歐美電影影評

① 寫一篇歐美電影的影評 急！！！！

《蜘蛛俠2》英語影評

So what's your choice between being a common person or a hero with people's respects? Most people will choose the latter. But what will be your choice if the cost is laying your lover among the risks? What will it be if the cost is you can never tell the girl, who you love so much, that you love her? The spider man had this contradiction. But finally he still chose the latter, not in order to be a hero, but to make this word peaceful.

I was so moved by the words the Aunt Mary said:

You will never guess what he wants to be, the spider man. He knows the hero when he sees one, too a few characters out there, flying all around out there, saving old girls like me. Lord knows kids like Henry need hero courageous, sacrificing for people, setting examples for all of us. Everybody loves a hero. People enthrone them, cheer them, scream their names and years later they will tell how they stood in the rain for hours just to get a glimpse the one who taught them to hold on to stand longer. I believe there is a hero in all of us. They keep us be honest, give us strength, make us noble, and finally allow us to die with proud. Ever though sometimes we have to initiatively give up the thing we want most, even our dreams. Spider man did that for Henry, so he wants to know where he is gone. He needs him.

The spider man got much from these words, so did I. And what about you? what's the hero lying in you?

② 求經典美國電影影評，最好是英文版的，中文也行，一個電影最好有多個影評 發776900490，非常感謝了

網上資源很多的，列舉兩個~
《肖申克的救贖》的英文影評 版本二郵件發給你

Though adapted from a Stephen King novella, "The Shawshank Redemption" has more to do with a man's internal demons than the kind that routinely rise up from overgrown graveyards. Like "Stand by Me," it's not a typical story from the horror King. Instead, it's a devoutly old-fashioned, spiritually uplifting prison drama about two lifers who must break their emotional shackles before they can finally become free men.

Set in a spooky old penitentiary with turrets and towers, the movie manages to be true to its Big House origins while incorporating such horrific mainstays as the clanking of chains and the creaking of the walls. There's even a raven that roosts in the prison library, where he is cared for by a darling old trusty (James Whitmore). For the most part, however, the movie expands upon cliches that date back to James Cagney's prison portraits梩he twisted warden (Bob Gunton) and the sadistic guard (Clancy Brown).

Director Frank Darabont, who apprenticed on B-scripts ("The Fly II") and TV movies ("Buried Alive"), manages to fashion an improbable new pattern from the same old material in his remarkable debut. While he deals with the grimmest aspects of prison life (sadistic guards, gang rapes and befouled food), Darabont is chiefly interested in the 20-year friendship that sustains Andy (Tim Robbins) and Red (Morgan Freeman) .

The movie opens in 1947 as Andy, a prominent New England banker, is on trial for murdering his wife and her lover. Not only did he have a motive, but he had the opportunity梙is footprints were found at the scene of the crime梐nd he had a weapon of the caliber used in the shootings. He insists that he is innocent, but the jury finds him guilty. Sentenced to life twice over, Andy is shipped to the maximum-security state prison at Shawshank, Maine. An introverted loner with an interest in reading, chess and rock carving, Andy doesn't make himself many friends until Red, a 30-year-veteran of the system, decides to take him under his wing.

Things begin to change for the better when Andy finds a way to use his skills and ecation to benefit his fellow felons. When he overhears the guard captain complaining about losing most of an inheritance to taxes, he offers to trade his advice for three beers for each of the men who are working with him that day tarring the roof.

His reputation as a financial adviser spreads, and soon he is doing the taxes for all the guards and running the warden's outside scams. This leads to a position in the tiny prison library, which Andy graally expands into the best ecational facility of its kind in the area. It takes him six years to do it, but Andy never gives up hope.

It is hope that allows the self-proclaimed innocent man to survive what may or may not be an unjust imprisonment. And hope is his gift to his friend Red, who no longer even tries to impress the parole board at his hearings. He's become "institutionalized," he explains to Andy, and would be a "nobody" on the outside.

Red's gift to Andy is absolution when he finally confesses his true sins. Whether or not he pulled the trigger, Andy blames himself for causing his wife's death; his redemption comes as he learns to give of himself over the course of this marvelously acted and directed film.

Robbins gives a performance that evolves with beautiful clarity from starchy banker to warm and loving friend. Freeman is sure to gain his third Oscar nomination for his portrayal of Red. He also reads the film's lovely narration, much of it drawn verbatim from King's 1982 novella.

A detailed portrait of the routine of cellblock life, "The Shawshank Redemption" might change a few minds about the usefulness of incarceration in terms of rehabilitation. Mostly, though, it reminds us of that we all hold the keys to our own prisons.

《楚門的世界》英文影評The Truman Show'' is founded on an enormous secret that all of the studio's advertising has been determined to reveal. I didn't know the secret when I saw the film, and was able to enjoy the little doubts and wonderings that the filmmakers so carefully planted. If by some good chance you do not know the secret, read no further.

Those fortunate audience members (I trust they have all left the room?) will be able to appreciate the meticulous way director Peter Weir and writer Andrew Niccol have constructed a jigsaw plot around their central character, who doesn't suspect that he's living his entire life on live television. Yes, he lives in an improbably ideal world, but I fell for that: I assumed the movie was taking a sitcom view of life, in which neighbors greet each other over white picket fences, and Ozzie and Harriet are real people.

Actually, it's Seaside, a planned community on the Gulf Coast near Tampa. Called Seahaven in the movie, it looks like a nice place to live. Certainly Truman Burbank (Jim Carrey) doesn't know anything else. You accept the world you're given, the filmmakers suggest; more thoughtful viewers will get the buried message, which is that we accept almost everything in our lives without examining it very closely. When was the last time you reflected on how really odd a tree looks? Truman works as a sales executive at an insurance company, is happily married to Meryl (Laura Linney), and doesn't find it suspicious that she describes household procts in the language of TV commercials. He is happy, in a way, but an uneasiness gnaws away at him. Something is missing, and he thinks perhaps he might find it in Fiji, where Lauren (Natascha McElhone), the only woman he really loved, allegedly has moved with her family.

Why did she leave so quickly? Perhaps because she was not a safe bet for Truman's world: The actress who played her (named Sylvia) developed real feeling and pity for Truman, and felt he should know the truth about his existence. Meryl, on the other hand, is a reliable pro (which raises the question, unanswered, of their sex life).

Truman's world is controlled by a TV procer named Christof (Ed Harris), whose control room is high in the artificial dome that provides the sky and horizon of Seahaven. He discusses his programming on talk shows, and dismisses the protests of those (including Sylvia) who believe Truman is the victim of a cruel deception. Meanwhile, the whole world watches Truman's every move, and some viewers even leave the TV on all night, as he sleeps.

The trajectory of the screenplay is more or less inevitable: Truman must graally realize the truth of his environment, and try to escape from it. It's clever the way he's kept on his island by implanted traumas about travel and water. As the story unfolds, however, we're not simply expected to follow it: We're invited to think about the implications. About a world in which modern communications make celebrity possible, and inhuman.

Until fairly recently, the only way you could become really famous was to be royalty, or a writer, actor, preacher or politician--and even then, most people had knowledge of you only through words or printed pictures.

Television, with its insatiable hunger for material, has made celebrities into ``content,'' devouring their lives and secrets. If you think ``The Truman Show'' is an exaggeration, reflect that Princess Diana lived under similar conditions from the day she became engaged to Charles.

Carrey is a surprisingly good choice to play Truman. We catch glimpses of his manic comic persona, just to make us comfortable with his presence in the character, but this is a well-planned performance; Carrey is on the right note as a guy raised to be liked and likable, who decides his life requires more risk and hardship. Like the angels in ``City of Angels,'' he'd like to take his chances.

Ed Harris also finds the right notes as Christof, the TV svengali. He uses the technospeak by which we distance ourselves from the real meanings of our words. (If TV procers ever spoke frankly about what they were really doing, they'd come across like Bulworth.) For Harris, the demands of the show take precedence over any other values, and if you think that's an exaggeration, tell it to the TV news people who broadcast that Los Angeles suicide.

I enjoyed ``The Truman Show'' on its levels of comedy and drama; I liked Truman in the same way I liked Forrest Gump--because he was a good man, honest, and easy to sympathize with.

But the underlying ideas made the movie more than just entertainment. Like ``Gattaca,'' the previous film written by Niccol, it brings into focus the new values that technology is forcing on humanity.

Because we can engineer genetics, because we can telecast real lives--of course we must, right? But are these good things to do? The irony is, the people who will finally answer that question will be the very ones proced by the process.
如果你找不到，還需要的話，歡迎繼續聯系

③ 求經典外國電影影評---要英文版本的

珍珠港的影評

pearl harbour film review

Pearl Harbor consists of three incongruous acts, mashed together into an ungainly whole. It appears to be more interested in reprocing 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 reces the historical backdrop into a series of action set pieces. Instead of exploring ideas inherent in the events, it extracts them, recing 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, ring, 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 indivials 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 indivial: 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

④ 一些歐美電影觀後感

[一些歐美電影觀後感]一些歐美電影觀後感2009-06-13 23：10細細回憶起來，突然發現自己看過的電影還真是不少，挑選了一些自己感覺很不錯的電影，小小推薦一下1.《海上鋼琴師》，比起它的英文名《the legend of 1900》，我更喜歡這個中文譯名，感覺，海上鋼琴師這個名字，更能說清道明1900的純潔與天賦，一些歐美電影觀後感。看完整部海上鋼琴師記得最清楚的鏡頭一是max與1900最開始相遇時在暴風雨中彈琴，二是1900第一次看見女主角時的表情，三是1900對max的那段經典的話："所有那些城市，你就是無法看見盡頭。盡頭?拜託！拜託你給我看它的盡頭在哪?當時，站在舷梯向外看還好。我那時穿著大衣，感覺也很棒，覺得自己前途無量，然後我就要下船去。放心！完全沒問題！可是，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。根本就沒有盡頭。我看不見的是這一切的盡頭，世界的盡頭。拿一部鋼琴來說，從琴鍵開始，又結束。你知道鋼琴只有88個鍵，隨便什麼琴都沒差。它們不是無限的。你才是無限的，在琴鍵上製作出的音樂是無限的。我喜歡這樣，我活的慣。你把我推到舷梯上然後扔給我一架有百萬琴鍵的鋼琴，百萬千萬的沒有盡頭的琴鍵，那是事實，max，它們沒有盡頭。那鍵盤是無限延伸的。然而如果琴鍵是無限的，那麼在那架琴上就沒有你能彈奏的音樂，你坐錯了地方，那是上帝的鋼琴。天啊！你…你看過那些街道嗎?僅僅是街道，就有上千條！你下去該怎麼辦?你怎麼選擇其中一條來走?怎麼選擇"屬於你自己的"一個女人，一棟房子，一塊地，或者選擇一道風景欣賞，選擇一種方法死去。那個世界好重，壓在我身上。你甚至不知道它在哪裡結束，你難道從來不為自己生活在無窮選擇里而害怕得快崩潰掉嗎?我是在這艘船上出生的，整個世界跟我並肩而行，但是，行走一次只攜帶兩千人。這里也有慾望，但不會虛妄到超出船頭和船尾。你用鋼琴表達你的快樂，但音符不是無限的。我已經習慣這么生活。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。我永遠無法放棄這艘船，不過幸好，我可以放棄我的生命。反正沒人記得我存在過，而你是例外，max，你是唯一一個知道我在這里的人。你是唯一一個，而且你最好習慣如此。原諒我，朋友，我不會下船的。"感動有時就是這么簡單。2.《教父三部曲》，教父三部曲個人認為第一部最棒，馬龍白蘭度沙啞而低沉的聲音配上教父的黑衣黑槍與紅玫瑰，完美的組合，整部教父的氣氛一直都很陰冷，然而中間有一點最讓人感到溫柔和溫馨的地方，就是退休後的老教父維托·唐·科萊昂對兒子邁克說："我現在比以前愛喝紅酒了，而且越愛喝就喝得越多。"邁克微笑道："喝吧，這對你的身體好，觀後感《一些歐美電影觀後感》。"一句話，溫情四溢。3.《莫扎特》，很老的一部電影，也是我看的第一部關於音樂的電影，也就是從那時，愛上了莫扎特的音樂，電影中的莫扎特輕狂、天才，那招牌式的怪笑以及突然而至的彈琴片段將莫扎特的天才勾勒得淋漓盡致，而那一句："我是庸俗的人，但我保證我的音樂不庸俗！"更是將莫扎特的形象活靈活現起來，也許正是他令人無法直視的天才終究使薩利艾利忍不住的嫉妒害死了他。4.《卡薩布蘭卡》，老電影，其實很早就看過這部電影，只是那時還小，不懂電影的內容，只覺得無聊。再看《卡薩布蘭卡》已是初中時候，直到這時，才折服於故事的感人，以及鮑曼的演技，還有那一首男中音的卡薩布蘭卡。5.《勇敢的心》，之所以喜歡這部電影，只是因為很少看到男女主角都悲劇的死掉，然而，當男主角華萊士刑前絕望凄厲的一聲高呼"自由"響起時，才真正被他感動，這個男人終究用他的生命守護了蘇格蘭與他家族以及他的愛人。6.《鋼琴家》，開始並不喜歡這部電影，總覺得斯皮爾曼太過懦弱，甚至為了生存不敢輕易觸碰那家鋼琴，然而，當看到最後斯皮爾曼忘情的彈奏起琴曲時，才真正被他對藝術的執著感動，可惜的是那位頗解琴意的德軍警官最終身死，倒有些遺憾。7.《上尉的曼陀鈴》，尼古拉斯·凱奇一向是我很喜歡的演員，從《風語者》到《火柴人》再到《惡靈騎士》《國家寶藏》，都是經典，然而我最愛的還是《上尉的曼陀鈴》，其實，打動我的只有一句話，就是尼古拉斯·凱奇在行軍時看到女主角是，叫的口號："3點鍾方向，向美女致敬。"8.《黑客帝國》，糾結，僅用這兩個字就可以形容黑客帝國，當我把黑客帝國三部曲看完後在回憶其中內容，終於被沃卓斯基兄弟給征服了，不過，貌似哥哥現在已經變性，新作《極速賽車》更是有些惡心，大感失望。9.《阿甘正傳》，想來幾乎只要提到老美的電影，阿甘正傳永遠都不會缺席，阿甘這個弱智兒給美國乃至世界都留下了深刻的影響，始終不能忘記，阿甘的經典名言："媽媽說過…"。10.《沉默的羔羊》，初看之時，嚇了一大跳，但慢慢回憶起來，有感覺不錯。很難想像一個人可以把吃人做得如此優雅，《沉默的羔羊》的前傳《紅龍》並沒看完，不過還是很好奇漢尼拔如何從一個性格內向的小男孩蛻變為優雅而極富紳士風度的吃人醫學博士。11.《壯志凌雲》，湯姆·漢克斯這位帥哥的眾多電影中，最喜歡的還是這部他的成名作，劇情不算離奇，然而青春熱血異乎尋常，尤其音樂，很棒，那首《帶走我的呼吸》，至今也應該算是奧斯卡名曲12.《天堂電影院》，是義大利導演托納托雷的三部作品的第一部，卻是我最近才看的一部電影，比起《海上鋼琴師》《西西里的美麗傳說》，《天堂電影院》絲毫不顯青澀，從主人公薩爾瓦多穿越於塵封的記憶中，將過去的一切聯系起來，尤其是那句"如果你不出去走走，你就會以為這就是全世界"，經典不過如此先寫這么多吧，沒什麼時間，以後有空再補充它，目前，未完待續吧…2009-06-13 23：12|你丫再拖稿就整死你丫的以上2009-06-13 23：13|回復夏夜是羅森：不要jiba，千萬不要jiba 2009-06-13 23：36|有時間寫這么多觀後感，還不去寫小說，再拖下去爆死你丫的2009-06-13 23：38|你娃娃不要招惹我嫉妒你哈。2009-06-14 07：32|根本沒時間看這么多。〔一些歐美電影觀後感〕隨文贈言：【人生舞台的大幕隨時都可能拉開，關鍵是你願意表演，還是選擇躲避。】

⑤ 美國電影不可饒恕電影觀後感

《不可饒恕》號稱是美國西部片的終結篇，男主即導演克林特.伊斯特伍德在拿到劇本後的十年之後才拍這部電影，十年精心准備，更使電影增加了滄桑。

在這部電影中，沒有人是正義的，沒有明顯的善惡之分。他們，不是一個受苦的群體，只是一個個人，為了自己的利益而存在的真實的人。

男主曾是個殺人不眨眼的專業殺手，連婦孺也絕不放過，可是，他卻被感化了，有此能量的是男主的老婆，這部電影的女主克勞迪婭，那個長眠在地下已經三年的人。魅力就在此，她不在，卻無處不在。整個電影被她溫柔的氣息所彌漫著。

我們不得而知，他們之間有怎樣的愛情故事，她怎麼會愛上了他，定是能窺見他的不同之處吧。或許愛是不需要理由的，愛啊，這微妙的東西。我愛上你不是你的責任，同樣，不愛了，也不是你的錯。

生活告訴我們，一個人是不太容易被改變的，特別是那種有惡習的人。若是，那定是一種超乎尋常的力量，十年時間，克勞迪婭讓男主遠離殺戮，戒掉了酗酒，安靜的生活了下來。想起了水滴石穿，以及潤物細無聲。總之，男主安於現狀了。現在的他養雞，喂豬，在豬圈打滾，連拉住一隻豬的力氣也沒有，怎會曾是個無所畏懼的殺手。

他打靶，騎不上馬，圍著馬打轉。他說這些牲畜是為了他以前所做的事而懲罰他。看的出對以前所做的事他在真心的悔過，他體質似乎很差，在雨地里行走，卻拒絕喝酒禦寒，因為他已經戒酒了。

他終於挨不住發燒了，到達小鎮後他給警長侮辱，鞭打，毫不還手，他爬出酒店，跌進雨里。一種隱忍，能屈能伸的姿態向大家呈現著。造成的假象是，這個人和殺手的距離有些遙遠了。

他終於畏畏縮縮的完成任務。目的是為了能拿到那筆錢，使孩子能過的好點最後的激情燃發是在得知老友被打死後，他一連殺了5個人，這5個人，該死么？可他們卻被打死了。

他的氣場震懾了在場的所有人。他離開了，最後還不忘說一句，要好好安葬他的老友，對妓女好點也許他本不想去的、只是一念之差。溫柔終究戰勝了暴力，從此，放棄了惡念。

整部電影暴力場面比比皆是，而電影傳達給我們的恰恰是反暴力的，一種柔的力量越來越博大，植入了人們的心田。不得不說男主的演技給電影增色不少。

難忘的還有黑人妻子冷冷的目光，雖然在電影中，自始自終她沒說一句話，她只是目送丈夫和男主的離去。她知道，她的每一句話都是多餘。這里的不言勝過了千言。

⑥ 外國電影觀後感

轉一篇網友寫的肖申克的救贖的觀後感

《肖申克的救贖》，影片男主角之一「安迪」，普通人，一如你我，無辜入獄且被判兩個無期徒刑。在黑暗的監獄統治下，安迪用「深埋心底二十年的希望碎片」沖破「死灰般絕望的命運」，最終完成對自己和獄中友人「瑞德」的偉大救贖。

肖申克監獄迎來被判兩個無期徒刑的無辜銀行家安迪，經過一番裸體的冷水沖洗和石灰粉消毒，然後領兩套監獄制服，外表柔弱的安迪便正式成為肖申克監獄的永久居民。當監獄的第一夜來臨，許多犯人嚎啕大哭，安迪沒有發出一點聲音。當「姐妹花」想把安迪當成他們的洩慾工具，一次次的反抗換來一次次的毆打，臉上常有傷痕的安迪沒有發出一點聲音。當監獄新來的犯人可以證明安迪的清白，但監獄長卻設計殺了犯人，企圖把安迪徹底淪為自己洗黑錢的工具，把他關在黑暗密封的囚房裡幾個月，但安迪還是沒有多餘的話語。他唯一可以做的就是用他手指大小的錘子一點一點的挖牢房的牆壁，二十年磨成一劍。

Believe what you want. These walls are funny. First you hate 『em, then you get used to 『em. After long enough, you get so you depend on 『em. That『s "institutionalized." 「你願意怎麼認為就怎麼認為。這些高牆很有趣的，一開始你恨它，然後你逐漸習慣，等時間足夠長的時候，你就該依靠它了。這就是』制度化』。」一開始，很難想像出獄不是一件很好的事情嗎？勇敢的心從開始到結束一直貫穿始終的不就是自由嗎？為什麼，那個老人出獄反而那麼無助呢？看著他出獄，坐在車上，雙手緊握前一排的椅子，非常無助，非常無奈的表情。一個人已經習慣了一種生活，雖然，監獄里的生活在我們看來，可能是非常黑暗，陰森，恐怖的。但在裡面已經生活了50年的人來講，那兒就是一切。他的所有都在那兒。

另外還有一件事「安迪是對的，我終於明白他為什麼發笑了。如果用這種石錘挖在牆下挖隧道，會讓一個人挖上六百年！」沒有一個人相信Andy會用一把小錘子挖出這樣的一條通道。那是夢想，夢想總有一天，會重新獲得自由，希望只有是自己給自己的。只要前方有希望。我們才有活下去的動力。活著一定要精彩，不精彩活那麼久干什麼？

Andy在監獄里給參議員寫信後，圖書館給Andy寄了許多書過來，包括許多黑唱片。Andy選擇了大家分享。精神上的感受，遠比物質上的感受重要得多得多。這是我的感受。Andy坐在椅子上，雙腿擱在桌上。閉上雙眼。用心去感受那義大利女人唱的。瑞德的話，很好的解說「我可聽不懂這一天那兩個義大利女人唱得什麼，說實話，也不想知道，有些事情不說出來更好。我是想說她們唱得太好了，無法用語言來形容，好得讓你心痛。」「告訴你們，那聲音激揚。比這個灰色地方里的任何人敢於夢想的都要遙遠、高昂。就像鳥兒振翅飛進我們枯燥的牢籠將圍牆釋放……就在那一刻—肖申克的每一個人都感到了自由。」瑞德說出了Andy心中的信念。一直以來，始終沒有放棄過的信念。現實中，這些事情，每天都在發生。說實話，許多時候，美景就在跟前，只是我們沒有好好去珍惜。把目光放在遠處，相信，如果我到了那兒，我就很幸福。我們匆勿趕路。卻沒有想到，這條慾望的路是沒有盡頭的。而我們因此錯失了許多值得珍惜的事和物，最重要的還有人。許多時候，珍惜就對了！就像安迪知道放那首歌肯定會得到懲罰，但他還是牢牢抓住這一瞬間。不讓他從指縫間溜走。

⑦ 美國電影《弱點》的英文影評和梗概

梗概：

The film tells of a homeless African American boy, Michael och, who was an orphan since childhood and met the kind Mrs. Taoxi. With the help of the latter, he finally became the first selected player of the American National Football League.

影片講述了一個無家可歸的非洲裔男孩邁克爾·奧赫從小就是一個孤兒，遇上了好心的陶西太太，而在後者的幫助下，他終於成為了美國國家橄欖球聯盟的首批被選球員。

評價：

This is a typical American theme film. Although it has its hypocritical side, it really moves people's hearts. It uses an ordinary person's personalized road of success to interpret the level of social development and national feelings.

這是一部典型的美國主旋律電影，盡管有其偽善的一面，但真正做到了打動人心，是用一個平凡人的個性化成功之路來詮釋社會發展水平和國民情懷。

人物

1、莉·安妮·陶西

一位和藹、友善、極有責任心的白人養母。陶西的兒女與邁克爾在同一個學校就讀，她看到邁克爾一人徘徊在街上便把他帶回了家。陶西一家都非常喜歡邁克爾，最後他們決定領養他，讓他成為家庭的一員。

2、邁克爾·奧赫

一個無家可歸的非洲裔男孩邁克爾·奧赫從小就是一個孤兒，一再的從領養家庭中逃走後終於遇上了好心的陶西太太。

⑧ 美國麗人影評

《美國麗人》的主題背景就是一個混亂的家庭，導演把丈夫、妻子、女兒、鄰居和女兒的同學都雜糅到一個混亂的生活體系內，用最誇張的手法撕碎「美國夢」的題材電影。

《美國麗人》作為一部美國家庭倫理的黑色喜劇，雖然體現了導演深厚的藝術功力，但也沒能給觀眾以准確的答案。事實上，家庭經營本就沒有固定手段，只能靠自己悟出經營心得，這才是電影的魅力所在。

這部影片著眼現實生活，多多少少帶著一些富有爭議的情節。不少人初觀此片，會被這些勁爆情節吸引，或興奮，或不齒。隨著生活閱歷的增長與對影片了解的深入，觀眾會發現，這部電影恰是對家庭生活的真實再現。面對荒唐的現實，它不止於簡單的嬉笑怒罵，卻借著主人公之口，勸誡眾生，頗有悲天憫人的情結。