必看英文电影 影评

泰坦尼克号

做为一部商业片，《泰坦尼克号》所展现的就不只是弥漫世界的惶惶不可终日的恐惧和反省自身的怀疑，它之所以把爱情故事作为主线，正是强调现代人在困境中自我拯救。这正是这个批量制造神话的时代所具有的特征，虽然其中蕴含的历史性必然呈现出当代人真实的情绪，但其审美立场使得它不得不采用一定修辞策略去弥合现实与想象结构之中日益扩大的裂痕。无论我们如何夸大爱情的力量，她所能拯救的只是历史中的个人。这使得我在感动之余陷入更大的惶恐。实际上在纯洁的爱情中本身就包含了一种修辞策略。爱情的女主人公是一个厌倦了上流社会虚伪生活的没落贵族家的少女，而她内心之中充满了火一样的激情。这团火焰从她遇到男主人公，那个波希米亚式的艺术家起就被点燃。正是这种激情战胜了金钱、地位对人的诱惑与异化，使她回归于到生命源初的纯真与活力，恢复了生存下去的勇气，直到沉船的灾难中拯救了她的生命。

阿甘正传

很多时候我们就象阿甘一样找不到做一件事的理由，很多时候我们都远不及阿甘，那些不知为何而做的事情总是非常轻易地半途而废了。人的一生往往就是这样，就象片头和片尾中那片随风飘浮的白色羽毛，大多数时候，我们也许都在随波逐流，这种飘浮没有具体的方向，平淡到令人厌倦。可是，一个腾挪一个转身，总还是可以由自己控制的，你只须尽力将它做得完满，不要计较你究竟得到了多少，那么，你就可以越飞越高，你会发现，越往高处的地方，越接近天堂,所以我相信阿甘的成功并不是偶然。

阿甘并没有远大的理想，他失去的也有很多，他很少有朋友，他总是被聪明人嘲笑，他最爱的母亲和珍妮先后离开了他......但对他并因为如此而沉没,爱还在延续，他还有自己的孩子，一个聪明的小阿甘，他的人生还在继续，他不聪明，但他永远知道如何让生命充满希望。所以他也就赢得了荣誉，财富和爱,这些常人可能永远不能兼得的东西。

2012

杰克逊是幸运的，从电台疯子那里知道了2012地球毁灭的秘密，坐飞机去被地震吞陷的洛杉矶拯救前妻和两个孩子，冒险驱车去正面临火山大爆发的怀俄明州黄石公园拯救广播电台主持人寻找可以逃亡的地图，诺亚第一次叫他“Dad”第一次对着他喜欢的戈登大喊“他是我爸爸”！一路披荆斩棘从毁灭几十亿人的灾难中逃脱出来，最后成了拯救整艘美国“诺亚方舟”大船的超级英雄……他们成功了，也因此更爱彼此……

当看到海啸漫过喜马拉雅山顶时，不自觉的在思索，在生命的最后关头该怎么办？什么是重要的？什么是次要的？谁对你更重要？你要在生命余下不多的时间里做些什么？面对门外万千没有登上方舟的人，黑人科学家煽情演讲，如果人们不互相帮助，选择自己逃生，未来该如何面对孩子，面对良心？当灾难来临的时候原来每个人都可以做到很无私！俄罗斯、日本、中国、美国……同意开门，让那些买了票却被挡在门外的权贵人士上船！

阿凡达

在优美的画面中，儿时纯净的梦重新出现，是英雄的史诗，是一曲悲壮的歌咏。在3Dimax 荧幕的带动下，电影的场景一直在脑海中闪，令人不敢眨眼，生怕错过每一个场景。那两个人的爱情是如此的唯美，在一个壮阔的背景中，面对人类的滥杀，情感在血液中澎湃。《阿凡达》里的纳威人对自然的热爱，对自己土地的热爱是那么的深。工业革命的负罪，自然生态平衡的破坏，人类欲望的无止境，通过这部电影为心灵上了一课。《阿凡达》故事的精彩不言而喻，整个特效也让人叹为观止，重要的是那份真诚，那份认真。电影结束很久了，脑

海中依然是男女主人公驾驭神兽的场景，和无边无底的飘渺仙境。气势恢宏，波澜壮阔，飘渺仙境，人间奇缘，这就是《阿凡达》基本的剧情

最贫穷的哈佛女孩

哈佛女孩，这是个多么令人骄傲的称号。只要踏入哈佛那完美殿堂一步，就会在无数个梦里，梦见自己徜徉在哈佛的草坪上……每个人都有愿望，“哈佛梦”，你有，我有，连那个最贫穷的女孩，她也有。但通过努力，她给自己带来了希望，实现了梦想……是她，那朵成功的花，人们只惊羡她现时的美丽！然而当初她的芽儿，浸透了奋斗的泪泉，洒遍了牺牲的血雨。

这个女孩面对考官时的演讲，是那么的真诚真挚。“我父母亲迫使我向深处看，我最终看到最细小的因素能汇集什么，成功就是这样汇集的。我从来不问为什么这样，为什么那样，因为我知道为什么。我要去承担现实。我不会忘记过去，不过我会更好的让它燃放，可能不得不背负它，不过就是我的经历。”

是啊，其中的艰辛才能见证其来之不易的成功。没经历过，不知道生活的艰难，不知道付出的痛苦。没认真就谈不上艰辛背后的快乐，即使可能你也要背负艰辛，但生活就是勇往直前。

勇敢的心

《勇敢的心》拥有一部完美的电影所需要的一切因素——纯洁的爱情，无谓的勇气，坚贞的英雄，伟大的人民，完美的音乐，壮阔的景色，优秀的演员，尖锐的矛盾冲突，波澜起伏的情节和最真实的梦想。华莱士，一个真实而脆弱的英雄形象，他的奋斗，他的不屈，他的勇敢坚韧，事实上为的是一份证明，证明给她死去的女人看，他是一个英雄；证明给她看，拥有梦想中的自由生活是一件可能的事情。他骑着高大的黑色骏马出现在混乱的高地军队前，蓝色的油彩涂在他坚毅的脸上，风吹起他金色的头发，飞扬的发丝印证着他的宣言“他们可以夺取我的生命，但是永远也不可能夺去我们的自由！他的勇敢和真诚，对于自由的渴望，是每一个孩子的愿望，我们需要这种感动，需要这种美化了的虚拟情愫，这就是电影的神奇力量，让人置身其中，感受那些我们不曾有的生活，感受那些我们渴望已久的情感迸发。

海上钢琴师

海上钢琴师之所以成为经典，在于他的许多对话精确的体现了1900的内心。从小就呆在船上的1900对陆地充满了恐惧，他一生从未曾踏上陆地，只在双手游动于琴弦间时神游世界，和通过双眼观察旅客，体味人生百态。一个中年船客的话被一直记在他内心深处。那个船客告诉他，他听见大海说，生命是重大的，所以他才要改变。也许是因为那个人提到了海的声音他才能去相信，因为只有声音才是他与这个世界最直接最敏锐的沟通途径。他一直对陆地怀有矛盾的情感，他向往它，又不肯触及它，所以那个中年人的话让他相信，也许终有一天，他回离开船。——但是直到那一天他决定离开，他突然发现，外面的世界对他如此陌生，他从未接触过，不知何去何从，从哪里出发，终归何处，他对自己所能做的感到迷茫，对未知的感到害怕。他只能留在船上，即使，最后一起被炸药炸飞。

肖申克的救赎

安迪是一个性格有缺陷的人对自己妻子的背叛采取了谋杀的行为，虽然没有开枪，但是如果没有别人先杀害他们，安迪一定会进行谋杀的。这是为什么安迪会在狱中服刑而不上诉

的原因之一。服刑就是他在赎罪。但是他不乏理智。因为自己谋杀未遂，终生监禁量刑过高，所以他后来他从他徒弟的死得知自己假释和减刑是不可能的。安迪正是从徒弟的死看清了监狱长的嘴脸，也明白监狱长是不会让自己走出监狱的。所以他采取了越狱，并带走了监狱长的罪证。这也是对自己犯罪的一种救赎。影片之所以在后来给了安迪自由人的身份，就是因为安迪已经为自己的行为受到了惩罚。这二十年并不是冤狱，他已经为罪行受到了惩罚。尽管安迪的越狱依旧是一种犯罪，但是他还是获得了自由。该片教育我们在人生道路上我们都可能有过错，但是当过错罪不至死时，我们要身体力行并从良心上进行忏悔，但是一定不要放弃希望，要努力的解救自己，从希望中得到力量，从而走向光明！

幸福终点站

导演在机场这样一个小小的空间里展现一个时间跨度不小的故事，又不显拖沓，生硬。这是一部关于“等待”的电影。男主人公从踏进美国的第一步开始就在等待，他在等待美国签证的办理，等待自己国家的重新独立，等待走进纽约城，等待完成父亲的遗愿。。。。。。在这些等待中，发生了很多插曲，也等来了意料之外的一份真爱。导演把故事放在机场这个场景下，或许有一定的意义吧。在机场，有形形色色的人，他们从一个地方来到这里，又从这里飞往下一个地方。我们不知道他们来自哪里，要去到哪去，但他们都有一个共同点，就是在等待。也许我可以说他们就是我们，每一个普通人。我们都在等待，等待下一站，等待回家，等待长大，等待爱我的和我爱的人的出现，等待时间。。。。或许等待会让我不耐烦，焦躁不安，主人公给我的感觉就是很向上，很纯粹，他不仅是在等待，更是在行动。一个人只有在专心做事时才会充实和饱满吧。

罗马假日

影片《罗马假日》讲述的公主与平民记者间的爱情故事，这原本是个充满矛盾与争论的主题，但该片却将这个主题演绎的那么轻松、幽默，颇具亲和力。奥黛丽·赫本饰演的女主角安妮公主就像一个小姑娘：顽皮、纯真而可爱，厌倦宫廷生活的她，内心充满着对平凡、简单而快乐生活的渴望。在对平民生活无限向往的她逃出宫殿，期间邂逅了由格里高利·派克扮演的美国新闻记者Joe，两人在罗马游玩一天并双双坠入爱河的故事。影片最后，安妮公主获得爱情的同时，也发现自己的使命感，是爱使安妮变得成熟了，但她又不得不放下刚刚收获的爱情。丽·赫本和格里高利·派克的演技非常精彩，两个人说谎话以及谎言被揭穿时候的表现，就像两个天真可爱的孩子！特别是赫本，将一个公主高贵的外在、内心对平淡自由生活的向往以及因“不食人间烟火”而频频让观众哭笑不得，表现得淋漓尽致。

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

英文电影观后感100字(多篇)【精品】

第一篇：100部英文电影 100 部超级好看的英文电影 1,魔法灰姑娘〔超级推荐〕（安妮海瑟薇主演） 2,贱女孩〔超级推荐〕（林赛罗汉主演） 3,灰姑娘的玻璃手机〔超级推荐〕 4,美人鱼〔超级推荐〕（里面音乐也很好听） 5,舞出我人生〔超级推荐〕（励志的！刚出了第二部） 6,录取通知书 7,水瓶座女孩 8,倒霉爱神（林赛罗汉主演） 9,儿女一箩筐 10,冰雪公主〔超级推荐〕 11,我的朋友是明星〔超级推荐〕 12,辣妈辣妹〔超级推荐〕（林赛罗汉主演） 13,物质女孩〔超级推荐〕 14,疯狂金龟车（林赛罗汉主演） 15,平民天后〔超级推荐〕 16,公主日记(不用说勒)〔超级推荐〕（还有第二部哟！） 17,歌舞青春〔超级推荐〕[很热的电影！（ⅰ和ⅱ都喜欢） 18,律政俏佳人 19,麻辣宝贝〔超级推荐〕 20,恋爱刺客 21,美少女啦啦队〔超级推荐〕 22,12月男孩〔超级推荐〕（哈利波特演的哟）

23,足球尤物 24,魔法双星 25,超完美男人〔超级推荐〕 25,劲歌飞扬〔超级推荐〕 26,纽约时刻 27,奶牛美女 28,穿prada的恶魔〔超级推荐〕 29,天生一对 30,高校天后〔超级推荐〕 31,像乔丹一样 32,牛仔裤的夏天〔超级推荐超感人～〕 33,初恋的回忆〔超级推荐欣慰～〕 34,甜心辣舞〔超级推荐〕 35,花豹美眉 36,女兵报道 37,女生向前翻〔超级推荐很立志！〕 38,小姐好辣 39,欧洲任我行 40,留级之王 41,风云才女(希尔顿酒店继承人之一尼克?希尔顿首部主打影片！这是一部有关大学女生校园生活的喜剧，影片描述大学校园里一群正处于青春叛逆期、蠢蠢欲动的特权阶层少男少女平日里生活的点点滴滴……有点点sex)〔超级推荐i love hilton sisters〕 42,谁领风骚〔超级推荐女生的可怕和可爱〕

英文电影影评

Titanic, "not only because it is a successful commercial film and, more importantly, it brought about the end of the century a wave of nostalgia: the Titanic sank in the early 20th century is a tragedy, the film has to The facts add up the true love story, set sail Tai Tanni will be less than 5 days of love, friendship and a disaster at the end of the century before this generation, it told us a truth: that we must cherish life. Short of climbing aboard a time capsule and peeling back eight and one-half decades, James Cameron's magnificent Titanic is the closest any of us will get to walking the decks of the doomed ocean liner. Meticulous in detail, yet vast in scope and intent, Titanic is the kind of epic motion picture event that has become a rarity. You don't just watch Titanic, you experience it -- from the launch to the sinking, then on a journey two and one-half miles below the surface, into the cold, watery grave where Cameron has shot never-before seen documentary footage specifically for this movie. In each of his previous outings, Cameron has pushed the special effects envelope. In Aliens, he cloned H.R. Giger's creation dozens of times, fashioning an army of nightmarish monsters. In The Abyss, he took us deep under the sea to greet a band of benevolent space travelers. In T2, he introduced the morphing terminator (perfecting an effects process that was pioneered in The Abyss). And in True Lies, he used digital technology to choreograph an in-air battle. Now, in Titanic, Cameron's flawless re-creation of the legendary ship has blurred the line between reality and illusion to such a degree that we can't be sure what's real and what isn't. To make this movie, it's as if Cameron built an all-new Titanic, let it sail, then sunk it. Of course, special effects alone don't make for a successful film, and Titanic would have been nothing more than an expensive piece of eye candy without a gripping story featuring interesting characters. In his previous outings, Cameron has always placed people above the technological marvels that surround them. Unlike film makers such as Roland Emmerich and Dean Devlin, Cameron has used visual effects to serve his plot, not the other way around. That hasn't changed with Titanic. The picture's spectacle is the ship's sinking, but its core is the affair between a pair of mismatched, star-crossed lovers. Titanic is a romance, an adventure, and a thriller all rolled into one. It contains moments of exuberance, humor, pathos, and tragedy. In their own way, the characters are all larger-than- life, but they're human enough (with all of the attendant frailties) to capture our

Seven(七宗罪)1995经典电影英文影评

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