『壹』 求一篇英语口语作文-我最喜欢的电影
好莱钨电影最讨巧的是战争、爱情和励志类电影，它们讨巧的不仅是观众，还有奥斯卡评委们。商业电影和艺术电影在我国很难融合到一起，做到既叫好又卖座，而美国电影在这方面确实做得极为成功。
了解我的人今天突然间发现我喜欢《肖申克的救赎》这部电影，一定惊诧万分。它反映的精神和我的性格反差如此之大。
银行家--安迪，蒙冤入狱，被判终身监禁。无望的岁月里，面对的不仅仅是恶劣的环境，凶恶奸诈的典狱长，更多的是内心的痛楚和体制对人性的控制和左右。监狱长的那句狠台词很能说明一切：把信仰寄托给神，把烂命交给我。
安迪柔弱智慧，影片的前一个小时让我看得担心压抑，他只能循规蹈矩的在高压下勉强生活。监狱要彻底磨灭肖申克犯人对于未来的希望，让他们像死人一样听命生活。安迪改变了这一切。他不救赎了自己，还帮监狱中其他的犯人看到了希望，看到了多彩的监狱生活，人们暂时忘记了压迫、暴力、恐慌，自由祥和的生活的乐趣给每一个人都带来了希望。安迪居然用了十几年的时间挖开了在朋友瑞德的眼中要挖600年的隧道，在一个风雨交加的夜里， 他通过这条生命的通道，在500尺的污水管道里匍匐前进，在地狱和天堂的一线之隔间匍匐前进，终于，在对那一片湛蓝的天空和大海的向往下，安迪重获自由，并且巧妙的惩罚了有罪的典狱长等人。
当一个人被整个世界抛弃，面对绝望时，安迪－－一个文弱的智者－－－给了我们最好的答案－－－自己救赎自己！！！
不想再多说，多留着悬念给你，找来看看，相信我，《肖申克的救赎》不会让你失望。
只要心不死，人就有希望。
“心怀希望是一件好事，也许是最好的事，心怀希望就永远有希望……既然你已经走到这儿了，就再走远一点吧……”
Hollywood film is the most choose the easy way out of war, love and inspirational-type movies, they choose the easy way out is not only the audience, as well as the Oscar judges. Commercial films and art films in China's very difficult to integrate together so that both good and popular, while the United States in this regard the film does do a great success.
Understand my suddenly discovered today that I like "The Shawshank Redemption," the film certainly very shocked. It reflects the spirit and my personality so much contrast.
Bankers - Andy, wronged prison, was sentenced to life imprisonment. No hope of years, not just the face of the deteriorating environment, the treacherous governor ferocious, more pain and inner control system of human nature and about. Prison sentence is hard lines to speak for themselves: the sustenance of faith to God, the bad life to me.
Andy weak wisdom, an hour before the movie so I can worry about depression, he can only behave under high pressure of the life force. To completely erase the prison inmates Shawshank hope for the future, so that they obey the same像死人life. Andy changed everything. He does not own salvation, but also to help other inmates in prison to see hope to see the colorful life of the prison, people temporarily forget the oppression, violence, fear, freedom of peaceful enjoyment of life to each indivial brings hope . Andy had spent 10 years in opening the eyes of a friend Reid 600 years to dig the tunnel, the wind and rain in a night, he lives through this channel, in the 500-foot crawl in the sewers forward, hell and paradise in the compartment first-line creeping forward, and finally, in one of the blue sky and yearn for the sea, the Andy regained freedom, and subtly punish the guilty of the governor and others.
When a person has been abandoned throughout the world, in the face of despair, Andy - one of the Wise --- gave us the best answer --- their own salvation! ! !
Do not want to say more suspense to keep you, got to see, believe me, "Shawshank Redemption" will not disappoint you.
As long as cardiac death, people there is hope.
"I hope it is a good thing mind, perhaps the best thing, never mind I hope there is hope ... ... Since you have come here, go a little further on you ... ..."
『贰』 美剧新人 只看过知名度高的美剧 有没有资深大神推
喜剧：
《老友记》（Friends）
《生活大爆炸》（The Big Bang Theory）
《摩登家庭》（Modern Family）
《无耻之徒》（Shameless）
《广告狂人》（Mad Men）
《老爸老妈的浪漫史》（How I Met Your Mother）
《发展受阻》（Arrested Development）
《废柴联盟》（Community）
《好汉两个半》（Two and A Half Men）
《欢乐一家亲》（Frasier）
科幻/奇幻剧：
《邪恶力量》（Supernatural）
《怪奇物语》（Stranger Things）
《X档案》（The X-Files）
《太空堡垒卡拉狄加》（Battlestar Galactica）
《超感猎杀》（Sense 8）
《英雄》（Heroes）
犯罪/侦探剧：
《绝命毒师》（Breaking Bad）
《真探》（True Detective）
《越狱》（Prison Break）
《疑犯追踪》（Person of Interest）
《识骨寻踪》（Bones）
《犯罪心理》（Criminal Mind）
《海军罪案调查处》（NCIS）
《犯罪现场调查》（CSI）
《妙警贼探》（White Collar）
历史剧：
《罗马》（Rome）
《风中的女王》（Reign）
《了不起的麦瑟尔夫人》（The Marvelous Mr. Maisel）
『叁』 罗伯特克耐普（越狱tbag）主演过什么电影
无非就是非常人贩3出场多点大反派
『肆』 求张国荣电影影评(英文版的)谢谢!回答得好可加分!
这是一篇关于《春光乍泄》的评论
Romeo and Lady Macbeth
by John A Nesbit
Hong Kong's famous art-house filmmaker, Kar-wai Wong, began gaining acclaim after his innovative Chungking Express and Fallen Angels, but he hit the big time in 1997, when he took home the Director award at the Cannes Festival for Happy Together (Cheun gwong tsa sit).
Wong has become famous for his dynamic cinematic style and his preference for improvisation, eschewing a written script and working only with a broad concept. Improvising creatively with the camera (and finding ways to put that raw footage together) isn't the easiest way to work. Wong's filmmaking methods require a team that can react instinctively and understand his vision.
You'll see that Wong retains the same cinematographer (Christopher Doyle) and the same editor (William Chang) in all his movies since Ashes of Time, from 1994. Wong remains stylistically consistent: experimenting with film stock, looking for interesting juxtapositions, having characters talk to themselves, and playing on familiar themes of loneliness and unrequited love.
Like other Wong films, don't expect much action, as again he treats the audience to an introverted in-depth examination of characters and their relationships. Chungking Express's Tony Leung returns to play Lai Yiu-fai, a loyal and sensitive man who is generally lonely and unhappy. From Wong's Ashes of Time, Hong Kong actor Leslie Cheung plays Yiu-fai's lover, Ho Po-wing, a promiscuous party animal who's always up for sexual adventure.
Even from the beginning, their relationship seems doomed. Yiu-fai speaks to himself about the many times they have broken up; Po-wing eventually says they can “start over.” Now they plan to “start over” by visiting the Iguaçu Falls in Argentina. Things go badly from the beginning—the two tourists get lost and find themselves stranded on a desolate highway outside of Buenos Aires. Po-wing abandons Yiu-fai for being “boring.”
Out of money, Yiu-fai takes a menial job as a doorman outside a Buenos Aires tango club, where he eventually sees his former lover enter the club with a few “white trash” men cruising for sex. Once again, Yiu-fai demonstrates the pained look of a typical jilted lover, as he watches Po-wing demonstratively kissing one of his newfound friends. Cut later to a pensive and sad Yiu-fai, alone in his rented room, clad in only his underwear and pounding his wall in frustration.
However, he resolves to detach himself from his obsessive love with a man who will never return his loyalty, and Yiu-fai sticks to his guns when Po-wing calls him and wants to “start over” again. The two former lovers engage in an angry shouting match and a non-sexual physical struggle, with Yiu-fai walking out this time. Surprise—this time the promiscuous, wild Po-wing is left behind to cry his eyes out.
It's like Yiu-fai later says: “Turns out that lonely people are all the same.” Though more outgoing and having had far more sexual partners than Yiu-fai, Po-wing desires an intimate relationship to escape his loneliness too, but has no idea how to maintain such a relationship.
For some, Wong's style will seem tedious (where's the action?) but I find his work fascinating. No one does the "unrequited love" theme better. The more recent In the Mood for Love (with Tony Leung) deals with this as well. Not only does unrequited love exist with the two main characters, but this also develops between Yiu-fai and Chang (Chen Chang).
Wong slowly develops Yiu-fai's relationship with Chang, just like it would happen in real life, and the ambiguities are numerous.
Wong also draws supreme acting performances from his lead actors. While Leslie Cheung exhibits authentic roller coaster moments between longing, obsession, and frustration, Tony Leung is cast as the central figure.
Leung acts from the inside; you can read his emotions through subtle body language, and especially through the eyes—it's always the eyes with him. Even scenes that require physicality, like the fights he has with Leslie Cheung's character, don't happen abruptly (Leung builds up to these moments naturally and underplays them). And when the tears come, they emerge naturally, making me wonder from what part of Leung's soul he dredges these moments from as Wong rolls the camera.
Happy Together demonstrates the best that movies have to offer: fine acting and creative visuals that offer insights into character that linger long after seeing the film, all with the power to touch the heart
来源：http://www.outrate.net/outratehappytogether.html
然后是《霸王别姬》
Farewell My Concubine spans fifty-three years, presenting the lives of two men against the historical backdrop of a country in upheaval. Initially banned in China but shown to international acclaim, Chen Kaige's film is one of the year's true masterpieces. Deserving of its award at Cannes and of its prominent position in 1993's New York Film Festival, Farewell My Concubine is a motion picture experience that few will soon forget after leaving the theater.
In 1924 Beijing, the youthful Douzi and Shitou are brought together under the thumb of the strict master of a small acting troupe. It quickly becomes apparent that these are the most talented of the master's pupils, and he pushes them harder than his other students. Thirteen years later, their suffering has paid off. Douzi, now going by the name of Chen Dieyi (Leslie Cheung), and Shitou, called Duan Xiaolou (Zhang Fengyi), are major opera stars, and their proction, "Farewell My Concubine" is nationally known. The two are inseparable, until the woman Juxian (Gong Li) comes between them.
Farewell My Concubine is neatly divided into eight chapters, including a 1977 prologue and epilogue that bookend the story. Each section represents a different era in Chinese history and the lives of the characters. The historical background from the time of the Warlords through the Cultural Revolution, including the Japanese invasion of 1937 and the Communist takeover, is integral to the plot.
The first portion of the film is devoted to the early lives of Dieyi and Xiaolou as they form an unshakable bond under the often-cruel punishments of their master. Years later, when we meet them again as well-known actors, the bond has only strengthened. These two are as close as men can be - yet Dieyi wishes for even greater intimacy. The subject of homosexuality is only once overtly referred to in Farewell My Concubine, but its presence is never far from the surface. While Xiaolou remains blissfully unaware of the nature of his friend's love, Dieyi is tortured by it. The introction of Juxian, a prostitute who becomes Xiaolou's companion, creates a moral dilemma for Dieyi that he is unable to fully resolve. Chen Kaige has done a fabulous job portraying these various relationships with depth, sensitivity, and realism. This is a real and powerful illustration of human interaction that depicts layers of hatred and love.
Dieyi is the most fascinating character. From the beginning, his sense of identity is confused. Not only is he attracted to men, but his role as a woman in "Farewell My Concubine" creates a certain ambivalence about his own gender. In childhood, the refrain of "I am a girl" is drilled into him so that he can effectively assume the role of the concubine in the opera but, as another character observes, the line between reality and acting has become blurred. Dieyi has a prostitute for a mother, is raped by an old man, and has his best friend stolen from him by a woman. It's no wonder that his soul is so tortured.
Xiaolou has a more straightforward personality, at least on the surface. Nevertheless, through his ever-changing relationships with Dieyi and Juxian, he proves that this apparent simplicity often hides strong undercurrents. One of his actions ultimately propels the movie to its literal and emotional climax.
Juxian appears to be little more than a scheming whore frantic to capture a wealthy husband but, like everyone else, she is capable of a few surprises, including an entirely-unexpected streak of kindness towards Dieyi, who shows her nothing but contempt. Starting out as a wedge between the two friends, Juxian ends up a crucial element in their relationship.
The only member of the cast likely to be known to (some) American viewers is Gong Li, whose credits include Raise the Red Lantern and The Story of Qui Ju. She is, as usual, excellent, but no more so than her two co-stars, both of whom effectively realize difficult and complex personalities. For the supporting actors, there's not a weak performance to be found.
It's no wonder that this film was initially banned in China (although the government eventually relented and there was one showing; more may be forthcoming). The Communist movement is not shown in a positive light. While not specifically a force for evil, Communist attitudes contribute to one of the movie's most emotionally-shocking scenes. Those unfamiliar with twentieth-century Chinese history are in for a crash course. No film can ever hope to convey the complex mosaic of cultural upheaval caused by everything that happened between 1924 and 1977, but Farewell My Concubine does an excellent job presenting samples of the flavor while telling a story that is both epic and intimate.
来源：http://movie-reviews.colossus.net/movies/f/farewell_conc.html
《阿飞正传》
Though this was Wong Kar-Wai's second film, it could easily be said that this was the one that started it all. Days of Being Wild possesses all the trademarks of Hong Kong's celebrated auteur: heavy doses of post-modern reflection, characters mired in paralyzing existentialism, exquisite cinematography, exacting pacing, sultry atmosphere, and an entirely too obvious "art film" air. For every person who swears this is a Hong Kong Cinema masterpiece, you'll find someone who decrys the film as boring and pretentious. And really, it's hard not to see the merit of either case.
The film's story is nothing too special. Leslie Cheung stars as York, a well-off layabout in 1960 Hong Kong. York is as charismatic as he is despicably selfish; his typical deal is to draw women around him into his self-centered web, only to betray them emotionally. The first victim we see is a shy girl from Macau named So Lai-Chun (Maggie Chueng), who he charms with the immortal line that for one minute on April 16th, 1960, the two were friends. Sadly, his affections prove fleeting and destructive. Lai-Chun realizes too soon that York only loves himself, and is quick to leave.
However, the damage has been done. Despite realizing York's inability to really care for her, she's driven into a romantic tailspin. Now unable to sleep and suffering from heartbreak, she finds solace in the platonic company of a beat cop (Andy Lau) who wanders the night streets in an entirely too-calm manner. He ends up developing his own minor attachment to Lai-Chun, but the moment is never realized.
Meanwhile, York has moved onto Mimi, a sassy cabaret dancer played with scenery-chewing flair by Carina Lau. Unlike Lai-Chun, Mimi is seemingly willful, but her apparent strength is not what it seems. When York jilts her, her reaction is pathetic, and yet painfully real. Her irrational desire to retain York's affections draws in York's friend (Jacky Cheung), who harbors his own requited affection for Mimi. Despite her obvious disdain, he pines after her in his own pathetic manner. And, since it's a Hong Kong summer, it's incessantly hot, muggy and rainy. It's almost out of a screenwriting textbook.
What's the purpose of this extended soap opera? For many, it could be the obvious existentialism of it all. Love grows and fades, people behave in disgustingly real ways, and nobody does anything remotely heroic or inspiring. It points to the maddening circle of human emotions, which leads from heartbreak to self-doubt and possibly even the onset of delusion. It's as depressing as it is real, which is why it's obviously an "art film." This is where some people decide to walk out and vow never to support Wong Kar-Wai ever again.
The apparent genesis of York's selfish (and ultimately self-destructive) behavior seems to be the apparent rejection by his real mother, who left him with a Hong Kong prostitute (Rebecca Pan). One could immediately decide that this is the reason behind York's entire mos operandi: a self-inlgent mother-complex. It's like something in a bad TV drama; if people were to decry the narrative as obvious and uninspiring, they probably wouldn't be wrong.
But, that would be the most likely reasoning if the film made its narrative the primary concern. In Days of Being Wild, and indeed in every other Wong Kar-Wai film, the narrative is really the last thing on the director's mind. What concerns him are the details: atmosphere, setting, fleeting emotion, and the terrible preciousness of memory. The physical details of the film are exquisite, such as the way Maggie Cheung's hair falls in front of her face, or the precision with which Leslie Cheung combs his hair. Wong shows so much of his characters through his choices, be they with the actors or with the camera. There is an appreciable artistry to the way he and cinematographer Christopher Doyle frame their shots, creating a divide or an intimacy through exact spacing. Wong uses his infamous voice-over exposition too, but unlike in Chungking Express or Fallen Angels, the device is used sparingly. He wisely gets his actors and his scenes to do the telling.
Wong's obvious use of style and technique creates the immediate impression that this is "art," thus alienating a good portion of the audience. Then again, the skill and emotional weight with which he pulls it off is remarkable. It's not hard to be drawn into the lives of these characters, who are so unmovie-like as to be patently bothersome. Everything the characters go through simply happens, and isn't the result of some cathartic response to onscreen stimuli. His actors are uniformly impressive in that no artifice exists to their craft. It's amazing that a director can take mega popstars and wring such naked performances from them, but that's exactly what he does. It's a process that takes patience and retake after retake. His isn't a job for a person with a short attention span.
Still, asking the audience to appreciate Wong's creation is not an easy task. Days of Being Wild is a film that rewards only as much as the viewer is willing to put in. If you walk in expecting the movie to tell you something, then you'll probably not be happy. This is a movie to discover, and indeed the film improves the more one views it. As mentioned previously, one could view Days of Being Wild and decide that it's just pretentious existentialism with a too obvious message. However, there are undoubtedly those who will find much, much more in the details Wong has so carefully put together. This is a movie which varies depending on indivial taste—the exact antithesis of commercial filmmaking. And like the film or not, this much is certain: not many people could make a movie like Wong Kar-Wai.
来源：http://www.lovehkfilm.com/reviews/days_of_being_wild.htm
《胭脂扣》
My of this film has no subtitles, but it doesn't really matter. Leslie and Anita have two of the most expressive faces in the acting biz, and two of the best voices as well, both singing and speaking. So the drama and the emotion come through achingly clearly without understanding the dialogue.
Of course, having already seen it I know what the story is, which does help. But it's a fairly simple story, albeit one drenched with emotion. Anita plays Yuet Fa, a high class courtesan in a 1930s brothel, while Leslie is the scion of a respectable family who courts her. Their love, and his aspirations to perform in Cantonese opera, displease his family, and so the couple plan to commit suicide together by eating opium. An appropriately decadent ending for a decadent time.
The film cuts between the back story and the 1980s, with the ghostly Yuet Fa searching for the lover she hoped to find in the underworld. She enlists the help of a modern couple, which necessitated the casting for some absurd reason of the rather fluffy and annoying Emily Chu. Ick.
The first scene, in which Leslie enters a room where Yuet Fa is singing, is electric. Yuet Fa is dressed as a man, but nonetheless engages in a subtle section of Leslie (something that few of us with a pulse could resist). The two, both sultry in the extreme, exchange smouldering glances, and the sexual tension is almost visible in the air. Their subsequent encounters, though often less overt, are still heady with section. This was one of Anita's first films, and she is perfectly cast as the elegant "sour beauty". It's easy to believe that men would pay handsomely just to be allowed to touch her legs, as she moves with a langorous grace and uses her eyes to great effect.
Although a tad slow at times, this is still a fine film, with the two leads mesmerising in their respective roles. It's also worth watching for the historical sets: there's a particularly fine art deco mirror that I coveted mightily, as well as a huge brass bed that was a present from the young master. Despite the luscious presence of Anita, though, this is not a boy film: chick flick and proud of it, so keep those tissues handy.
来源：http://www.heroic-cinema.com/reviews/rouge
《英雄本色》
Review by Sanjuro:
Every so often in film history, an accomplished director and a talented actor will become friends and team up for a variety of pictures, thrilling moviegoers in film after film. John Ford and John Wayne, Akira Kurosawa and Toshiro Mifune, and Martin Scorsese and Robert DeNiro are all good examples. A Better Tomorrow adds to that illustrious list, boasting yet another inspired o: director John Woo and star Chow Yun-Fat. For John Woo, the film marked the revival of a then-sagging career. And while costar Ti Lung got a similar John Travolta-style career boost, it was Chow Yun-Fat who gained the most from the collaboration as he ascended from mere dramatic actor to a certifiable icon.
The plot of this 1986 film centers on the lives of HK gangsters Ho (Ti Lung) and Mark (Chow Yun-Fat), two triads living the highlife e to their involvement in a counterfeiting scheme. Ho's younger sibling Kit (Leslie Cheung) adores his elder brother, but before long the two become separated by their professions. While Ho's a slick crook, Kit's quite the opposite: a police academy hopeful with something to prove. Despite his criminal ties, Ho vows to walk the straight and narrow for Kit's sake, but is instead double-crossed on that proverbial "last job" and sent to prison. Adding insult to injury, Ho and Kit are horrified to find that a hitman has murdered their father e to Ho's shady connections, thereby creating a significant rift between the formerly close brothers. And though super-cool gangster Mark avenges his imprisoned comrade in a fantastic guns-a-blazin' revenge sequence, the deed comes at a price: Mark's leg is crippled by an errant bullet.
Time passes, but old wounds do not heal. With his chances for promotion shot straight to hell e to his brother's checkered past, Kit is a cop on a mission with a huge chip on his shoulder. In addition, poor Mark has fallen from grace in the organization becoming more or less a janitor e to his hobbling injury...
来源：http://www.lovehkfilm.com/reviews_2/better_tomorrow.htm
《倩女幽魂》
来源：http://www.kungfucinema.com/reviews/chineseghoststory.htm
『伍』 一部电影（任一）与简介（全部用英语表达）
Garfield《加菲猫》很可爱，-是福克斯公司的《Garfield》：）~~
"Garfield: The Movie" captures the elusive charm of the most egotistical character on the funny pages, and drops him into a story that allows him to bask in his character flaws. That Garfield is revealed to be brave and conscientious after all will not surprise anyone, although it might embarrass him.
The movie, based on the comic strip by Jim Davis, has been directed by Peter Hewitt and written by Joel Cohen and Alec Sokolow. The filmmakers obviously understand and love Garfield, and their movie lacks that sense of smarmy slumming you sometimes get when Hollywood brings comic strips to the screen. Although Garfield claims "I don't do chases," the movie does have a big chase scene and other standard plot ingredients, but it understands that Garfield's personality, his behavior, his glorious self-absorption, are what we're really interested in. The Davis strip is not about a story but about an attitude.
In a film mostly involved with plot, there are two scenes that are irrelevant but charming. In one of them, Garfield and Odie perform in sort of a music video, and in the other, at the end, Garfield has a solo, singing "I Feel Good" and dancing along. Oh, and Jon and Dr. Liz fall in love, although Garfield is no doubt confident he will remain the center of their attention.
Garfield talks all through the movie (this is one of Murray's most talkative roles), but only we can hear him; that's the equivalent of his thought bubbles in the strip. Garfield is animated, the other animals and the humans are real, and the movie does a convincing job of combining the two levels. Garfield looks like neither a cartoon nor a real cat, but like something in between -- plump, squinty and satisfied. Uncanny how when he talks, his mouth looks like Murray's.
There's a parallel plot involving the talentless Happy Chapman (Stephen Tobolowsky), who hosts a TV show with a pet cat. He thinks maybe using a dog might bring him national exposure, tells the little old lady he is Odie's owner, and as a training strategy, gives him electrical shocks from a cruel collar. Whether Garfield is able to break into and out of the pound, save Odie, expose Chapman and reunite Jon with both the dog and Garfield's own noble presence, I will leave for you to discover.
『陆』 求经典美国电影影评，最好是英文版的，中文也行，一个电影最好有多个影评 发776900490，非常感谢了
网上资源很多的，列举两个~
《肖申克的救赎》的英文影评 版本二邮件发给你
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.
《楚门的世界》英文影评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.
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『柒』 有关美国instrial revolution以及Amerca Reconstruction的电影或者书籍。。
Books： The Instrial Revolution in America (Problems in American Civilization) ；Author： Gary Kornblith The Instrial Revolution in America: A Primary Source History of America's Transformation into an Instrial Society (Primary Sources in American History) Author： Corona Brezina Civil War and Reconstruction Author： Jean Harvey Baker , David Herbert Donald ; Michael F. Holt Ordeal By Fire: The Civil War and Reconstruction Author： James McPherson , James Hogue Civil War and Reconstruction films: American Experience: Reconstruction: The Second Civil War (2003): Despite winning the war, the North had to win the peace. Following the war, political, social, and military battles continued over the fate of the South and African Americans. In the end, the South regained control and it has taken over a century to make up the ground lost with the end of Reconstruction. The American Experience tells this story. Andersonville (1996): Andersonville tells the story of the infamous southern prison camp. During the war, both sides experienced difficulties caring for prisoners. Andersonville was the worst of the camps. The film covers the experiences of the prisoners in this southern concentration camp. The camp housed 33,000 prisoners with little food or shelter. After the war, the camp commandant was executed for war crimes. Birth of a Nation (1915): This film is a travesty of history. It portrays the Ku Klux Klan as heroes and places white actors in black face. What the film is good for is explaining the “lost cause” myth perpetuated by the South after the war. The Civil War: A Ken Burns Film (1990): Ken Burns’ brilliant essay on the war from beginnings to the end is the gold standard for documentaries. Burns uses primary sources to flesh out the characters and stunning visuals from the period. Major vocal talent including Morgan Freeman, Jason Robards, and Sam Waterston add an emotional element missing in still photos and history books. Additionally, backing tracks including the sounds of battle and period music place the viewer in the war itself. Cold Mountain (2003): The Civil War is ending and a wounded soldier tries to make it home to his sweetheart. While on the road home, the soldier (Jude Law) meets many interesting people. The film boasts an A-list cast which includes Law, Nicole Kidman, Renee Zellweger, Natalie Portman, Donald Sutherland, and Philip Seymour Hoffman. Gettysburg (1993): This epic covers the battle and personalities involved over the course of four hours. The battle took place over three days in 1863 and proved the turning point in the war. Procers used re-enactors and filmed on the actual battlefield. Major historical figures such as Robert E. Lee (Martin Sheen), James Longstreet (Tom Berenger), and Jeb Stuart (Joseph Fuqua) come alive. The two key moments of the film and the battle included Chamberlain’s (Jeff Daniels) charge down Little Round Top and Pickett’s (Stephen Lang) Charge. The film is solemn and honors the soldiers from both sides. Glory (1989): Glory is the greatest film dealing with this period. It tells the story of the 54 th Massachusetts and their struggles with racism. The all black unit formed in the aftermath of the Emancipation Proclamation and fought both the Confederacy and their own army. They even had problems getting shoes. The cast included Denzel Washington, Morgan Freeman, Cary Elwes, and Matthew Broderick. The film takes some liberties and invents some characters. However, it gets a lot of things right. One of the most poignant scenes in movie history occurs at the end of the film. After a failed assault on Fort Wagner, South Carolina, dead Union soldiers, white and black, were buried shoe less in a mass grave. Gone with the Wind (1939): Despite being a great film, Gone with the Wind is a travesty of history. It makes slavery appear more civilized than it actually was. At the same time, the South is portrayed as an Eden that is destroyed by the North helping to perpetuate the "lost cause" myth. Not all southerners lived in mansions surrounded by hundreds of happy slaves. On the other hand, the burning of Atlanta is a great scene. North and South: Miniseries (1985): Once upon a time, broadcast television proced mini-series to boost ratings ring sweeps. North and South was one such proction. The mini-series was based on novels by John Jakes and tells the story of a friendship between two men and their experiences throughout the period. One was from the North and the other from the South. The Outlaw Josey Wales (1976): Josey Wales turns the Civil War on its head. Clint Eastwood stars as a Confederate guerrilla fighter that loses his family in a massacre perpetrated by Union soldiers. The film uses the Civil War as an analogy for Vietnam. The assault on the Wales’ farm is reminiscent of the My Lai Massacre. At the end of the film, Wales admits that “I guess we all died a little in that damn war.” Eastwood is speaking for the country in 1976 about Vietnam. Shenandoah (1965): Shenandoah, Virginia native and Farmer Charlie Anderson (James Stewart) and family find themselves in the middle of the Civil War. Like Josey Wales, Anderson refuses to get involved until he has to. Once Anderson’s son is taken prisoner by the North, he gets involved. Tennessee Johnson (1942): Andrew Johnson was the first president to ever be impeached. This film works to rehabilitate the president. Although the film does portray Johnson’s temper and alcoholism, it does not give viewers a clear picture of the president’s racism and smallness of character. Radical Republican Thaddeus Stevens is conceited and pompous and impeaches the virtuous president. The film is marked with inaccuracies. The most glaring error occurs when Johnson addresses the Senate ring his trial with a sterling speech. In reality, he never attended the proceedings. Films about inctury revolution in American: Hard Times 1994 (TV) Writing credit: Peter Barnes (I), With Alan Bates Based on Dickens novel. There was also a 1977 TV series. * Germinal 1993 [In French] 170 mins Dir. Claude Berry. With Gerard Depardieu. Sprawling film on Zola's novel about a strike in French mining village. Modern Times 1936 Dir. Charlie Chaplin, With Charles Chaplin and Paulette Goddard.
『捌』 电影肖生克的救赎的英文翻译
The Shawshank Redemption
又名：刺激1995、月黑风高
【导演】 弗兰克 达拉伯恩特
【编剧】 斯蒂芬 金，弗兰克 达拉伯恩特
【国家/地区】 美国/
【类型】 剧情/
主要演员：
蒂姆 罗宾斯 (Tim Robbins)
摩根 弗里曼 (Morgan Freeman)
年轻的银行家因被判决谋杀自己的妻子罪名成立，被送往美国的肖申克监狱终身监禁。他外表看似懦弱，但内心坚定，从进监狱的那天开始就决定一定要离开这里……
无论是从编剧还是导演，以及每个演员的演出《肖申克的救赎》都绝对是90年代最好经典的影片之一，强烈推荐！