort of film: subtitles. Once I switched them on and heard (read) every last word of Brando's ramblings and other characters ramblings, I grew a true appreciation for this epic.
To make a true epic, you need all of three following ingredients working in near perfect harmony. For screenwriters who come across this, take the following pointers on board: 1) Contrasting Characters: Good films have some character distinction, but most fall rather flat because the core of each character is the same.
Of course, there are exceptions to rule (ie... where you want mono-tonal characters... aka matrix; or where you want outlandish contrasts... aka The Fifth Element), but ultimately, this is what makes films deep, meaningful and grand. Consider the contrasts between the Don's children. Michael is rather cool, rational and collected, whereas Sonny is more hot-headed, spontaneous and simple minded. But simply having these contrasts is not nearly enough. What you really need to do is to develop these characters - place them in situations - and then dwell on how their character impacts on the situation they're put in. The Godfather is a terrific example of how to pull this off. While many try to do this in screenplays, most lose the plot and create character obscurities that stretch credibility.
2) Transformation: The central character(s) must undergo a transformation, resulting in them being almost unrecognizable by the end of the film. By putting them into situations, the character's character must not only influence the outcome of the situation; it must also have a lasting impact on the character. Consider Michael at the wedding and compare that to the Michael we see at the end of the film. Again, many films try, but most fail because they come up with unreal (literally, not praisingly) or simply moronic transformations (eg, Wall Street).
3) Patience: Men in Black 2 was an astounding film for one simple reason - it was an entire film squashed into about 70 minutes. It was not much longer than an episode of ER or Buffy. I certainly hope the new goal of Hollywood isn't to make films as short as possible.
All the great ones spend time - time developing characters, family life, growth, patience with the story telling in general. This is the key (provided that the story isn't mind-numbingly boring). Dances with Wolves, Heat.. and so on are very patient but top-class films. While studios may be lukewarm on the idea of longer films, they are worth it if you have a ripper story to base it on.
I feel that this film has not dated all that much and has tremendous re-watch-ability.
类似问题5：珍珠港 观后感 英文1000字
只要你知道中文,输进去就能翻译成英文了