影评范文精选300字幕(推荐13篇)

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更新时间:2024-01-11 10:06:18 发布时间:24小时内

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先说好我的立场,八年司机饭,本命希澈。所以当然最开始看《认识的哥哥》是冲着希澈去,但是因为学生党挺忙的并不是每期都看, 我就谈谈我看过的那些的感受。

中间《认识的哥哥》经历过改版,由最开始的解决问题(老实说这种形式我也觉得后续可行性不高,不改版很容易糊)变成了课堂形式,后来也有一些小改动,比如加入钟铉游戏……之类的,丰富了节目形式。期间嘉宾有当红团体,也有我不太了解的一些韩国艺人。

但是老实说,嘉宾对于收视率影响也是很大的,换句话说,可看可不看得情况下,如果嘉宾我不认识我不感兴趣我就会选择不看。但是最近的几期嘉宾是圭贤啊,闪团啊我都有看,而且觉得还蛮好玩的。给你们安利《认识的哥哥》第50期,闪闪是嘉宾,笑点密集,看了几遍还是觉得好好笑。

最后说固定班底,虽然喜欢希澈,但是毫不偏心的说,希澈的才气和应变能力大家都有目共睹,比较佩服的是他能让在场所有人都保持愉快,即使被损了。然后对闵爱子也很有好感,大概因为我是酒窝控。最最后,我在节目之前,对李秀根实在不了解,但是看了这个,觉得他很有趣,称赞!

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我很喜欢看《爸爸去哪儿》,从第一季就开始关注,看到节日中爸爸和孩子们那么好,我真得很羡慕。因为我的爸爸对我很严厉,又因为我是个女儿,所以对我一直不是很喜欢。从小我的心里就一直想,别人的爸爸会是什么样子,也是如此吗?当看到这个节日之后,我总是会边看边哭,觉得为什么别人的爸爸都那么好,而我的爸爸却是那个样子?

爸爸很喜欢男孩,所以我身为女儿一直不讨爸爸喜欢。记得小时候,如果有堂弟在,我永远会坐在离爸爸最远的地方,看着爸爸给堂弟夹菜,问吃不吃这个,吃不吃那个,我很生气,就抢着去吃好吃的东西,直到吃完饭。长大了,堂弟不在经常去家中吃饭,但爸爸也没有为了夹过菜吃。所以,对于堂弟,我心中一直有着不满,觉得为什么爸爸这么偏心,对别人家的孩子这么好。

现在,《爸爸去哪儿》第二季又开始播了,正值暑假,我让爸爸和我一起看,但爸爸不喜欢看,所以,还是我自己在看。我想说,爸爸,你就陪我看一期吧,作为女儿,我也一定会对你好的。可以吗?

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有动情点,小女孩每每抿嘴哭泣的时候,受尽屈辱却不争辩,泪珠滚落在黢黑的稚嫩的脸庞上,眼神失去快乐的光彩,碎发散乱做一团。

有矫情处,把阿信送去做工的时候阿信坐在船上,妈妈在岸上追着船边跑边喊喊阿信阿信,妈妈跌倒终于消失在看不见的地方,阿信平复失落的心情,这时爸爸在岸上追着船边跑边喊喊阿信阿信,爸爸跌倒终于消失在看不见的地方。

我想说的是,日本小孩子也许真的动手能力比我们还要强大,因为要演出一个勤奋的模样,只有真正的有做过或熟练过,就会真正表现出自然真实的劳动感觉。

和母亲看电视,一般演着剧中人物在做饭的场景,母亲都要评论一番,你看这人连刀都不会拿,真正的不会做饭。或者说看刚才他切菜那两下子,看来是真的会做饭。

所以我想阿信在剧中麻利熟练的做活场面,大概无法靠演技来弥补出来。我一心向往日本并研究日本的同事说,的确日本小孩动手能力比我们强。

于是我汗颜,自己二十来岁完全是生活无能么,对家务这些事毫无历练,灰溜溜的不如阿信这小童半分。

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艰难困苦,玉汝于成。习^v^深刻指出,“中华民族历经历过很多磨难,但从来没有被压垮过,而是愈挫愈勇,不断在磨难中成长、从磨难中奋起。”这段时间里,哪里有疫情、哪里困难多,哪里就有四面援助、八方支持,举国上下齐心协力,最美逆行感天动地,无私奉献爱心潮涌。发生在神州大地上的这一切无不证明,困难和挑战越大,中国人民的凝聚力和战斗力就越强,中华民族就越能展现不屈不挠、顽强奋斗的英雄气概。

“志不求易者成,事不避难者进”。前进道路从来不会一帆风顺,必然还会遇到这样或那样的风险挑战。但一个善于总结经验、汲取教训的民族,必定是日益坚强的,必定是不可战胜的。疫情压不倒我们,只会让我们更强大;磨难阻挡不了我们,只会让我们走向复兴的步伐更加坚定。

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悠悠岁月,中华之脉。水源之来,古已有之。《水与中华之智者乐水》揭开了水与中华文明的关系,表达了那些属于我们对水所拥有的感情和崇敬!

电视纪录片《水与中华之智者乐水》以平实手法讲述中华民族五千年沧桑和水的关系,从而推动对民族历史更深层次的思考。片中讲述了中国传统文明中水资源对人民生活的重要影响,绍兴湖水、都江堰等均出现在片子的论述点上,还引出同舟共济、汶川地震等时代主题词来反映“南水北调”等伟大工程的特别建立。这部反映水与中华文明历史的专题片以深邃的主题精美的镜头跃然于荧屏,别是一番特色。影像所展现出的对现实的控诉,既是厚重的,又是具有深意的。本片的编导自然贴切地调动多种电视表现手段,让这个主题的表达更加充分和出色。本集鲜明的主题引发了观者强烈的共鸣,与水而居,智者乐水孕育中华文明、成就伟大壮举。影片以严谨宏大的历史意识、细腻曲折的故事叙述方式,关注历史发展之间的内在联系。通过对当今人们对水资源浪费等行为的反思提出对未来的强烈思考寻找民族发展与水之间的难以割断的联系,引入现实,揭示水问题,以警醒世人,重新召唤我们中华民族对水的崇拜,这种崇拜是千百年来,我们对长江、对黄河、对中国水系的理性解读与思考的基础上建立起来的。编导是想让我们共同崇拜我们民族的起源,崇拜我们祖先的选择,建立起一种不浪费水、不亵渎水的心理文化遗传基因,也就找到了这个民族延续的血脉。

本片的创作手法和表现手法极具特色。本片所有的素材都是为了表现编导对水资源等一系列问题的反思,诠释水利兴、国运昌的历史命题,纪录一代代文化的沿袭传承与大河赋予的国民性格,体现出中国现代化的艰难历程与海洋文明碰撞交融。为了增强影像的可视性,表现更多深蕴的含义,全片重点采用了解说词加画面的表现手法。首先采用了大量图配乐和声画结合,配上激扬的乐曲,滚滚长河把观众带入古老的文明社会之中。其次,影片整个节奏比较轻缓,大量使用小全景,展现极其宽广的画面和水流不断滚动的画面,让人感受颇深,影片还选取了很多生活细节,把古代社会人类与水而居的和谐社会表现的淋漓尽致,从而展现出生生不息的中华文化!影片中还运用了一些快镜头,表现人类与水源的“斗争”,在斗争之中形成人类文明!

“保护环境就是保护我们的生命。护佑水就是护佑我们民族的未来。”流水涓涓,希望我们能共同努力,保护水资源,倡导节约用水。愿中华文明之水长流。

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今天下午,因为没有了考试项目(这几天正在进行体育达标运动会),白老师就给我们放了一部电影,名字叫(放牛班的春天)。下面先让我来介绍一下吧!

这部电影讲述了一个音乐家在一所叫“池塘之底”学校当学监的经历。他极力想让那些学生(他们都是以前犯过罪的坏学生)改变,并让他们学习音乐。后来,他发现一名叫莫浪奇的学生,嗓音极好,经常在一些演出上独唱。但学监却屡遭官迷校长的陷害,并被抢功,最后离开的故事。

我先做一下评论:本戏当中奸人是校长,他总是想致一些学生于死地,并想把功劳归于自己,责任、错误都推给别人,自己坐享其成。好人是学监,他能理解学生、帮助学生,也不求任何回报,他改变了所有学生。那些学生人人都是好学生,并不是坏学生,只要他们肯去改变,任何人都能变好。这个片是个公益片,它让人们懂得了不能自私自利,更不能去谋取不是自己的任何东西,那都是不法行为。我们应该去帮助自己有能力帮助的人,改变任何自己可以改变的人。

从这部片中我想到了白老师的一句话:“世上没有坏学生,只不过没有好的习惯而已。”所以,从我做起,养成好的习惯,以后尽其所能去帮助需要帮助的人。

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影像化的“诗情画意”

——纪录片《腊梅花儿开》评析

电视纪录片《腊梅花儿开》讲述的是拥军模范周大妈几十年如一日拥军爱兵如子、乐为军人牵红线、当红娘的感人故事。整个片子在内容的表述上,也侧重将镜头对准物像“腊梅”,影片标题一语双关地借此暗喻周大妈牵媒的“硕果”。此处“梅”与“媒”既是一个谐音,似乎也将巧合和喻意融汇其中??

本片以纪实的手法跟踪纪录了红娘周大妈为海军士官周连明和女青年彭清芳的婚事牵线搭桥为主线,并辅以纪录了热心大妈为其他军人们的婚事而四处奔走??从而形成了复式结构为特征的纪录模式。编导巧妙把镜头对准平凡生活中人物的心灵深处,影像化地诠释了军爱民、民拥军的军民鱼水深情,让观众在视听形象中见证了一个真实、质朴、执著、锲而不舍、乐于助人、光彩夺目的拥军大妈的人物形象??

除了在选材角度有独到创新之外,在视听的表现手法上,该片也带来了许多值得我们借鉴和学习的地方。

首先本片没有完全依赖解说词,而是较多地运用镜头的调度和剪辑进行故事化的讲述。如:影片开头就采用一组无解说词的循序渐进式的画面语言,利用富有可视性语言画面进行叙述,全景、中景、近景、特写样样具备,推、拉、摇、移、跟镜头各司其职,短短一组画面既介绍了环境,又交待了人物,“诗情画意”的影视手法带出故事的温情。

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北京天安门钱的国徽,是由工人们辛苦制作而成的,从“国徽”这部影视中我们了解到了国徽是什么,国徽的含义,了解到当时人们在听到广播国家征集国徽图稿是的激动心情。

于是,在全国掀起一片制作国徽的热潮,全国人民积极创作想要为国家的国徽制作上献力,而在沈阳钢铁厂里的工人们主动向领导请示想要担任铸造国徽这一光荣任务,^v^在看到请示后立即表明同意将铸造国徽的任务交给沈阳钢铁厂。消息传到厂里时,工人们在高兴之后开始检查铸造机器设备是否有问题,并专门成立了国徽铸造小组。就在工人们接送到的国徽木模时送木模的车子陷入泥中,众人齐心协力,将车子将车子推出把木模运回场中,就在众人跃跃欲试想要铸造国徽时,看到木模时没想到竟然会那么大,而厂中从未铸造过这么大的铸件,铸造这么大的铸件不能用铁,只能用铝,厂中又没有融铝的熔炉,大家只能将设备拆除,工人自己想方设法的制作了熔铝的熔炉,工人们先开始制作沙子模型时发现工厂里的沙子颗粒大不细腻,会造成国徽表面不光滑,就在这时厂中的领导让之前技术好却因为出身不好而没被选上铸造国徽小组中的一位老师傅去大连运沙子,老师傅怕耽误时间一路将车从大连开往沈阳除过吃饭,未曾休息一刻,导致回到厂时因体力不支晕倒在地被送往医院,这时领导被老师傅的精神所感动对老师傅承诺等老师傅出院时便直接去国徽铸造小组中。老师傅回来后和大家一起制作了沙模,准备铸造,等铝冷却好后。大家刚松了一口气,但是,就在将国徽竖起时发现铸造出来的国徽凹凸不平,就在大家在焦头烂额中,有一个外号秀才的工人发现失败原因是由于冷却时间不同导致凹凸不平。发现问题后,工人们把铸融浆入口由原先的一个改为两个。这一次在众人努力认真的劳动下,我国的第一枚国徽在沈阳钢铁厂中由工人们铸造成功。

随着影片的结束我们了解到国徽是一个国家,民族的象征,是我们中国人的脸面。是代表国家的^v^。并且在工人的问题与回答中我们知道,我们国家是工人阶级领导的,以工农联盟为基础的社会主义国家。

高一:宋阿萍

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细究的话,这部徐克监制冬儿导演的电影谈不上是如何严肃的古装片,其中穿越的台词数来比比皆是,奚仲文给两位男主角安排的打底裤有着极潮的布纹;也不能完全算武侠片,片中貌似没有江湖,其中那个武艺高强的燕赤霞并不是为了行侠仗义而呆在兰若寺抓妖,而是为了离人远一点;它该也不能算恐怖片,至少那些超出常理的镜头并不是真的为了惊吓观众而存在,好像就是点点恶趣味。

片中每个人都是希望按照自己的价值观去做一些让自己开心的事:夏侯要争武功排名,燕赤霞要躲是非,宁采臣要收账,姥姥要收阳气,()江湖人要抓通缉犯以求赏金,就连王晶扮演的那位眼睛都张不开的县官,都是很真挚地时刻惦记着贿赂的事,还可以顺带提句在宁采臣房间里仅仅只有跟着血味跑的干尸。要说这部电影在讲爱,有点纯以结果论(两人大部分时间更多在逃命),其实它更多篇幅里都在展现欲,但最终打破这所有的纠结的,只是两人之间还来不及分辨与细念的痴缠。细心数数看的话会发现,宁采臣和小倩之间真正的对话,其实不超过30句。

那么这到底是一部什么电影呢?关键就在这里,在如今的市场大谈所谓类型时,优秀电影会证明其实一部商业片是否迎合了尽可能多的方向并不重要,重要的是一口气看下来会觉得它真TM的好看。《倩女幽魂》有足够丰富而又浑然天成的元素,而且是在编导的安排下无比自信地一一出场。打斗,情色,悬疑,喜剧,重口味,也依然有动人的情绪,有爽利的恩义,嬉笑怒骂全不顾,要留喧嚣在人间。

《倩女幽魂》里的奇观画面,除了挥宝剑加了点《如来神掌》时代发明出来的后期光,其余全部是实景制作,巨大的舌头、灵活的树枝,饥饿的干尸,满天飞人头,修复版让画面明亮了一些,会明显看出有粗糙感,但依然一点不显得简陋。那时候整个班底会努力拍,会费尽心思去配合,那些道具也是实实在在跟演员捆绑撞击在一起。而不是如今演员摆出各种表情和姿势以后,基本什么都交给后期CG来做了。叶伟信版《倩女幽魂》中,惠英红应该就是在为了配合特技效果的要求之下,只能不停摆出同一种张牙舞爪的表情来说台词,导致角色虚得发慌。

说到姥姥扯开一句,这次重看刘兆铭,发现其实在第一部中他的戏份比记忆里少的多了,为什么会留给观众如此深刻的印象呢?除了怪异装扮和时男时女的声音,应该是小倩卧房一场,整出戏的空间调度之密,气氛调节之巧,几乎教人透不过气来,也让姥姥和小青的眼神和言语变成了一种极大的压力,于是加深了存在感。“房间藏人”一度是徐克最爱的戏码,也在新艺城的大量作品中反复出现。

电影结尾三人精疲力尽从阴间杀回,却赶上天光渐亮,早晨的阳光从破败的纸窗缝隙漏进小屋。宁采臣用额头定住木板,用身体挡住阳光,一边垂泪,一边却催促小倩快回骨灰坛中。小倩抬头看他,他却似是连头也不忍转过。

永远的离别,居然就真来得这么快,即便再多唱几次《黎明不要来》也无用。

跟人妖殊途还不太同的是,孤魂野鬼最好归宿当然是安然投胎转世,没人拿道德枷锁来阻拦你,反显出这种欢乐相依的凄凉。

不知有没有人统计过,宁采臣在电影中一共摔倒了多少次。张国荣就是在这样跌跌撞撞的狼狈里,留给我们一个光彩夺目的小书生。在危机四伏的夜途中,她细心帮他把野狼剿杀全挂上树,因为他想到她有难,同样会一把推开权贵夺马狂奔回兰若寺。这些默契,应该从他鼓起勇气去赶那条自己怕的要命的蛇开始,就注定了。就仿佛宁聂之情,注定也是悲剧,但这并不妨碍他们给彼此留下了“只羡鸳鸯不羡仙”的那短短危情三日。并不妨碍,燕赤霞忽然发现,其实自己逃到鬼的世界里,也无法不面对――人的复杂。

而香港电影的下一个黎明,会从什么方向先亮起来呢?小倩的重生之路,会在什么方向呢?

影评范文精选300字幕10

柯老师的《光和影》一课,本课最大的亮点在于“以生为本,提高小学科学探究的实效性”。

《光和影》是小学科学五年级“光”单元的起始课。很多老师上这节课的时候,在学生的主体性与探究的有效性之间摇摆,很难处理好两者的关系。听过不少这节课的演绎,有的老师过于放手,强调了单元起始课的兴趣激发而缺乏探究的理性,有的老师则牢牢把控着课堂教学,唠叨着每一个实验的注意点,唯恐遗漏一个环节,课堂沉闷,学生兴趣缺失。

为了切实做到以生为本,提高课堂教学的有效性,柯老师做了一些努力。

首先,柯老师设计制作了一套操作简单而又变量控制得比较理想的材料,降低了学生操作的难度,提高了实验的科学性。

而且,柯老师专门设计了一个环节来介绍这套材料,听起来似乎是炫耀材料的完美,实际上老师在此渗透了许多科学语言表达的方法,如光源照射的角度,光源到遮挡物的距离等,给后续学生实验设计中方案的表述,提供了科学表态的支撑。

其次,柯老师采取了先学----再导-----再学的方法进行光与影关系的探究,尤其对于影子长短的问题,重点引导学生先探究,再提取对比实验变量控制的方法,由扶到放,较好的解决了探究的有效性的问题。

影评范文精选300字幕11

有“好莱坞制片+导演最佳拍档”之称的杰瑞·布洛克海默与东尼·史考特的最新动作影片《时空线索》今日起在深公映,昨天,该片在嘉禾影城进行了试映。

该片的剧情颇有新意且充满了悬疑色彩:一艘游艇在美国独立日当天发生爆炸,探员道格着手调查,他依靠敏锐的直觉发现这起恐怖事件与另一桩凶杀案之间有着千丝万缕的联系。随后,道格被派到一个新部门,在那里获准使用秘密设备“时间之窗”,他可以跨越时空,回到四天前制止凶案发生,同时破坏恐怖计划。

《时空线索》之中细节的设置引人入胜,影片前半部“现实时空”中的小细节在后半部“逆转时空”中均有对照,令观众恍然大悟,拥有两届奥斯卡影帝头衔的男主角丹泽尔·华盛顿对角色绝佳的把握和控制力也给观众留下了深刻的印象。

然而,该片的结局却有些突兀,也让人觉得蹊跷,似乎并没有和影片前面所表现的场景相呼应,一位观众表示,该片虽然是“大团圆”结尾,但让人有些琢磨不透,似乎先给你一个希望,让你探求谜底,最后却只是惘然。

影评范文精选300字幕12

英文影评范文精选15篇

如何写影评?影评怎么写?

如何写影评?影评怎么写?对入门者只有一个条件,即:爱看电影。

想写影评么?^v^你的兴趣是最重要的向导^v^。没有天赋?没关系,记忆力乃至电影观察力都是可以训练的。记笔记就是一个有效的方法。缺乏经验?不要紧,^v^研究能力是可以习得的^v^。怎样开头?^v^在影片中发现问题^v^。发现不了问题咋办?而我又不好意思询问别人。那就^v^养成自问的习惯^v^。怎样才能发现问题呢?^v^在讨论任何形式的电影叙事时,首先要对古典叙事形式保持敏感^v^。也就是说,要把^v^美国电影作为终极范式^v^,在比较与对照中去发现特定影片与之不同的创作旨趣及手法。^v^一旦学会辨认古典叙事,你就会更加了解叙事的多样性^v^。

写影评,应该把握好这样几点:捕捉住感受点。一部电影涉及的方面很广,需要品评的着笔点很多。这就需要对电影反复回味思考,用心灵再度感受,把握往影片中最能动人的地方,并使之在自己的笔下得到理性的升华。

立意要新,开掘要深。写影评要有新意,要有独到的见解,抓往要点,自感而发。要做到有新意,一是要抓住影片内容,结合台社会现买;二是要准确把握住影片的精神实质,挖掘影片本身所包含的深刻内涵。例如对张艺谋电影的分析要紧扣住时代背景,但也不必要都从思想意义角度分析,如巩俐在张艺谋电影中的形象塑造,张艺谋电影中的男性形象等,都是可以开掘的领域。

要重视影片的艺术分析。电影是通过艺术手段来表现主题、塑造人物、抒发感情的,所以影评要重视对影片艺术的高下进行分析。这种分析应具体详细,由表及里,言之有物;评价则应观点鲜明,实事求是。在艺术评析中,字里行间渗透出电影意识,尽可能恰当地运用电影艺术名词术语,还需要有对电影艺术的深刻感受与理性把握。这可以通过阅读电影理论书籍和多欣赏优秀影片来解决。每年的美国奥斯卡电影大奖评选,世界各国的影展都给我们提供了这样的机会,虽不能亲临其境,但通过多种媒体一样能了解动态,捕捉到世界电影发展的最新信息。

影评写作可以有长有短,可着眼于一部影片的一个镜头,也可以着眼于一种电影现象。对于我们师范生来说,要对一部影片作出全面的评价比较困难,练习写影评,可从评论一个人物形象、一个情节、一个场面入手,可对演员演技。

拍摄技巧、导演意图、影片风格、色彩、语言、音乐等进行单一的评析。随着写影评水平的提高,就可对某一人物形象,如影片中的学生、教师、军人等银幕形象发表看法,也可以从纵向谈某一阶段电影的回顾或某一体裁电影的回顾,分析其得失;或从横向谈某一风格的电影,如西部电影、贺岁片、娱乐片等,或横纵向结合,谈一个导演的风格,如谢晋模式、张艺谋现象等到。初涉影评写作不宜贪大求全,而应从一点一滴写起,思考挖掘,连缀成篇。

开始练习写作影评时还应该注意:语言要朴实,要个性化。写影评一定要讲真话,讲自己的话,不要抄袭别人的评论。唯独自己的感受和朴实的语言,才会使自己的评论富有个性和新意,也才会给读者带来清新的感受。

叙议要结合,突出评论。电影最直观可感的,影评离不开叙事。但切忌过多地叙述故事,要突出分析写评价。当然,所评所析不得脱离影片孤立地进行。

设计好影评的标题至关重要。一般来说,它由正副标题构成。正题——揭示文章的中心,必须简明扼要,而又耐人寻味,能够引起读者的阅读兴趣,同时也能给读者带来审美愉悦,它是贯穿全文的主线;副题——点明评论对象,交待片名或评论角度,它是正题必要的补充。二者相得益彰,能使文章增色不少。如:《历史和时代的搏击者——评银幕上的^v^员形象》,《悲剧在红色中渗透——评电影<红高梁>》。

我们在写影评的过程中,要不断总结学习他人的写作经验,丰富自己的写作实践,在日积月累的基础上,通过影评的写作,不断促进我们知识结何的完善,提高我们的颀赏水平和审美能力。

How to Write a Movie Review

Writing a movie review is a great way of expressing your opinion of a movie. The purpose of most movie reviews is to help the reader in determining whether they want to watch, rent or buy the movie. The review should give enough details about the movie that the reader can make an informed decision, without giving anyway any essentials such as the plot or any surprises. Below are our guidelines and tips for writing a good movie review.

Submit your movie review

1. Watch the movie

The first step in writing the review is to watch the movie. Watch the movie in a relaxed environment you are familiar with. You do not want to be distracted by an unfamiliar room. Watching the movie a second time will help you absorb a lot more detail about the movie. Most movie reviewers take notes as they watch the movie review.

2. Give your opinion

Most movie reviewers will give their opinion of the movie. This is important as

the reviewer can express the elements of the movie they enjoyed or disliked.

However, as in all good journalism, the reviewer should also give impartial details, and allow the reader to make their own mind over an issue the reader liked or disliked. Opinions should be explained to allow the reader to determine whether they would agree with your opinion .

Many regular movie reviewers will develop a following. If one can find a reviewer who shares a similar taste in films, one can confidently follow the reviewers recommendations.

3. Who is your audience?

You need to consider who your likely readers are. Writing a movie review for children requires a different approach than if writing for a movie club. Ensure you report on the factors that matter to your likely audience.

4. Give an outline

Give the outline of the movie, but don't give away essential details such as the end or any surprises. If there is a big surprise you want to entice readers by telling them something special happens, just don't say what.

5. Actors (演员)

If the movie contains actors, as most do, detail who is starring in the movie and how well you think they acted.

6. Structure

Did the movie follow a regular predictable story line, or did it get you thinking like a Quentin Tarantino movie?

and lighting (电影艺术和灯光效果)

Give details about how well the movie was shot and directed. Was the lighting good in the moody scenes?

8. Music

Did the movie have its own score like Koyaanisqatsi or ET, or did it feature songs from popular artists?

9. Read, read and read

Read and check your review thoroughly. It can be embarrassing to find errors in your work after it has been published. This is especially important for reviews that will be published on the Internet, as search engines are always looking for the correct spellings of key words.

Submit your movie review

英文电影影评范文

侏罗纪公园3英文影评 Jurassic Park III(20_

^v^Jurassic Park III^v^ is neither as dreadful as it might be, nor as perfectly wrought as it could be. For one thing, it moves along as jauntily as one of those horrific raptors scooting along the plain; the movie wraps itself up so quickly, and after such a relatively low-key climax, that you can barely believe it's over. It runs about 90 minutes, and that's sweet relief. You can get your fix of dino effects (most of which are starting to look pretty familiar anyway, after the original ^v^Jurassic Park^v^ and ^v^The Lost World: Jurassic Park^v^), with a few good jokes and interesting performances thrown in, and be on your way.

One of the best things about ^v^Jurassic Park III^v^ is that it brings back Sam Neill, who starred in the original, and he's a distinctly human and humane presence. As the movie opens, we see Neill's adventuresome paleontologist, Dr. Alan Grant, playing with the toddler of his former collaborator Dr. Ellie Satler (Laura Dern, in a nicely played cameo), who has settled down with an earnest, unexciting husband and is quietly raising their two kids. Neill plays the scene

beautifully: He's half puzzled by the idea that anybody would want to settle down to a life like this, and half wistfully jealous that it's just not for him.

He has no desire to see any more live dinosaurs up close and personal. Nonetheless, he and his young assistant Billy (Alessandro Nivola) are reluctantly roped into an adventure expedition to Isla Sorna (the ^v^Site II^v^ from ^v^The Lost World,^v^ where the prehistoric horrors were bred in a flagrant expression of human arrogance), by Amanda and Paul Kirby (Téa Leoni and William H. Macy), a rich couple hankering for danger.

Of course, they have another motive. But the bare-bones plot, from a script written by Peter Buchman, Alexander Payne (writer and director of ^v^Election^v^ and ^v^Citizen Ruth^v^) and Jim Taylor (who co-wrote those pictures with Payne), is probably the last reason anybody would go to see it. What most of us want are dinosaurs, and there are just the right number of those here, from a flock of fierce pterodactyl-like pteranodons with mischievously knowing eyes, to the dreaded raptors (who always look to me as if they should be dangling old-lady pocketbooks from their disproportionately smallish, curled-over front claws). Although it's probably still too intense for very small children, ^v^Jurassic Park III^v^ features a blessed minimum of torso chewing. The worst part is watching one of the raptors use a giant toenail to puncture the spine of a minor character played by Michael Jeter -- he's too fine an actor to meet such a ignominious end. Another saving grace of ^v^Jurassic Park III^v^ is that it captures some of the wonder from the first picture. Director Joe Johnston (^v^Honey, I Shrunk the Kids,^v^ ^v^Jumanji^v^) is much more

low-key than his predecessor Steven Spielberg, who directed the first two pictures in the series. Thankfully, he's out to set us rambling and bumping on a scary-funny amusement park ride; he doesn't hammer on the whiskery old theme of man-playing-God, nor does he seem to take much pleasure in the requisite bloody chomping, even though he of course has to include some of it. And he offers us one extraordinary panorama that looks as if it had been lifted straight out of those softly colored educational picture books of the '50s and '60s, a group of peaceful

vegetarian apatosauruses against a purply pink Maxfield Parrish sky on the banks of a canal, chomping placidly on the plants they so love to eat. Dr. Grant and his group view the scene as they pass by it on a barge, and Neill plays the moment perfectly, like a man deep in love. It's as if a sight like this could make up for any number of dreadful dinosaur encounters.

The other actors here are just as game. As Eric, a kid who's been stranded on the island, Trevor Morgan shows the kind of appealing resourcefulness that's always fun for kids to watch. Macy is more than serviceable in a throwaway role: He manages to give his cowardly-lion character a great deal of charm and comic texture. Leoni does the best she can with her

character, but there's not much to work with: She doesn't get a chance to use her best gift, a flair for snappy, screwball-comedy timing that sparkled in her short-lived TV show ^v^The Naked Truth.^v^

Even so, Payne, Buchman and Taylor give us plenty of little things to laugh at along the way: Dr. Grant and Eric have a pleasingly tossed-off exchange as Grant incredulously holds up a bottle of T. Rex pee that Eric has collected. ^v^How did you get this?^v^ he demands. ^v^You don't wanna know,^v^ Eric deadpans ruefully. There are a few moments in the picture that are streaked with a sense of terror, scenes where you think the absolute worst is going to happen. But it never quite does. There's a surprisingly delicate touch at work in ^v^Jurassic Park III,^v^ and the movie is marbled through with strands of acerbic wit. You might think that a filmmaker's going to that much trouble in a ^v^Jurassic Park^v^ picture is like casting pearls before swine. What chance do pearls have under the feet of prehistoric giants? Miraculously, they survive the trampling intact, and they're what you remember long after the last mighty footstep resonates.

II.电影名称:

1. 第六周 《当幸福来敲门》 The Pursuit of Hapiness

导演:加布里尔·穆奇诺

上映日期:20_年12月15日

北美票房:163,566,459美元

首周票房:26,541,709美元

发行公司:索尼

票房成绩:威尔·史密斯第一次征战圣诞档就大胜而归,成本仅5500万美元的

《当幸福来敲门》的首周票房只有2654万,但此后越战越勇,最终

在《博物馆之夜》这些大制作影片的夹缝中擒回亿美元,证明

史密斯不愧是好莱坞第一人。而在海外市场,这部影片也大有王者

风范,亿的总票房在全球票房榜的名列第13位。

评论:《当幸福来敲门》是威尔·史密斯迄今为止口碑最佳的影片,IMDB评

分高达分。影评人对这部影片也不吝赞美之词。《旧金山纪事报》的米克·拉塞尔评论说:“这部影片带来的最大惊喜是,它并不粗糙,非常诚实不做作。”《纽约时报》的麦诺拉·达吉斯则写道:“这部影片是现实世界的童话,史密斯和他儿子的表演压倒了一切。”《滚石》杂志的彼得·特拉维斯说:“史密斯正在走向奥斯卡,他的这个角色需要把严谨、聪明、魅力、幽默和热情合二为一,他做到了这一点。”果

英文影评范文精选15篇

How to Write a Movie Review

Writing a movie review is a great way of expressing your opinion of a movie. The purpose of most movie reviews is to help the reader in determining whether they want to watch, rent or buy the movie. The review should give enough details about the movie that the reader can make an informed decision, without giving anyway any essentials such as the plot or any surprises. Below are our guidelines and tips for writing a good movie review.

Submit your movie review英文影评范文精选15篇

1. Watch the movie

The first step in writing the review is to watch the movie. Watch the movie in a relaxed environment you are familiar with. You do not want to be distracted by an unfamiliar room. Watching the movie a second time will help you absorb a lot more detail about the movie. Most movie reviewers take notes as they watch the movie review.英文影评范文精选15篇

2. Give your opinion

Most movie reviewers will give their opinion of the movie. This is important as the reviewer can express the elements of the movie they enjoyed or disliked. However, as in all good journalism, the reviewer should also give impartial details, and allow the reader to make their own mind over an issue the reader liked or disliked. Opinions should be explained to allow the reader to determine whether they would agree with your opinion .

Many regular movie reviewers will develop a following. If one can find a reviewer who shares a similar taste in films, one can confidently follow the reviewers recommendations.

3. Who is your audience?

You need to consider who your likely readers are. Writing a movie review for children requires a different approach than if writing for a movie club. Ensure you report on the factors that matter to your likely audience.

4. Give an outline

Give the outline of the movie, but dont give away essential details such as the end or any surprises. If there is a big surprise you want to entice readers by telling them something special happens, just dont say what.

5. Actors (演员)

If the movie contains actors, as most do, detail who is starring in the movie and how well you think they acted.

6. Structure

Did the movie follow a regular predictable story line, or did it get you thinking like a Quentin Tarantino movie?

and lighting (电影艺术和灯光效果)

Give details about how well the movie was shot and directed. Was the lighting good in the moody scenes?

8. Music

Did the movie have its own score like Koyaanisqatsi (失衡生活)or ET, or did it feature songs from popular artists?

9. Read, read and read

Read and check your review thoroughly. It can be embarrassing to find errors in your work after it has been published. This is especially important for reviews that will be published on the Internet, as search engines are always looking for the correct spellings of key words.

Submit your movie review

英文电影影评范文

侏罗纪公园3英文影评 Jurassic Park III(20_

^v^Jurassic Park III^v^ is neither as dreadful as it might be, nor as perfectly wrought as it could be. For one thing, it moves along as jauntily as one of those horrific raptors scooting along the plain; the movie wraps itself up so quickly, and after such a relatively low-key climax, that you can barely believe its over. It runs about 90 minutes, and thats sweet relief. You can get your fix of dino effects (most of which are starting to look pretty familiar anyway, after the original ^v^Jurassic Park^v^ and ^v^The Lost World: Jurassic Park^v^), with a few good jokes and interesting performances thrown in, and be on your way.

One of the best things about ^v^Jurassic Park III^v^ is that it brings back Sam Neill, who starred in the original, and hes a distinctly human and humane presence. As the movie opens, we see Neills adventuresome paleontologist, Dr. Alan Grant, playing with the toddler of his former collaborator Dr. Ellie Satler (Laura Dern, in a nicely played cameo), who has settled down with an earnest, unexciting husband and is quietly raising their two kids. Neill plays the scene英文影评范文精选15篇

beautifully: Hes half puzzled by the idea that anybody would want to settle down to a life like this, and half wistfully jealous that its just not for him.

He has no desire to see any more live dinosaurs up close and personal. Nonetheless, he and his young assistant Billy (Alessandro Nivola) are reluctantly roped into an adventure expedition to Isla Sorna (the ^v^Site II^v^ from ^v^The Lost World,^v^ where the prehistoric horrors were bred in a flagrant expression of human arrogance), by Amanda and Paul Kirby (Téa Leoni and William H. Macy), a rich couple hankering for danger.

Of course, they have another motive. But the bare-bones plot, from a script written by Peter Buchman, Alexander Payne (writer and director of ^v^Election^v^ and ^v^Citizen Ruth^v^) and Jim Taylor (who co-wrote those pictures with Payne), is probably the last reason anybody would go to see it. What most of us want are dinosaurs, and there are just the right number of those here, from a flock of fierce pterodactyl-like pteranodons with mischievously knowing eyes, to the dreaded raptors (who always look to me as if they should be dangling old-lady pocketbooks from their disproportionately smallish, curled-over front claws). Although its probably still too intense for very small children, ^v^Jurassic Park III^v^ features a blessed minimum of torso chewing. The worst part is watching one of the raptors use a giant toenail to puncture the spine of a minor character played by Michael Jeter -- hes too fine an actor to meet such a ignominious end. Another saving grace of ^v^Jurassic Park III^v^ is that it captures some of the wonder from the first picture. Director Joe Johnston (^v^Honey, I Shrunk the Kids,^v^^v^Jumanji^v^) is much more

low-key than his predecessor Steven Spielberg, who directed the first two pictures in the series. Thankfully, hes out to set us rambling and bumping on a scary-funny amusement park ride; he doesnt hammer on the whiskery old theme of man-playing-God, nor does he seem to take much pleasure in the requisite bloody chomping, even though he of course has to include some of it. And he offers us one extraordinary panorama that looks as if it had been lifted straight out of those softly colored educational picture books of the 50s and 60s, a group of peaceful

vegetarian apatosauruses against a purply pink Maxfield Parrish sky on the banks of a canal, chomping placidly on the plants they so love to eat. Dr. Grant and his group view the scene as they pass by it on a barge, and Neill plays the moment perfectly, like a man deep in love. Its as if a sight like this could make up for any number of dreadful dinosaur encounters.

The other actors here are just as game. As Eric, a kid whos been stranded on the island, Trevor Morgan shows the kind of appealing resourcefulness thats always fun for kids to watch. Macy is more than serviceable in a throwaway role: He manages to give his cowardly-lion character a great deal of charm and comic texture. Leoni does the best she can with her

character, but theres not much to work with: She doesnt get a chance to use her best gift, a flair for snappy, screwball-comedy timing that sparkled in her short-lived TV show ^v^The Naked Truth.^v^

Even so, Payne, Buchman and Taylor give us plenty of little things to laugh at along the way: Dr. Grant and Eric have a pleasingly tossed-off exchange as Grant incredulously holds up a bottle of T. Rex pee that Eric has collected. ^v^How did you get this?^v^ he demands. ^v^You dont wanna know,^v^ Eric deadpans ruefully. There are a few moments in the picture that are streaked with a sense of terror, scenes where you think the absolute worst is going to happen. But it never quite does. Theres a surprisingly delicate touch at work in ^v^Jurassic Park III,^v^ and the movie is marbled through with strands of acerbic wit. You might think that a filmmakers going to that much trouble in a ^v^Jurassic Park^v^ picture is like casting pearls before swine. What chance do pearls have under the feet of prehistoric giants? Miraculously, they survive the trampling intact, and theyre what you remember long after the last mighty footstep resonates.

英文影评范文精选15篇

篇一:影评写作格式

影评的格式和范文

模式一:单角度评析

题目:主标题

——副标题(主题思想、人物形象或者艺术手法)

第一段:电影风格(30字)+电影梗概(150字)+中心论点(20字)

第二段:分论点一

第三段:分论点二

第四段:总结(升华主题,并联系现实,提出个人思考)

模式二:多角度评析

题目:主标题

——副标题(不用提出角度,只需要点出评什么电影就可以了)

第一段:电影风格(30字)+电影梗概(150字)

第二段:评主题思想(看不出准确的主题思想,可以用感受来代替,但一定要结 合电影情节,不要写成纯观后感)

第三段:评人物形象(可以评一个,也可以评多个)

第四段:评艺术手法(镜头、音乐、台词、画面、色彩等等)

第五段:总结,提出一个总体的评价(弥补开始第一段的中心论点缺失)

模式三:散评式

题目:主标题

——副标题

也可以只用一个题目:比如说“评电影《花火》”

全文自由分段,想到哪儿写到哪儿,可以评价电影的任何一个部分或细节。

注意不要写成观后感,也不要写成电影简介,要注意“叙”“析”“评”相结合。篇二:影评范文

影评范文:(共五篇)

她是“法国中尉的女人”

——《法国中尉的女人》影评

在维多利亚时代,影像中的影像,她——萨拉,是“法国中尉的女人”。杂乱而干枯的头发,消瘦的锁骨,萨拉的出场足以让人跌破眼镜。繁忙的市场,波光粼粼的海,这样一个不修边幅的女人迎着呼啸海风,走向延伸到远方的海堤。初到林城的考古学家查尔斯就这样鬼使神差地被它吸引,放下娇美的未婚妻毅然冲了过去。水雾弥漫中,萨拉转身,查尔斯立定,画面定格,一瞬间的眼神交汇,不知从何而来的金光照亮了萨拉苍白的脸颊。电影史上最浪漫的一见钟情!阳光下的森林,浓郁的绿,闪烁的点点金黄,而人的再次相遇只是一场追逐的游戏。纵然是心中相爱,萨拉这样一个倔强的女子还是可悲的骄傲着。当他为生活所迫而拜访恶语相向想象的普太太,看似顺从,然则眼中尽是孤傲。孤傲,是孤独和骄傲,是在黑暗的房中抱着镜子做自画像,是她自暴自弃地说,“我和羞耻结合,羞耻让我活下去!我是法国中尉的^v^。”

但她更是一个因孤独而渴望爱的凡是女子。所以当她回忆那个带来羞辱的男人时,眼中人闪着爱的光芒。“他很俊俏,他赞美我美!”她嘴角含笑,温柔的抚摸着头、脸,沉浸在回忆中。因为爱,她不惜撒谎说自己已失身,以博取查尔斯的同情。因为爱,她会在孤立无援时求助查尔斯,却在查尔斯到来时徘徊与不安。因为爱,她与查尔斯在林中小屋情不自禁的拥吻,会心甘情愿地在伦敦小店与查尔斯结合。也因为爱,她扔下一句“是你给了我活下去的理由”,仍下决心一定的查尔斯,远走他乡。三年后,当查尔斯在一方宁静的村庄再见她时,已不见

影评范文精选300字幕13

“木月照旧17岁,直子仍然21岁,直到永远。”镜头切换黑场,Beatles的歌声响起,青春过去。村上春树写《挪威的森林》是37岁那年,在飞机上,想念那片北方的森林。

的某个深秋,我看了基耶斯洛夫斯基的《双生花》,如同洞悉了我们身体深处的永恒孤独一般,我得已在华沙的这个美丽女子身上确认一种哲学的悖论,之后,我对于自己一再抱有的际遇中悲观开始释然。

人生不过如此,再过三十年也只是为了印证错过与相守的殊途同归,终究只一个人形影相吊罢了。每个人都独自行走在枝藤缠绕的森林中,貌合神离,你与我隔着树相遇,对视良久,然后转身各自走向疏离。“随着四季更迭,那些逝去的生命也会离我越来越远。”《挪威的森林》是你我青春的枯萎华章,纯净而决然。

直子和薇若妮卡有很多的相似,譬如她们本身就是欲和爱的隐喻,譬如她们的纯净和透明。直子对性与爱是疑惑的,正是这份疑惑直到她生命结束也未曾解开。她对爱的理解和接纳始终停留在17岁。在直子的生命里,爱是一个三岁就开始的透明物体。从三岁到十七岁,她一直和木月相爱着,像张艾嘉的那碗粥的男孩,像歌曲《小小》中“为戏入迷我也一路跟”的女孩。

十多年来,直子已经习惯了木月的拥抱,木月的味道,没有了木月,直子就不知道存在这个世界的理由。这也是一对双生花。但明知自己深爱木月的直子却没法给木月性的愉悦,或者说纯净到没有任何欲望。这或许是作为男人的木月无法释怀的深深绝望,最终选择了自杀。

木月的告别给直子带来了无尽的灰霾,也让他们的好朋友渡边痛苦地离开。

三年后,直子找到了渡边,两个人总在荒芜的街道上匆忙地走着,不说什么话。直子20岁生日那天,竟对只有依赖感的渡边产生了性的渴求。他们完成了各自的成人礼。然而,直子却因此被自己无法遏制的性欲彻底粉碎,深埋了二十年的秘密以这样的方式揭晓,令自己感到痛苦。她无法排解自己对爱与欲的选择,开始审问这个悖论。她离开渡边,去了森林疗养院。两人于是开始了漫长的等待。

在《双生花》中,薇若妮卡的孤独是一种与生俱来的神性追问,她不断在人群中寻找,以求得自己灵魂的契合者。她对于性的尝试或许更多只是一种求解,但快感也无法排遣孤独,对话,似乎存在于渺不可及的宇宙深处,最终,她在艺术中求得片刻的安宁。

直子和薇若妮卡同时还给我们带来了一份关于性爱与死亡的孪生命题。当直子终于在最后向渡边倾诉了关于木月的那份爱意之后,渡边也发觉自己更可能只是木月的影子。即使到最后,直子呼唤的仍然是木月的名字。直子迷离的身影在森林中穿梭,她甚至怀着对重返城市人群的恐惧。她无法面对渡边,她更无法在面对渡边的同时还必须面对木月的灵魂,因为性让她愧疚于对木月的爱。这个女孩最终打碎了自己的水晶,在森林中永久迷失。死亡,是她唯一的出路。人群对她的压力并不是来自于陌生,而是来自于喧哗的孤独。她无法想象和接受渡边在城市的生活,渡边普通到仅仅只是给予她一份安全罢了,他只是和我们一样,会思念也会寻花问柳,会痛苦也会转瞬忘却。相比之现世的绿子来说,渡边更适合她。当然,春树似乎告诉我们,这等于宣判青春的终结。

20岁过后,不能再长大。直子是青春的一个符号,无限靠近美好,无限接近死亡。巴黎的薇若妮卡在性爱中看到了自己的死亡,这并非是快感,而是一种生命无法填补孤独的巨大恐惧。青春与死亡的接近,在文艺作品中可谓不胜枚举。我的理解这并不是年少的不谙世事,恰恰是最本真的过渡。我们顺利地跨过了那道坎,所谓长大,也就是瞬间老去。我们活着,却早已在青春结束时宣告了死亡的来临,之后行尸走肉的几十年,还是我们自己吗?正如渡边的电话那头问自己的:“我在哪里呢?”后来的人生,是我们替别人活着,为着一种所谓的责任。

挪威的森林是人群的森林,我们是其中迷路的小孩。村上春树将一个巨大的隐喻埋藏在里面,却将一堆现实的符号展现在我们面前。也许电影很难再现书中弥漫的祭奠伤感,但是,这一回,电影的描述没有令我失望。很多次,他将镜头对准了无尽的草地、阴郁的山峦、苍茫的白雪,还有迷宫的森林,这一切都很准确地把握住了那份神经质的脉动。他没有使用之前《三轮车夫》中的逼近现实,也没有《夏天的味道》中的优雅舒缓。他影像中近景、前景、远景中漫布植物的绿,满盈盈的,风一吹,似乎都有跳跃的舒缓爵士音调。那些东方女子在精心构思的画面里缓缓地走过,时光的印痕特别清晰。这种格调,在《挪威的森林》转化成怀旧和追忆。即使很多对原著抱着偏执热爱的春树迷一再地声称电影打破了他们对直子的幻想,但影像确实很忠实地将那份若直子一般的气质表达了出来。

看完电影,你是否还会无言的难过?是否还会无端地感伤?是否还会莫名的孤独?是的,想一想,难过、感伤、孤独时像极了十七岁的那个雨夜,悲伤直抵苍穹。然而,我们拿什么找回我们的青春?

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