北美新片影评转贴（英文为主）vivid剧情新片 超人

>打印[谈电影] 北美新片影评转贴(英文为主)marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友楼主大中小发表于 2003-9-23 09:52只看该作者北美新片影评转贴(英文为主)没时间写什么长东西——但还经常看些影评。有时候觉得蛮有意思的,于是决定贴过来示众。鉴于看的是英文网站,不能给大家翻译过来,所以一些网友阅读起来可能会有些困难。不过这倒是是很好的练英语机会啦。不知道这个帖子能否成个系列,现在先做着看看吧～～～毕竟现在人气险些为零了,作为斑竹,不管个人因素,还是该发些东西的。本次发的是上周新映影片《underworld》,吸血鬼题材,周末票房冠军。不过内容是很烂俗的,狼人和吸血鬼版的罗米欧与朱丽叶,呵呵,没啥看头。不过影评还是蛮有意思的,值得一看。一个来自the ner york times,评价还算公正吧(因为是贬多于褒,所以更容易得出这样结论),看不出有啥枪手成分。偶也看过toronto star的影评,骂的乌烟瘴气,很有意思,也转过来了(偶看的是报纸,不过也找到了电子版)。别的转贴woody allen新片anything else,来自the ner york times。偶很想看这片子,对woody allen有不小期待。vampires dull as death——————underworld(from toronto star)http://www.thestar.com/nasapp/cs/contentserver?pagename=thestar/layout/article_type1&call_pageid=971358637177&c=article&cid=1063923014501peter howellmovie criticstarring kate beckinsale, scott speedman, bill nighy, michael sheen and shane brolly. directed by len wisan. at major theatres. 18a--------------------------------------------------------------------------------what strange creatures are the vampires of underworld.they take sexy hot showers, dress all in leather, drive around in cars, use cellphones and wave pistols like mexican banditos hopped up on peyote.when they gather in their "covens" - and aren't those just for witches? - they toast each other with crystal glasses of a rose liquid that looks suspiciously like mateus.whatever happened to flying around like bats and guzzling fresh blood out of goblets, or simply straight from the source?this may be what happens when you turn a genre movie over to a production designer and playstation huckster, len wisan, who ses vastly more concerned with making a fashion statent than scaring the bejesus out of us. are we supposed to flee from these bloodsuckers, or invite th on to the yacht?inspiration ses to have been in shorter supply than band-aids in transylvania, starting with the obvious matrix rip for the leather bondage duds. proceed from there to the romeo + juliet rake of what passes for a plot, wherein vampire hottie selene (kate beckinsale) falls for studly werewolf michael (scott speedman) and their two warring tribes just can't get over it.the vamps and the wolves (or lycans, as they call thselves) have been feuding for centuries, see, running around in subway tunnels and drafty castles like it's halloween a-go-go. when the picture starts, the vamps are winning.they've managed to beat back lycan leader lucian (michael sheen), who looks as if he walked out of an early metallica video and whose minions have learned how to fashion daylight into bullets.vampire boss viktor (bill nighy) has retired to his crypt for 500 years or so, leaving behind his ambitious successor kraven (shane brolly), who is carrying a torch for selene. there's another vampire leader on ice, too, in accordance with the vamp credo of "one ruling, two asleep" - which i think is also the official policy of the liberal party of canada.the idea of a war between vampires and werewolves is actually pretty cool, if any of these fashion statents could actually rouse thselves to engage in serious battle. beckinsale is sexy in her victoria's secret vampwear, but her character has neither a sense of humour nor an ounce of passion. it's even worse for speedman, a human who gets caught up into the frenzy, like stolid brad visiting the rocky horror mansion, and finds himself turning into a werewolf, part of a devious lycan plot.a plot that unfolds way too slowly, as does the rousing of viktor from the crypt when the vamps vs. wolves feud heats up again. if it took bela lugosi as long to get out of his coffin as it does bill nighy, dracula would have been a miniseries.and speaking of series, that's the single worst thing about underworld. it's abundantly obvious that this is meant to be part one of a matrix-style movie franchise, and further cross-species minglings and manglings to come. but what's the point of promising a new edition of a fashion line when the original one is so deathly dull?movie review | underworld(from the new york times)gunplay and black leather in a war between monstersby anita gateshttp://movies2.nytimes.com/2003/09/19/movies/19unde.htmlvampires and werewolves are, for some reason, at war. some, including the vampire warrior selene (kate beckinsale, impersonating lara flynn boyle), are wearing long black leather coats like keanu reeves's in "the matrix".you'd expect a lot more neck-piercing, blood-sucking and general mauling, but instead the combatants se to enjoy doing choreographed battle with big, boxy siautomatic weapons in both hands.the vampires live in dark gothic splendor, in a house they refer to as the mansion, which looks like an edwardian gentlen's club set up for one of those group photos in vanity fair. this film does have some visual style, sometimes a little too much. the director of photography is tony pierce-roberts, who was the cinatographer for "howards end" and other merchant-ivory beauties.otherwise, len wisan's "underworld" which opens nationwide today, achieves only loudness, aggressive confusion and one of the silliest head-splittings in film history. or at least since anthony hopkins, as hannibal lecter, enjoyed dinner from ray liotta's skull. you can't say that danny mcbride's script is laden with cliche. the dialogue ("we have much to discuss"; "mark my words: soon you'll be seeing things my way.") isn't that purposeful; it's just stiff.clearly, mr. wisan is in love with ms. beckinsale, who benefits from countless, glamour-lighted 关了-ups. on the other hand, her co-star, scott speedman,known to television fans as ben, the hunky college boy in the wb series "felicity" is not given nearly enough time to look cute for the camera. he's too busy being attacked, tortured and hunted down. mr. speedman's character, michael corvin, is a young doctor (well, intern) who doesn't know he's descended from a family that has both vampire and lycan (werewolf) blood. a lot of creatures are worried about just how powerful that combination can be, so maybe the film is a political statent on intermarriage.and just a thought: if you're going to tell a tale of a normal human abducted by monsters and drawn into a horrific new world, maybe you'd want to tell a little more of it from the human's point of view?"underworld"is rated r (under 17 requires accompanying parent or adult guardian) for almost nonstop violence, 关了-up gore and language.directed by len wisanrated r, 121 minutesmovie review |"anything else"(from the new york times)woody allen as life coachby a. o. scotthttp://movies2.nytimes.com/2003/09/19/movies/19else.htmlin his last movie, "hollywood ending," woody allen played a film director who had gone blind. not a bad joke, except that it seed to represent a case of what psychoanalysts might call displacent. mr. allen's recent movies, after all, look just fine, full of the usual gorgeous manhattan light (courtesy of cinatographers like zhao fei) and warm, well-appointed interiors (thanks to the efforts of mr. allen's longtime production designer, santo loquasto). no, the probl with "hollywood ending," as with "small time crooks" and especially "the curse of the jade scorpion," was that the screenwriter (mr. allen, of course) was going deaf. his ear for the idioms of new york speech had faltered gravely, and the timing and concision of his jokes seed terminally off.while he may not be altogether cured, mr. allen is at least convalescing. "anything else," his tart new antiromantic comedy, which opens today nationwide, is small-scale and loose. it feels oddly long for a woody allen picture, but its relaxed, casual air gives the humor room to breathe, and a gratifyingly high proportion of the piled-up one-liners actually raise a laugh. "funny is money," says danny devito, who plays a desperate talent manager with a questionable talent for managent, and "anything else," while no great bargain, is funny enough that your own dollars will not be wasted.it helps that mr. allen, whom i am alarmed to find looking more like my late grandfather every time i see him, has declined to cast himself as the romantic lead. that role, also known as the woody allen surrogate, belongs to jason biggs, the amiable star of the recently consummated "american pie" trilogy and other young adult entertainments like "loser" and "saving silverman." mr. biggs plays jerry falk, a young comedy writer with the expected array of probls: an uncommunicative therapist (william hill), the aforentioned manager and, above all, a spectacularly difficult girlfriend, amanda, played with feral, neurotic glee by christina ricci.on paper, amanda ?dishonest, unfaithful, manipulative, undermining and so on ?might look like the figment of a sour, misogynistic imagination. but ms. ricci, backed up by stockard channing, who plays amanda's wayward mother, turns her into a full-blooded comic monster. you can see why jerry is so helplessly smitten with her, and not only when she stalks around their apartment in her underwear. her reckless spontaneity and crazy otional rhythms knock him out of his rut of responsibility and make him feel reassuringly sane.the two of th also, less convincingly, share certain cultural passions and opinions; their riffs on billie holiday and dostoyevsky sound spliced in from an old print of "manhattan." but at least mr. allen has found the wit to portray younger new yorkers with something other than contptuous indifference.in any case, as so often happens, jerry and amanda's relationship has gone terribly awry; it's not so much a dead shark, to steal a line from "annie hall," mr. allen's greatest breakup comedy, as one intent on devouring everything in its path. but poor jerry is stuck: his defining neurosis is an inability to cut the ties that bind and gag him, which is why he needs an alter ego of his own, a father confessor and mentor to guide him toward a mature, responsible and fulfilling life.which sounds like a job for . . . woody allen? the director yammers and flails onto the screen in the role of david dobel, an older comedy writer who takes jerry under his skinny, perpetually flapping wing. the wonderful thing about dobel is that he is both an extension of earlier characters mr. allen has played and a rebuke to much of what they stood for. "do you know anything about psychoanalysis?" jerry earnestly asks him, and the line gets an immediate laugh. who does he think he's talking to? but it turns out that dobel has no use for freud, preferring the wisdom of henny youngman and other traditional jewish sages.dobel works as a schoolteacher and favors big words like hebetudinous and tergiversation, but one of his defining traits is a gruff, finger-in-the-chest anti-intellectualism. another is raging paranoia, most of it focused on the omnipresent specter of anti-sitism. but whereas earlier characters might have expressed this state of mind through cringing and self-pity, dobel, though nuts, is also tough minded, pragmatic and vengeful. he persuades jerry to buy a gun, and ?in a scene woody allen fans have been waiting 30 years to savor, whether we knew it or not ?takes a crowbar to the car of a pair of enormous bullies who have stolen his parking space.though manhattan (shot this time by darius khondji) is as lovely, and as loved, as ever ?especially central park, which gives off an easy glow of enchantment in the background ?"anything else" views the city as a land of traps and snares. dobel, intervening on his young friend's behalf, nudges jerry toward a future in los angeles, where a nice television job is waiting. in "annie hall," of course, california was a new york writer's worst nightmare, a land of endless vacuousness, without the friction and frenzy that make life interesting. (in "hollywood ending" it was the land of smooth talk and big money.)this time, though, the golden west hovers as an attractive alternative, an escape from the enervating habits and connections that already, in his early 20's, threaten jerry's sense of balance. the moral of this odd, diverting fable may not be all that shocking, unless of course, you consider the source. what solutions does mr. allen, in his aging wisdom, offer his young hero? dump your girlfriend, fire your agent, buy a gun and ?perhaps above all ?terminate your analysis. done.无奈下只好偷懒的偶,如今似乎有抢英语学习版面的动机了。[该贴被 版主marinetree 修改于 2003-9-23 10:17:55]1个相册,分享到新浪微博分享到qq微博分享到qq空间分享到每人网帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]澳新留学生促销特惠价olimpia二星准爵-->精华1 积分1950 学识691威望156看资料发短信踩空间加好友2楼大中小发表于 2003-9-30 18:11只看该作者english study??there are so many chinese in dublin,my classmate almost all are chinese,there are 10person live in a big house ,beside me all are come from dongbei,terrible,isn`t it.i even can`t feel i am in abroad!!!i didnt see any new films,just some soaps:(帖子390 阅读职权范围10 在线时间0 小时 注册时间2003-1-3 最后登录2006-5-4查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友3楼大中小发表于 2003-10-1 00:44只看该作者[回应 olimpia:3005309]见到亲人啦～～～基本都这样,呵呵,红旗插遍全世界哩～～～。偶现在看不到好的影评,所以看英文的了。帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友4楼大中小发表于 2003-10-16 00:40只看该作者kill bill的影评,从toronto star, ny times上摘录。http://movies2.nytimes.com/200...10/movies/10kill.htmlmovie review | 'kill bill: vol. 1'blood bath & beyondby a. o. scottpublished: october 10, 2003with its relentless bloodshed and scrambled, inconclusive narrative, quentin tarantino's long-awaited fourth feature, "kill bill: vol. 1," is certain to provoke both awe and revulsion. the film's detractors and its fans are likely to agree, however, that the movie, a densely referential pastiche of b-movie attitudes and situations, is above all an exercise in style.in parts of "pulp fiction" (1994) and in his last picture, "jackie brown" (1997), mr. tarantino seed to be using the action-exploitation formulas of which he is so enamored as stepping stones toward an exploration of plausible characters and authentic otions. now, it ses, his interests have swung in the opposite direction, and he has immersed himself, his characters and his audience in a highly artificial world, a looking-glass universe that reflects nothing beyond his own cinatic obsessions.how much you like "kill bill," a two-part revenge epic, the first volume of which opens nationwide today, will probably depend on the extent to which you share those obsessions, on how much of a taste you have for the synthetic fusion cuisine that the director has cooked up. there are some and diverse flavors, as well as vivid colors in the mix, all of th deftly reflected in the hip-hop artist rza's clever, eclectic score. mr. tarantino samples the lurid hues of spaghetti westerns, the deep-fried funk of 70's blaxploitation, and above all the graceful and kinetic mayh of asian action movies, from hong kong-style martial arts to samurai swordplay to hard-boiled gangster anime.i should probably confess here that mr. tarantino's knowledge of these genres, to say nothing of his appetite for th, far surpasses my own (and i'd guess, just about everybody else's as well). but while being so relentlessly exposed to a filmmaker's idiosyncratic turn-ons can be tedious and off-putting, the undeniable passion that drives "kill bill" is fascinating, even, strange to say it, endearing. mr. tarantino is an irrepressible showoff, recklessly flaunting his formal skills as a choreographer of high-concept violence, but he is also an unabashed cinephile, and the sincerity of his enthusiasm gives this messy, uneven spectacle an odd, feverish integrity.old movies are not the sole focus of his obsession. the most vivid otional connection in "kill bill" does not take place between any of the characters, but between the director and his star, uma thurman. mr. tarantino has referred to ms. thurman as "my actress," and as marlene dietrich to his josef von sternberg. accordingly, much of the perverse energy of "kill bill" arises from his near-maniacal fascination with her. she is at once his idol, his alter-ego, his dream lover and his muse, the way anna karina was for jean-luc godard in the early 1960's.mr. tarantino shoots the elliptical curves of ms. thurman's face in extre 关了-up, his wide shots phasize her tall, willowy frame, and at one point the camera lingers on her long, strangely shaped toes for what ses like an entire reel. a title at the end informs us that the movie is "based on the bride, a character created by q and u" — as in quentin and uma. in the movie, the two of th, one in front of the camera and one behind it, se as inseparable as those two codependant letters.it must be said that this infatuation takes some disturbing forms. the opening shot, in black-and-white, lingers on ms. thurman's bloody, beaten face. her character, known by various aliases (her real name, for reasons that may become clear in volume 2, is bleeped out whenever it is uttered), is attacked on her wedding day and left for dead by a team of assassins called the deadly viper assassination squad (or divas). they have been hired by bill (david carradine, whose face is never shown), who was once the bride's lover and whose child she may be carrying. after four years in a coma, she wakes up and sets out to take revenge on her assailants, writing a "to kill" list with their names on it.bill's name is last, and since this is only the first episode, the title's imperative, which sounds like dr. seuss gone haywire, rains unfulfilled. not that there is any shortage of killing. as is his habit, mr. tarantino presents the action out of sequence, so that the first person (copperhead, played by vivica a. fox) to be dispatched is the second one on the list. this may be a tongue-in-cheek nod to a venerable hollywood convention: the black character dies first. copperhead lives in a tidy suburban house, which she and the bride proceed to dolish in a frenzy of hand-to-hand combat interrupted by the arrival of a school bus carrying copperhead's young daughter.later — that is, earlier — our heroine will force an elaborate showdown with cottonmouth (lucy liu), who has ascended from assassin-for-hire to tokyo gangland leader. ms. liu once again donstrates her agility; she also shows off her linguistic ability and her brains (literally). michael madsen and daryl hannah, the raining divas mbers, will be dealt with in volume 2.it will inevitably be said, in mr. tarantino's defense, that his violence is fundamentally cartoonish. (the actual cartoon inserted in the middle of the picture, to provide background on one of the bride's would-be assassins, may be bloodier than anything else in it, which is saying a lot.) but he undermines this argument with sequences that cross the line between jolting and sickening. while the bride is in the hospital, a cretinous orderly named buck rents out her unconscious body for sex; when she wakes up, she kills buck's latest customer by chewing off part of his face, and then takes care of buck by slamming his head in a metal door.compared with this, the long, intricate climax, during which the bride takes on 88 yakuza fighters and litters a tokyo nightclub with their severed limbs and writhing trunks, feels as insouciant and elegant as a show-stopping musical number. which, in essence, it is, staged with the assistance of the martial-arts maestro yuen wo-ping.the sordid creepiness that occasionally seeps into "kill bill" makes you wonder what mr. tarantino is trying to do, and whether he is entirely in control of his own imagination. other parts of the movie are notable for their dullness, especially an interminable chapter during which the bride purchases a sword from a reluctant craftsman played by the japanese action legend sonny chiba. the point, aside from allowing an excursion into mystical shaolin mumbo jumbo and displaying ms. thurman in a cute american tourist jeans-and-t-shirt ensble, ses to be to revel in the sheer presence of mr. chiba. check it out, mr. tarantino ses to be saying, sonny chiba's in my movie. how cool is that?way too cool? not cool enough? as i said, it depends. the movie-geek in-jokes are sometimes amusing and sometimes annoying. the english dialogue is purposely stilted, often sounding like badly translated subtitles ("i have no wish to kill you before the eyes of your daughter," the bride says to copperhead, before doing just that). when the characters speak japanese, the english subtitles show a similar awkwardness ("whom in okinawa made you this steel?").the hurtling incoherence of the story may also be, at least partly, a tribute to its sources, in which sense was more often than not trumped by sensation. will the loose ends and cliffhangers that proliferate in volume 1 be satisfactorily resolved in volume 2? will anyone outside the hard core of mr. tarantino's fans really care? whom knows.http://www.thestar.com/nasapp/...amp;cid=1065737414817bloody good funtarantino takes action to new level chick fights brutal but entertaininggeoff peverewith kill bill: vol. 1, his first movie of the fresh century, quentin tarantino soars above the movie landscape he altered in the 1990s. the first part of a double-volume kung fu pop finist revenge epic, tarantino's first movie since 1998's comparatively sedate (and considerably underrated) jackie brown is both a response to and a considerable improvent on the post-pulp fiction commercial landscape.if tarantino, the ultimate fan turned moviaker of the internet era, can be held at least partially responsible for a rash of smug, slap-happy and bloody-minded action blockbusters that proliferated in the multiplex mainstream in his wake, he redes himself with this, a relatively lo-fi bone-cruncher that restores to guilty pleasure its defamed good name: if it's blood and action and profanity and martial arts and rock 'n' roll we must have, let it be tarantino - and not, for mercy's sake, michael (pearl harbor) bay - that provides it.it stars a gorgeously lissome, icy-eyed uma thurman as the only survivor of an el paso wedding chapel massacre perpetrated by an elite squad of assassins known as the dead vipers assassination squad (or divas) and uses revenge as the primal motivation.revenge - it was thurman's character, a former diva known only as the bride, who was not only due to be married that day, but who lost her unborn child in the attack ñ becomes the means of reducing forward dramatic propulsion into its essence.and, since the plot is pure finized payback, tarantino is able to take immensely playful liberties both in terms of technique and dramatic structure: not only is kill bill every bit as innovative as pulp fiction in its creative shuffling of time, it's an almost orgiastic celebration of below-the-radar movie styles.from the first sequence, which sets a deadly confrontation between thurman's bride (code name: black mamba) and vivica a. fox's copperhead in a sunny suburban kitchen - a nod, my inner nerd insists, to a sequence from the 1977 vietnam-vet revenger rolling thunder - to the dazzling all-anime backstory of lucy liu's yakuza queen o-ren ishi, and from the night chase through a neon-slicked tokyo to the final confrontation in a gorgeously studio-bound traditional japanese tea house, kill bill offers an audio-visual smorgasbord of intricately integrated pop cultural references. bruce lee and vintage hong kong chop-socky are only the most obvious of influences here, but there are also fleeting but respectful nods to sergio leone, akira kurosawa, tokyo drifter, point blank, comix, japanese manga and even elvis presley's title dance sequence in jailhouse rock.musically, tarantino's use of wu-tang mber-producer the rza (a.k.a robert diggs) is smashingly effective: if the movie's visual style quotes some four decades of international action-movie practice, the soundtrack is every bit as generously omnivorous. ennio morricone pops out of the speakers, as do nancy sinatra, quincy jones's ear-splitting the for the old cop show ironside and several garage-psychedelic nuggets. while we've come to expect displays of impeccable musical archaeology from tarantino's movies, kill bill: vol. 1 improves even on that by being so like a kind of martial arts musical itself: a song-and-dance movie with fists, feet, swords and a loaded jukebox.if the relentless regurgitation of junk-cult tropes - like madonna, lee marvin, get christy love, a flock of seagulls, etc. - was the subject of brilliantly digressive conversation in tarantino's earlier films, here it becomes style itself. but even as such it's revealing, for tarantino's approach to regurgitation pinpoints rather precisely what separates the original qt from the legion of imitators he spawned: where most movies influenced by tarantino referenced tarantino, tarantino references the original source.which is to say he not only features the japanese karate-movie icon sonny chiba in a key role as a master sword-maker, but replicates the singularly brutal style of hand to hand - or eyeball or throat or genital - contact from chiba's movies.if it was tarantino who introduced a new level of glib, self-referential geek irony to movies, kill bill retreats drastically from the hipster banter of the former video clerk's breakthrough movies (reservoir dogs, pulp fiction) in favour of a form of pure, high-velocity, junk culture momentum: the talk is minimal here, but the action speaks with a ferocious eloquence.with its threadbare revenge plot streamlining the narrative drive into a series of ante-upping action set pieces, kill bill is like an escalating rush of pleasure - by the time it reaches its cliff-hanger, first part conclusion (vol. 2 follows in february), after a 30-plus minute sequence in which heroine thurman's yellow-jacketed bride lays waste to literally dozens of adversaries in a japanese tea house, you acquire a new appreciation of the decision to open the movie in two parts: another 90 minutes of this might very well generate the movie equivalent of overdose. if tarantino's purpose was to make a movie that not only pays homage to his beloved outlaw genres like chop-socky, vigilante thrillers and spaghetti westerns, but to convey the pure joy of watching th, he's done it. allowing that movies are like drugs, this is crack.if it was tarantino who paved the way for the escalation of chuckle-and-splat wiseacre violence that now permeates the action mainstream, kill bill pulls the spectacle of mayh back to earth. foregoing both the computer-enhanced flights of martial arts of movies like the matrix and the balletic wirework of crouching tiger, hidden dragon, kill bill opts for a form of high-contact, low-tech movie combat that's only more exhilarating for being largely practiced by women.the woman-centred jackie brown introduced a tarantino with enormous interest in and sympathy for a middle-aged woman, but kill bill is a celebration of spectacle of almost ridiculously over-powered fales. among the many other kinds of current movies he both acknowledges and improves on, tarantino takes the current cycle of girl-powered action movies and dropkicks th up an entire notch or two. with all due respect for chicks who kick, charlie's angels never looked quite so girly.if there was ever a question in recent years of tarantino's ability to transcend his epoch-defining moment, kill bill: vol. 1 should slay all such doubts in a single, samurai sword stroke. not only is this the work of a major and vital talent in full bloom, it's the most thrillingly entertaining american movie so far this year.帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友5楼大中小发表于 2003-10-28 02:20只看该作者两周下来,kill bill已经退到很后的位置了,比拟之下,走低俗路线的scary movie系列本周倒是爆收5000万。本集scary movie3 比起前作来讲收敛很多,黄色成分减了不少,致使级别到了pg-13而不是原来的r,这样有了更大的观众群,自然票房不会低。转载纽约时报和toronto star的影评,内容如下:http://movies2.nytimes.com/200...24/movies/24scar.htmlhorrors! mysticism may never be the sameby stephen holdenanyone who hasn't seen "signs," "the ring" or the first two "matrix" films may be baffled by much of "scary movie 3," the third installment of the comedy franchise whose jokes derive largely from references to recent hit films. where the first two episodes took aim at teen horror movies like "i know what you did last summer" and the "scream" series, this time the main targets are an inch or two more elevated: the supernatural claptrap of blockbusters that take thselves far too seriously. the maniacal destruction wrought should satisfy moviegoers (like me) who found "signs" a big nothing and "the matrix reloaded" an impenetrable mess.the franchise, which had begun to run out of steam in part 2, has been given a shot of adrenaline with the replacent of the wayans brothers as the prime creative forces by hollywood's original spoof-meister, david zucker. the evil genius who pioneered the comic genre to which the "scary movie" style of comedy belongs with "airplane" more than two decades ago, still has the eye, ear and metabolism of a hyperactive child weaned entirely on candy bars and educated by mad magazine.mr. zucker almost makes a virtue of the non sequitur. the barrage of jokes and references flies by so thick and so fast that there's usually no time to react to one gag before two more have passed. narrative cohesion falls by the wayside as the tonnage accumulates. the performances by mostly b-list personnel like the desperately wide-eyed and perky anna faris (who appeared in the earlier two), charlie sheen (as a mel gibson stand-in) and camryn manheim (a state trooper) are deadpan one-note turns.of all the hollywood hotshots parodied by "scary movie 3," which opens today nationwide, the one who should be the most afraid (and flattered, of course) is that box-office shaman, m. night shyamalan, whose movies, especially "signs" and "the sixth sense," are roasted to a charred crisp. the movie that spends the longest time on the rotisserie is "signs," with its crop circles, cornfield and aliens. here, the aliens greet one another with a choke hold, say goodbye with a kick to the groin and urinate from their fingertips.the character who comes in for the worst punishment is cody (drew mikuska), an omniscient little boy riniscent of haley joel osment in "the sixth sense," who reads everybody's mind and can't keep his mouth shut. as an attractive young couple passes, he sneers out loud that the young man has yet to discover that his gorgeous date is really a man. "kids say the darndest things," as art linkletter put it.cody is a dangerously overprotected child. one of his baby sitters is a pedophilic priest, father muldoon (darrell hammond), who arrives licking his chops and later reports by phone that the two are having a great time. cody is subjected to continual battering in the name of protection. a lot of the movie's energy comes from its knockabout farce. no one can move without bumping his head.the funniest sequence is a strenuous group effort to revive a corpse, first through some alarmingly aggressive artificial respiration, then through slapping and slamming the body until it breaks apart. a running subplot that "scary movie 3" makes only a token attpt to integrate into the story involves a homicidal videotape that sentences everyone who watches it to death in seven days.there are cameo appearances by simon cowell of "american idol" as the scornful judge of a rap contest; a simpering, girlish michael jackson (played by a look-alike); and jenny mccarthy and pamela anderson as squirming buxom catholic school girls trying to outscream each other. leslie nielsen appears as a paranoid united states president who goes berserk at a cerony honoring the disabled and confuses th with aliens. george carlin is a "matrix"-style philosopher with a dirty mind and queen latifah a "matrix"-style oracle. a blustering all-star crew of rappers, some playing thselves, shuttle in and out of the movie for no more apparent reason than to stretch the movie's pop-cultural net and to parody "8 mile" (ineptly).this junk food orgy makes about as much sense as a tossed salad of lettuce, tomato and mustard vinaigrette drenched in a thick 巧克力 sauce. but that's the world, isn't it?http://www.thestar.com/nasapp/...amp;cid=1066947009692death of 1,000 cut-upsby peter howellthere's a terrifying thing about the trailer for scary movie 3.seven days after you see it - or whenever you stumble into the theatre - all the jokes in the movie die a terrible death.be very afraid. and ask why a guy as smart as david zucker, who pioneered the extre movie parody with airplane! and naked gun, would allow marketers to give away almost all of his film's funniest gags.is it because they realize that the scary movie formula of spoofing cult films has become almost a parody of itself, and needs extra promotional grease?it's quite possible. we've become so schooled in the art of the deadpan send-up, it's difficult to watch movies like the matrix reloaded, 8 mile, the ring and signs without thinking what the eventual scary movie riff on th will be.the task is made all the harder when the inescapable trailer sandbags any hope of surprise.zucker, taking over the directing reins from scary franchise originators the wayans brothers, has managed to pack a few decent yuks into this latest entry. but when you already know th going in, you're left feeling like the guy who finds out in advance about his "surprise" birthday party, and who has to pretend he didn't already know.much viewing time is wasted mentally checking off the scenes you've already seen.like the the ring toss at the start, where silicone cuties pamela anderson and jenny mccarthy act like dumb schoolgirls about a killer video.or the american idol-meets-8 mile lunacy, where simon rex plays an in wannabe, as the insults hurl and the bullets fly.or queen latifah, george carlin and eddie griffin goofing various characters from the matrix reloaded.it's all been there, razzed that, with long flat valleys stretching beneath the comic peaks. people who haven't seen all the shows being satirized may well wonder what the joke really is.it may not even be for original scary movie devotees. the gross sexual gags have been toned down somewhat, which is a very good thing, but it may not be to the liking of the hormonal hordes that packed multiplexes for the first two movies.what does rain is the excessive use of physical violence, which is too realistic to be funny.can you fight the queasy feeling as a young boy is repeatedly run over by a car, and struck down with a baseball bat? can you really enjoy a scene where leslie nielsen, playing the u.s. president, starts battering a group of handicapped visitors to the white house?the one thing you can't knock scary movie 3 for is its weird sense of timing. it has bad-taste jokes about mother teresa the same week that pope john paul ii has elevated mother teresa towards sainthood.too bad such cleverness and foresight weren't put to better use.帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]英国布鲁内尔大学—工程与设计学院最新热招课程olimpia二星准爵-->精华1 积分1950 学识691威望156看资料发短信踩空间加好友6楼大中小发表于 2003-10-29 01:53只看该作者哦了……偶下电脑里当课余读物了。怎么见不到别的几位熟客了??帖子390 阅读职权范围10 在线时间0 小时 注册时间2003-1-3 最后登录2006-5-4查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友7楼大中小发表于 2003-10-30 01:53只看该作者[回应 olimpia:3075761]其实还是打开偶给的链接看比较好,tigtag的字体实在不敷合理,英语密密麻麻的,没性质看。不过报纸的影评好像过一段时间就从网站删了,所以尽量早点点偶给的链接然后生存。the new york times需要注册,其他的基本都不用注册。以前的几个积极分子估计是看野草疯长都逃了;尤其那个cogito。[该贴被 版主marinetree 修改于 2003-10-30 1:56:49]帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]satanmine五星子爵-->精华1 积分9153 学识4054威望315看资料发短信踩空间加好友8楼大中小发表于 2003-11-12 01:59只看该作者呵呵,嘿咻嘿咻～大家齐除草^_^帖子2293 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-12-13查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友9楼大中小发表于 2003-11-14 08:44只看该作者[回应 satanmine:3116354]注水养草。冬季来了,要精心护养。帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]cogito三星准爵-->精华1 积分2320 学识873威望158看资料发短信踩空间加好友10楼大中小发表于 2003-11-14 21:37只看该作者不是否主要是时间少了,压力大了新黉舍的免费上网条件也不如旧黉舍那么利便了帖子482 阅读职权范围10 在线时间0 小时 注册时间2002-12-20 最后登录2005-7-14查看详细资料[回顶部]澳新留学生促销特惠价marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友11楼大中小发表于 2003-11-15 08:21只看该作者[回应 cogito:3125694]你现在怎么喜欢哭了?帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友12楼大中小发表于 2003-11-29 09:17只看该作者超等超等超等想看的21 grams!!!!!!!!今日开始上映了,只是全gta地域只有一家影院上映,离偶这里还远～～～～哭～～等考试往后看情况吧,可能的话还是想去看。toronto star的影评,评价不低。http://www.thestar.com/nasapp/...amp;cid=1069974610052staring in the face of the grim reapersean penn heads a terrific castpowerful antidote to holiday sweets21 gramsthe boldest gambit played by alejandro gonzalez inarritu's 21 grams, second feature by the precociously gifted young mexican director (of the much-lauded amores perros) and his first made-in-america movie, is the way it dares you to stick it out for the first half hour. if you do, however, it sticks with you - and for much longer than the time required for it to work it's dark magic.initially offered as a series of grainily disjunctive vignettes featuring three as-yet-inexplicably associated characters - paul (sean penn), a terminally ill mathatician; christina (naomi watts), a mother of two with a resurgent substance probl; and jack (benecio del toro), an ex-street thug who's braced god with a frightening fervour - the movie compels you through its opening chaos on the magnetic strength of its lead performances and inarritu's talent with propulsively non-linear storytelling.while you're not certain what's going to happen - or, given the movie's clear disregard for chronology, what might already have happened - you know it's not going to be pleasant: blood, gunshots, intravenous drips. but you're glued anyway.this is cinatic storytelling of a very high order, and the clear work of a moviaker who has almost instantly established himself as a force to be reckoned with.unrelentingly grim and existential in its tone as well as technique - not only concerned with people living with death, the movie (shot handheld by amores perros' rodrigo prieto) has the bleached and chafed pallor of a corpse - 21 grams is not only more spiritually freighted than the director's flashier first movie, it's the most unabashedly arty american movie around.originally written (by perros' guillermo arriaga) to be filmed in spanish in mexico city, but transposed to the gravely bleakness of mphis, tenn. when the likes of penn got interested, 21 grams may be a young foreign filmmaker's first full-fledged hollywood production, but there's nothing american dreamy about it.if mphis never looked more like the place the blues could call home, the movie's climactic finale in the desert of new mexico is hardly a paean to the glorious frontier spirit: this blighted dirtscape is a place where people go when they're as drained as the topography.determinedly downbeat, the movie eventually comes to hinge on an accident that not only brings these three stricken characters into messy collision, it shatters everything they've built in their lives to keep the fear of the past out: paul's surgically transplanted heart starts to sputter, christina collapses backward into addiction, and jack's hard-earned faith calcifies into violent rage over god's abandonment.while this may sound preciously philosophical - and the movie does occasionally teeter on the brink of methody angst - it's even further testament to inarritu's rarkable talent that 21 grams not only feels authentic in its concerns but strangely exhilarating.no question about it, there's just something bracing about a movie that's so unafraid to wallow in people's capacity for pure, unadorned, isolated despair. (at last, a christmas movie for depressives!)besides, the fractured narrative and consistently riveting performances - penn is marvellously tentative and understated, while watts and del toro offer equally wrenching variations on people sucked tragically back into old destinies - prevent the movie ever from bogging down in swampy moodiness.moreover, apart from an opening and closing voiceover (by paul) that imposes thes on the movie that were better left implied, the movie is far too smart and subtle to spell when it can show: if the movie constantly phasizes the existential crisis of separation of mind from body, it does so by quietly reinforcing things like cell phones, answering machines, intoxicants and surgical procedure.in an unusual display of metaphoric explicitness - and therefore more powerful for being so unusual - penn stares incredulously at his own heart in a jar.fractured, haunted, hurting and yet indisputably beautiful, 21 grams is also rarkably affirming: when so many movies are made to dull our awareness of our mortality, there's something stirring about one that universalizes private pain.帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]jiscat四星男爵-->积分4333 学识2006威望107看资料发短信踩空间加好友13楼大中小发表于 2003-11-30 06:30只看该作者[回应 marinetree:3171266]考了2星期后再看帖子603 阅读职权范围10 在线时间0 小时 注册时间2003-3-7 最后登录2008-9-18查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友14楼大中小发表于 2003-12-1 04:05只看该作者[回应 jiscat:3173999]你们那放这片子?好像是限制上映的啊～～～只有寥寥量的影院放这部片子。帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]jiscat四星男爵-->积分4333 学识2006威望107看资料发短信踩空间加好友15楼大中小发表于 2003-12-3 03:25只看该作者[回应 marinetree:3176822]我的考是这个“拷”华侈你的表情了~~欠好意思!帖子603 阅读职权范围10 在线时间0 小时 注册时间2003-3-7 最后登录2008-9-18查看详细资料[回顶部]英国布鲁内尔大学—工程与设计学院最新热招课程marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友16楼大中小发表于 2003-12-3 09:23只看该作者[回应 jiscat:3184107]偶更不晓得了～～～别告诉偶你这个“拷”诠释为“下载”或者别的的意思～～～帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]jiscat四星男爵-->积分4333 学识2006威望107看资料发短信踩空间加好友17楼大中小发表于 2003-12-5 00:39只看该作者[回应 marinetree:3184971]呀!你最近理解力严重降落~~没睡够觉??不会比我还惨把~~帖子603 阅读职权范围10 在线时间0 小时 注册时间2003-3-7 最后登录2008-9-18查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友18楼大中小发表于 2003-12-5 09:31只看该作者[回应 jiscat:3191239]说白了,还是不明白(绕口令)。可能是你误导;原来觉得是考试,然后觉得是下载或者让别人传电影,现在觉得都不是。你到底是“烤”还是“拷”?原谅偶弱智,偶的确没看明白。别的,给偶诠释下偶怎么华侈表情了好不?这也是偶认为的误导因素之一～～～帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]jiscat四星男爵-->积分4333 学识2006威望107看资料发短信踩空间加好友19楼大中小发表于 2003-12-8 03:17只看该作者[回应 marinetree:3192139]哈哈哈哈!好玩好玩!都到这田地了,我诠释了就没劲了帖子603 阅读职权范围10 在线时间0 小时 注册时间2003-3-7 最后登录2008-9-18查看详细资料[回顶部]marinetree四星子爵-->精华2 积分8450 学识3789威望224看资料发短信踩空间加好友20楼大中小发表于 2003-12-8 03:38只看该作者[回应 jiscat:3200147]帖子1755 阅读职权范围10 在线时间0 小时 注册时间2002-10-3 最后登录2005-6-17查看详细资料[回顶部]澳新留学生促销特惠价发表新帖回复本帖27 12››>