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美国电影《费城》英语影评

美国电影《费城》英语影评
美国电影《费城》英语影评

——homosexual discrimination When it comes to homosexuals, people always feel sick and disgusted .To be honest, before I watched the film , I had been exactly one of them who can not stand homosexuals, considering them as shame and evil, let alone understanding their love. It is the film Philadelphia that converts my view on another kind of love between two persons.

Philadelphia tells a story that an excellent lawyer called Andrew is dismissed by his boss, because they find he is infected with AIDS, and think it is a great shame for their company that he is a homosexual. Sad and disappointed, Andrew makes great efforts to seek for another lawyer to plead for him, fails and fails again, finally Joe, as eloquent as him, agrees to help him. I feel that there are three extraordinary parts in this film. One is the debate in the court, another is the homosexual ball, and the rest is the final occasion. In the court, Andrew faces with a group of people talking about his private affairs, tearing his old scar, and some ignorant people force him to nowhere by their lies and their law. In this case, Andrew says ‘I love the law. I know the law. I excel at the practicing’ and ‘Relief, that I never told him that I was a gay, just very relief’, not loudly but firmly. I can see the sadness and despair in his eyes, how desperate on earth he is! I just can not stop crying. If I were him, what did I do? Maybe forget the job, the case and find a hole to hide in. I deeply respect him as a strongman. At the same time, he is vulnerable, the grief in his eyes makes people want to protect him, comfort him. And the deep grief is shown before our eyes when Andrew listen to the opera called , the music flows into his heart as well as my heart. I can feel that my heart is trembling, and I can not merely sit on my seat, it is a shout of soul. A broken heart, a broken soul. His performance so shocked me that I know there is something changed, I start to abandon my old prejudice and rethink the love between the homosexuals. The nature of the homosexual love is love to o ——the most wonderful, pleasant, strangest and greatest emotion. Everyone has the right to love in whatever form. We can not scold one just because he or she loves one person who has the same sex as them. If you disagree, then how about the love? Love is absolutely fair and equal. The love between two same sex persons is the same as that between two different sex persons, which means caring for and sacrificing for each other. The love is identical, having nothing with race, country, age, wealth, and also sex. So there is nothing they do wrong, it is just love which is not wrong or right.

At the end of the film, Andrew finally wins the case, but to my sadness, he is heavily ill and going to die. Ling in the bed, his family and friends come to him, smile and say ’see you tomorrow’. Everyone knows that there is no tomorrow for Andrew, so does he. But he is calm, and there is no regret for him because the most terrible thing in his life was coped with. At the end of the end, he says ‘I am ready.’ The simplest and the last word. I want to tell those people who discriminate homosexuals that our mothers give birth to us, we have the same beginning, maybe after that we walk on different roads, but we should not and have no right to make jokes of others or even discriminate them, no mater what it is, just because they are different from you, because when you do this, there may be someone do the same things to you, how do you think about that? So if you can not understand others’ choices, behaviors, opinions, things like that,please try to respect them and their rights. Otherwise at the end of life, you will understand how stupid you are, and thoroughly know nothing is important, we have the same destin y——die!

疯狂动物城英文影评

疯狂动物城英文影评 Document serial number【KK89K-LLS98YT-SS8CB-SSUT-SST108】

D re am in th e fo rm er,gr owt h in t he po st -Z oo to pia PART1:This is a great family film that everyone needs to watch because of all the teaching moments within the film. Let me phrase that: the entire movie is a teaching moment. Zootopia is a film that is all about inclusion, about putting away the stereotypes and prejudices aside to live in a better society and how negative they are, how much they blind someone to see something but hatred and anger. Dickens said it was the best of times, it was the worst of times; it was the age of wisdom, it was the age of foolishness.In "zootopia", animals are also experiencing the best and worst of times.Their city has been modernized. They have been separated from the savage state, there is no carnivores and herbivores of chasing and killing.Courts, police, shops and all kinds of advertisements make up the the world.But the world is not perfect,and there is a variety of injustice and discrimination,while full of civilization and order.Fortunately,there are still dare to challenge the courage of the unfair. A modern urban animals, each animal in here have their own homes, Plaza Sahara desert climate, year-round cold glacier town and so on, it is like a big melting pot, the animals here Peaceful Coexistence -- whether it was an elephant or a little mouse, as long as you work hard can break some tricks. Rabbit Judy grew up on the dream can become animal city police, despite all the people around feel rabbit impossible when the police, but she still through their own efforts, among the to the whole is bigger animal town police station, became the first officer for rabbits. In order to prove himself, she decided to solve a mystery case. Follow the truth on the road, Judy forced in animal town to swindling fox Nick to help himself, but found behind the pile cases hidden an intended to subvert the huge conspiracy Town animal, and Judy and Nick is in jeopardy of investigative process become a good partner. PART2:The story is just amazing as it follows Judy Hopps (voiced by Ginnifer Goodwin) a small town bunny who wants to be a part of the big leagues as an officer with all the other large big animals that work together to solve crime in the big city. But she's a bunny, what the heck can a bunny do as a crime? It's a stereotype the resonates so strongly with the audience, with anyone who was thought of as being too weak to do what the "big boys" do. Judy is breaking those

看美国影片怦然心动观后感范文5篇

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Journey to the Center of the Earth(地心游记)2008经典电影英文影评

Journey to the Center of the Earth(地心游记)2008 There is a part of me that will always have affection for a movie like "Journey to the Center of the Earth." It is a small part and steadily shrinking, but once I put on the 3-D glasses and settled in my seat, it started perking up. This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it. If I had seen it when I was 8, I would have remembered it with deep affection for all these years, until I saw it again and realized how little I really knew at that age. You are already familiar with the premise, that there is another land inside of our globe. You are familiar because the Jules Verne novel has inspired more than a dozen movies and countless TV productions, including a series, and has been ripped off by such as Edgar Rice Burroughs, who called it Pellucidar, and imagined that the Earth was hollow and there was another world on the inside surface. (You didn't ask, but yes, I own a copy of Tarzan at the Earth's Core with the original dust jacket.) In this version, Brendan Fraser stars as a geologist named Trevor, who defends the memory of his late brother, Max, who believed the center of the Earth could be reached through "volcanic tubes." Max disappeared on a mysterious expedition, which, if it involved volcanic tubes, should have been no surprise to him. Now Trevor has been asked to spend some time with his nephew, Max's son, who is named Sean (Josh Hutcherson). What with one thing and another, wouldn't you know they find themselves in Iceland, and peering down a volcanic tube. They are joined in this enterprise by Hannah (Anita Briem), who they find living in Max's former research headquarters near the volcano he was investigating. Now begins a series of adventures, in which the operative principle is: No matter how frequently or how far they fall, they will land without injury. They fall very frequently, and very far. The first drop lands them at the bottom of a deep cave, from which they cannot possibly climb, but they remain remarkably optimistic: "There must be a way out of here!" Sure enough, they find an abandoned mine shaft and climb aboard three cars of its miniature railway for a scene that will make you swear the filmmakers must have seen "Indiana Jones and the Temple of Doom." Just like in that movie, they hurtle down the tracks at breakneck speeds; they're in three cars, on three more or less parallel tracks, leading you to wonder why three parallel tracks were constructed at great expense and bother, but just when such questions are forming, they have to (1) leap a chasm, (2) jump from one car to another, and (3) crash. It's a funny thing about that little railway: After all these years, it still has lamps hanging over the rails, and the electricity is still on. The problem of lighting an unlit world is solved in the next cave they enter, which is inhabited by cute little birds that glow in the dark. One of them makes friends with Sean, and leads them on to the big attraction -- a world bounded by a great interior sea. This world must be a terrible place to inhabit; it has man-eating and man-strangling plants, its waters harbor giant-fanged fish and fearsome sea snakes that eat them, and on the further shore is a Tyrannosaurus rex. So do the characters despair? Would you despair, if you were trapped miles below the surface in a cave and being chased by its hungry inhabitants? Of course not. There isn't a moment in the movie when anyone seems frightened, not even during a fall straight down for thousands of feet, during which they link hands like sky-divers and carry on a conversation. Trevor gets the ball rolling: "We're still falling!" I mentioned 3-D glasses earlier in the review. Yes, the movie is available in 3-D in "selected theaters." Select those theaters to avoid. With a few exceptions (such as the authentic IMAX process), 3-D remains underwhelming to me -- a distraction, a disappointment and more often than not offering a dingy picture. I guess setting your story inside the Earth is one way to explain why it always seems to need more lighting. The movie is being shown in 2-D in most theaters, and that's how I wish I had seen it. Since there's that part of me with a certain weakness for movies like this, it's possible I would have liked it more. It would have looked brighter and clearer, and the photography wouldn't have been cluttered up with all the leaping and gnashing of teeth. Then I could have appreciated the work of the plucky actors, who do a lot of things right in this movie, of which the most heroic is keeping a straight face. 1

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2020年看英语电影观后感英文版

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2020花木兰电影观后感_花木兰美国电影心得作文5篇

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这个寒假我看了《花木兰》这部电影,让我收益匪浅! 一天,朝廷下达了紧急征兵的文书。士兵就一家一家地征兵,每家都要选一个男人当兵,有几个家庭的父亲已经很老了,他们的儿子愿意替夫从军。轮到花木兰家的时候,父亲决定从军。每天夜晚父亲都要练武,父亲年纪大了,练武时常摔倒,这些花木兰看在眼里,疼在心上,她决定替父从军。于是,花木兰穿着父亲的衣服偷偷地走了。 在军营训练中,花木兰不怕苦,不怕累,什么活都会干。打仗的时候,木兰用最后的一个炮向雪山打去,匈奴的手下全死了,只有匈奴和几个强壮的没死,匈奴又带着这几个人去皇宫要杀死皇上,最后花木兰用自己的智慧打败了匈奴残余。 看了《花木兰》这部电影,我为花木兰这种不怕危险、不怕吃苦、不怕牺牲、英勇善战、孝敬父母的精神深深地打动了,值得我们向她学习。 在平时的生活、学习中,我要像花木兰一样,孝敬父母,好好学习,不怕苦,不怕累,做一个像花木兰一样让人尊敬的人。 2020《花木兰》电影观后感篇三 今天看了一遍花木兰,觉得拍的整体不错,支持国产片是对的,但也要拍出来的影片过硬才有支持的动力。因为不是名人,所以挑不出那么多的骨头。感觉影片整体很和谐,没有太大的跳跃和看不懂的情节。除了赵薇和陈坤,感觉房祖名和李玖哲演的也很投入就是戏少了点。VITAS感觉就是可有可无,配角也好,客串也好导演多少给人点戏份呀。

Seven(七宗罪)1995经典电影英文影评

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Tess(苔丝)1979经典电影英文影评

Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1

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