本影片在没有冰河时代那种有搞笑和赏心悦目也没有那种惊奇的搞怪夸张幻想在里面,只是很似人的故事情感的塑造了一个人物的思想和被改变到最后的为了救罗素和kevin和查尔斯的战斗让故事有了一个很好的体现人的性情和理想愿望等。他在为了完成心爱人的愿望将他们的房子放到天堂瀑布不懈努力坚强执着一定要将这件事做完而放弃了kevin被查尔斯抓走而为了房子放弃营救,看出他心里情绪是多么在乎他妻子的愿望不为过之后,看了妻子留给他的……而想通。之后他在回想到与罗素、kevin和狗的生活,这些让他感受到了朋友的重要。他就马上行动去救罗素。他就把所有房子里的东西让自己……在有失去房子他那时的心里和最后罗素坐在房子旁数车的色彩,说明人物已经从过去的悲伤中走了出来,这里可以体现整部片子的人物生活性情的改变,说明我们现实也许要……
最近,我看了一部极具“人情味”的动画片,它的名字就是《玩具总动员》。
它讲述的是:
胡迪是小主人安弟最喜欢的传统牛仔玩偶,他和其他玩具趁主人不在时,便会“活”起来一起玩闹。可是好景不常,最新奇的热门玩具巴斯光年来了,他让胡迪备受冷落。失宠的胡迪为了巩固自己的地位,只好处心积虑地想要赶走巴斯。最后,胡迪和巴斯不幸化敌为友的故事。
看完此片,我想到了那些以前被我丢弃的玩具,它们在黑暗的垃圾桶,废弃堆里,是否会伤心,是否会抱怨?我想是的,因为它们不仅仅是玩具,它们也是有思想的,当你的玩具被你遗忘的时候,他们也会难过的。
或许,你现在觉得那些老玩具已经不潮了,但是你在抛弃他们的时候,没有怀念过曾经与他们在一起度过的美好时光吗?
Everyone knows that Meryl Streep is the high priestess of drama, but she never gets enough credit for her comedy skills. That should change with The Devil Wears Prada, a sinfully funny, deliciously glossy take on the 2003 best seller by Lauren Weisberger, who denies writing it as a poison-pen letter to her former boss, Vogue editor Anna Wintour. The names have been changed, of course, to ward off lawsuits. Stepping up to the plate as imperious fashion editor Miranda Priestly, Streep knocks every laugh out of the park. More remarkably, she humanizes a character who was little more than a bitch in Manolos on the page.
Streep teams up hilariously with Anne Hathaway as Andy Sachs, the "smart fat girl" (she's a mere size 6 who applies for the job as Miranda's junior assistant at Runway magazine. Andy, a journalism major at Northwestern, had her eye on The New Yorker, but is told that if she can run the gantlet of Miranda for a year, there is no publishing Everest she can't climb. Before you can say "makeover,"Andy is transformed from a gawky giraffe into a swan who can trade up in lovers -- from sweet chef (Adrian Grenier to literary stud (Simon Baker -- and from cotton blends to chicest of Valentino, Chanel, Donna Karan, Bill Blass, Galliano and Prada. Guys who know squat about labels can take pleasure in the uberbabes wearing the threads.
Director David Frankel makes expert use of the light touch he brought to HBO's Entourage and Sex and the City. And screenwriter Aline Brosh McKenna leeches out the book's malice in favor of wicked sass. Does the movie bite the fashion hand that feeds it? You bet. But it also pays due respect to the artful details turning the wheels of an industry that only seems frivolous. There's no doubt Andy learns much from watching Miranda at work, even with all the insults and fool's errands. The script tries to paint Miranda into a corner -- the lonely careerist who can't keep a husband or find personal happiness -- but Streep won't wallow in the cliches of victimhood. In a party of a movie, her performance is a comic and dramatic tour de force. comic and dramatic tour de force.
上个星期六,我和爸爸一起去看电影:少年派的奇幻漂流。为了能买到票,我们早早地先去买半价票,然后我们再到肯德基去吃早餐。吃完早餐,电影始的时间刚刚好到了,我们快速上楼进了放映厅,坐下来,开始看电影。
这部电影讲的是一个少年人的冒险故事,它是以一种回忆的方式来进行拍摄的。有一个叫派的印度少年人,从小生活在一个温暖的家庭里,他爸爸开了一个动物园。但是随着派的慢慢长大,环境也在改变,他家的动物园无法经营下去了。派的爸爸决定全家移到加拿大去,同时把动物也运到那边去卖掉。登船日期到了,派和他的家人上了船出发了。路途中,他们遇到了暴风雨,派在这次灾难中失去了家人,他自己却被船员送到了救生艇上,但是几只动物也到了救生艇上,特别是孟加拉虎,派非常害怕。老虎吃掉了船上的所有动物,派必须冷静地面对危险,勇敢机智地与老虎一起生存下来。最后派得救了,老虎也回到了树林。
电影放完了,我慢慢走出了电影院。通过这部电影,我懂得了遇到危险要冷静,不要慌张,再想办法脱离危险。或者一开始就用聪明机智的办法尽量避免危险。
When it comes to spy thrillers, Tony Gilroy knows the game. The formula for a crackling entry into this genre is simple enough: keep the action moving and the twists coming, then engage in one late innings sleight of hand that pulls the rug out from under everything. Gilroy, with an adroitness Hitchcock might admire, works admirably in this arena, turning in a screenplay that's more diabolical and pulpy than his convoluted directorial debut, Michael Clayton, but no less fun. He maximizes his assets, and considering the wattage of his stars, they are considerable. Although one could not consider the plot for Duplicity to be air-tight, the holes are small enough for things to remain afloat until after the proceedings have ended. A post-movie dissection on the way home in the car will reveal some obvious plotting problems.
爱情是一张票根,凭它我们乘上时光机器,穿过长长短短的岁月,寻找那么一些些曾经让我们怦然心动的回忆。爱情也是一张船票,它曾漂荡在大西洋的无垠碧海,沉入海底几万英尺的寂寞深渊。爱情还是一张电影票,它见证了十五年光阴似水,历久弥新,再次击中我们怅然若失的心。有些事,无法启齿,终是冷暖自知,仿佛自己私密于心的那些恋爱琐事,尘封在记忆的底端,却时不时情不自禁,想拿出来回味一番。
说到爱情,最美不过天长地久、海枯石烂,大抵脱不出一个“永恒”。与时间赛跑,我们永远都只会输,不论你爱得有多轰轰烈烈、惊天动地,最终不过是历史车轮碾过的一抔黄土、一缕尘埃。《泰坦尼克号》的动人之处,或许就在于那穿越时光,永远不变的爱情。当老得不能再老的罗丝爬上船头,将价值连城的“海洋之心”扔向大海,以纪念她的爱情以及她于海底长眠的爱人时,我们又有多少人能不动容呢?
当杰克在平静冰冷的海面和罗斯说着那些临终的嘱托,那不是什么海誓山盟,不是什么甜言蜜语,只是一些很小很小的对生活和生命的期许,杰克给罗斯的温暖从相遇到生命的终结,狠狠戳中泪点。很多时候,爱情之所以让我们觉得值得铭记,就在于这些细小的温暖,给了我们勇敢走下去的力量。
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