豆瓣英文電影

『壹』 英文電影中文影評

無論你喜歡變形金剛與否，今年最大的娛樂大片，非此莫屬。觀乎電影現在的規模，電腦特效、數碼3D、IMAX等等，已是傾全力來吸引觀眾入場，話題性（炸毀香港！）十足，兼且連場動作至超長的157分鍾，無論觀眾喜歡與否，都難以拒絕。這開場白，我已用了兩趟「無論喜歡與否」了，你就明白我喜歡與否了。
故事的內容似通非通，狂派博派的恩恩怨怨搞到糊里糊塗，火花抓狂而四處搗亂，還有無厘頭的父女准女婿情，全球走景，由美國德州走到長城、重慶而南下香港，噱頭處處，還有多得連性格都無時間刻劃的狂派、博派和A貨狂派殺手。最後還要泡製近乎世界末日式大戰，回外太空尋找造物主雲雲。
邁克爾·貝確是匠心獨運，他明白到娛樂大片的唯一生存法則：斗大，大得你無法反駁，大得你無暇兼顧，大得無論多突兀都變成順理成章。
這戲開始自狂派與博派展開黑月之戰後，芝加哥幾乎被夷為平地，汽車工程師Cade（馬克·沃爾伯格飾）無意中找到柯柏文開始，便跟少艾十七歲女兒Tessa（妮可拉·佩爾茨飾）一直不咬弦，直至戲的終結才迷途知返，明白老爹愛之偉大。這已是全部人物線索，剩下的連場火爆動作，不明所以地來到東南亞。
馬克·沃爾伯格的角色設定，是單親爸爸兼具工程專業知識，兼且一窮二白，鬱郁不得志，靠輔助變形金剛打怪物，重振父親的威信。這設計無疑針對較成熟的男性觀眾，比前三集舒拉保夫主演的青春片定位「成熟」了，但不代表人生智慧隨年漸長。倒是，它是不折不扣的動作片，馬克·沃爾伯格的扎實動作男星形像大派用場，而更重要是，戲的首三分一，全是以美國西部為背景，它的西部片意圖便昭然若揭了（包括整了含著雪茄，身上纏滿彈葯的博派機械人），它讓人想起《豪勇七蛟龍》（馬克·沃爾伯格父女和准女婿三人，再加四個博派），顯見下過心思。
其他的電影參考，還有如《末來戰士》的殲滅者機械人，他是本集的頭號大敵，與人類聯手，將博派置諸死地，燦爛、奪目、有型。可惜，他跟其他機械人的連場惡斗，都不能增加觀眾都這三方面機械人的認知。
值得留意是，邁克爾·貝愈來愈擅長引入小點子：具磁力的太空船、蟄伏多年的外星恐龍、令人變為金屬的大殺傷力武器等等，但就無視它們的全無連貫性，意念雖多卻未曾細致統一，有時更有應接不暇自相矛盾之嘆。
它是典型21世紀的爆谷電影，總之目不暇給，熱鬧繽紛就算。長期攝取這種爆谷電影，觀眾會慢慢被訓練，不求甚解地接受它的零碎、矛盾、辭不達意、過度活躍、節奏狂亂、戲味平淡、人物浮誇、特效獨大等等…吃爆谷太多，變成超重一族，要抽脂減重恐怕代價高昂了！當壞品味凌駕一切，長年累月，它要殲滅的，其實是電影這創意媒體本身，還有空間讓尊重觀眾智慧的電影出現嗎？
說到底，《變形金剛4》是計算精確的大生意，朝著全球人口最多、最大巿場進發，香港只是眾多中國城巿的showcase，香港取景部分：鰂魚涌、深水埗、中銀總行、會議展覽中心、政總等等，炸毀她，正好讓內地觀眾發泄一下對香港這城巿的復雜情緒。觀眾的期望和反應是預計之內，沒有失望，亦不見得特別精采，這就是邁克爾·貝的功力，觀眾愈捧場，票房創新高，這種變形金剛殲滅戰，以後仍會不斷上演。

上www.yp136.com包你滿意。
求採納。

『貳』 適合寫影評的英文電影（推薦5個吧）

推薦電影復仇者聯盟，和恐怖電影死神來了，都是大片，最近有一部電影也很不錯，推薦你看，名叫無名之輩，好看的不得了。
該片圍繞一把丟失的老槍，講述了一對低配版的劫匪，一個落魄的保安，一個身體殘疾卻性格彪悍的毒舌女，這些「無名之輩」身上發生的一系列荒誕故事。
總之是一部優秀電影。

『叄』 介紹幾個關於電影的英文網站像豆瓣一樣的

不用幾個，一個IMDB就夠：
http://us.imdb.com/

『肆』 求經典外國電影影評---要英文版本的

珍珠港的影評

pearl harbour film review

Pearl Harbor consists of three incongruous acts, mashed together into an ungainly whole. It appears to be more interested in reprocing the success of Titanic, which also set a fictional love story amidst a tragic historical event, than it is in telling the story of the men and women who fought and died in the attack on Pearl Harbor.
Titanic worked because the central characters were interesting, the story was cohesive, the historical events were handled respectfully and with the proper dramatic tone, and underneath it all was an intelligent reflection on the human failings that permitted such a tragedy in the first place.

Pearl Harbor reces the historical backdrop into a series of action set pieces. Instead of exploring ideas inherent in the events, it extracts them, recing the reason for Japan's attack to something inexplicable at best, and having utterly nothing to say about why the attack happened, how it was carried out, or how we responded. The film is dedicated to the men who died at Pearl Harbor, but what does it dedicate to them? It does not seem very interested in them except as a tool for dramatic imagery. Consider, for example, a scene in which we learn that men are trapped in a sunken ship in the harbor. We learn this to emphasize the brutality of the attack, as if such emphasis were needed. Then the film forgets this point entirely, providing the fates of those men in a narrated line just before the closing credits. Why wasn't the third act of the film about those men, instead of a rushed covering of the Doolittle raid on Tokyo, complete with overblown crash landings and an improbable engagement with Japanese soldiers?

If you want to see a real movie about Pearl Harbor or the Doolittle Raid, one that paints a deep and accurate picture of what it was like, one you can learn from, one that pays tribute to our veterans, or even just one that functions as convincing entertainment, there is no shortage of options. Tora! Tora! Tora! chronicles the events before, ring, and after the attack from both the American and Japanese sides. Thirty Seconds Over Tokyo is as thorough a chronicle of the Doolittle Raid as is probably possible in a feature film, while also following the personal stories of a few indivials involved (any one of which is more interesting than the personal story in Pearl Harbor). The Purple Heart, one of the most heartbreaking movies I've ever seen, tells the story of Americans captured by the Japanese after the raid.

Writing off the historical aspects of the film, I am left with the love triangle that makes up the entire first act and pervades the rest of it. It is wholly uninteresting. This same story has been told better, countless times before. Not one of the three characters is fleshed out into an indivial: they are bland stereotypes, dolled up to look pretty and given trite lines that they recite to convey the illusion of genuine emotion. It's telling that it doesn't much matter to us how the love triangle is resolved. Unless they both die, she'll get one of them, and who cares which? Neither of the men are personable, and we surely suspect early on that her decision will be based more on fate than her own volition anyway. (In plots like this, it's survival of the survivors.) And so, alas, we are denied even the most basic of all elements of storytelling, namely, characters making actual decisions

『伍』 英文電影影評

Julie & Julia is a 2009 American comedy-drama film written and directed by Nora Ephron starring Meryl Streep, Stanley Tucci, Amy Adams, and Chris Messina. The film contrasts the life of chef Julia Child in the early years of her culinary career with the life of young New Yorker Julie Powell, who aspires to cook all 524 recipes in Child's cookbook in 365 days, a challenge she described on her popular blog that would make her a published author.

Ephron's screenplay is adapted from two books: My Life in France, Child's autobiography written with Alex Prud'homme, and a memoir by Julie Powell documenting online her daily experiences cooking each of the 524 recipes in Child's Mastering the Art of French Cooking, and she later began reworking that blog, The Julie/Julia Project。 Both of these books were written and published in the same time frame (2004–06). The film is the first major motion picture based on a blog。這是我最喜歡的一部電影之一，我在維基網路上找的資料，你根據那裡的資料改一改，至於觀點，你可以寫堅持自己的興趣和愛好這一方面，寫興趣是最好的老師什麼的，給你個鏈接

『陸』 推薦幾部容易寫英文影評的近期英文電影

《阿甘正傳》——湯姆漢克斯

《我是傳奇》——威爾史密斯

《當幸福來敲門》——威爾史密斯

我只推薦三個最好的，多了就不精了，

『柒』 求2部英文電影的英文影評！！

這個殺手不太冷

Luc Besson got the idea of doing this movie while working on his previous movie, Nikita (1990). In that film's third act, Victor the Cleaner (Jean Reno) appears to clean up the mess of Nikita's mission gone wrong. Realizing the potential of the character was underused in that movie, he decided to bring up a story that exploits the full characteristics of a "cleaner". A common element between Victor and Leon is that both men appears in the form of a long wool coat, sunglasses and a cap. Coincidentally, the film's original title was called 『The Cleaner』. 
呂克·貝松在拍攝他的上一部電影《尼基塔》（Nikita）時就想要製作本片了。在那部電影的第三個鏡頭，清潔工維克多（讓·雷諾）清掃尼基塔的垃圾時出了問題。導演意識到在《尼基塔》這部電影里，這個清潔工角色的性格特點並沒有得到充分的發揮，所以他決定另外寫一個故事，充分挖掘出這個清潔工的性格特點來。在維克多和萊昂之間有一個很平常的共同點，那就是這兩個人都穿著長款羊毛外套，戴著墨鏡和帽子。本片起初被命名為《清潔工》。

====================================================

魔戒

Facts and numbers about the trilogy: Over 6 million feet of film shot ring proction; 48,000 swords, axes, shields, and makeup prosthetics; 20,602 background actors cast; 19,000 costumes made by the wardrobe department; 10,000 crowd participants at New Zealand cricket game who made orc army grunts; 2,400 behind-the-scenes crew members at height of proction; 1,600 pairs or prosthetic hobbit feet created; 250 horses used in one scene; 180 computer special-effects artists employed; 114 total speaking roles; 100 real locations in New Zealand used for backdrops; 50 tailors, cobblers, designers and others in wardrobe department; 30 actors trained to speak fictional dialects and languages; 7 total years of development for all three movies.
有關三部曲的一些數字：用了6百萬英尺以上的膠片；劍、斧頭、盾牌以及化妝用假體共用48000個；20602名臨時演員；服裝部門做了19000套戲服；紐西蘭1萬名群眾幫忙錄制了半獸人震天動地的聲音；高峰時期劇組有2400名幕後工作者；做了1600對哈比人的假腳；一個場景中用250匹馬；僱用了180名計算機特效藝術師；總共有114名說話的角色；用到了紐西蘭100處場所；服裝部門的裁縫、鞋匠、設計師以及其他人員共50人；訓練30個演員說方言以及其他語言；三部曲的完成總共花了7年時間。

『捌』 知道中文名如何在豆瓣找電影英文名

豆瓣里直接搜索中文名稱也可以，或是網路中找到這部電影，復制裡面的英文名到豆瓣

望採納

『玖』 ！！！！急求英語電影的英語影評

簡愛
Kent
State
University's
school
of
theatre
and
dance
performed
a
rendition
of
the
classic,
Jane
Eyre
this
month.
The
show
was
a
musical
with
all
of
the
necessary
elements
to
lift
you
from
your
seat
and
submerse
youinto
a
society
in
nineteenth
century
England
from
the
time
the
cell
phone
shut-off
announcement
was
made
until
the
last
note
at
the
curtain
call.
The
recurring
arches,
darkened,
soft
lighting,
and
the
use
of
a
classic
chorus
to
go
along
with
them
alluded
that
a
sinister
underbelly
of
social
status
and
reputation
were
present
in
the
performance.
One
of
the
first
things
that
an
audience
member
noticed
was
the
grandeur
of
the
set.
It
was
composed
of
a
gothic-style
foreground
with
rustic
twigs
of
a
root-like
earthy
appearance.
There
were
grand
arches
for
windows
and
entries
as
well.
Also,
the
background
was
a
large
arch
with
the
silhouette
of
roots.
There
were
also
two
matching
greek-style
pillar
arches
on
either
side
of
the
stage.
They
added
a
lot
to
many
messages
of
the
show.
For
one,
they
were
grand
structures
that
were
barren
inside
which
is
much
like
Mr.
Rochester
himself.
He
was
a
man
of
high
social
stature
but
felt
enslaved
by
his
trick
of
a
marriage
and
his
grand
yet
incomplete
(without
a
true
love)
home.
The
arches
also
suggest
the
importance
of
reputation
with
the
same
sort
of
fundamental
grand
image
yet
emptiness.
The
way
that
people
are
enslaved
yet
scramble
to
ascertain
that
solid
image
amongst
their
peers.
The
arches
were
almost
inviting
the
audience
to
come
inside
to
reveal
their
secret,
the
thing
that
was
hidden
deep
inside
that
could
send
the
structure
crumbling
in
ruin.

『拾』 如何在豆瓣上找電影的英文名

豆瓣電影介紹 片長 下面一行 「又名」：都有英文名
例如 導演: Baran bo Odar
編劇: Jantje Friese / Baran bo Odar
主演: 湯姆·希林 / 埃利亞斯·穆巴里克 / 沃坦·維爾克·默林
類型: 驚悚
製片國家/地區: 德國
語言: 德語
上映日期: 2014-09-25
片長: 105分鍾
又名: Who Am I - No System Is Safe