⑴ 求一篇关于外国电影的英语作文
阿凡达吧~“Avatar” and the Critics
James Cameron's “Avatar” is visually stunning and theologically provocative. (Or so I suggest in today's column.) It is not, however, a very good movie overall. But you wouldn't know that from reading most of the reviews: Cameron's blockbuster boasts an impressive 83 percent favorable rating from Metacritic, and a whopping 94 percent “fresh” rating from Rotten Tomatoes' rounp of top reviewers.
Browse through the online reaction from fanboys and film geeks, though, and you'll find that a modest (and appropriate) backlash has been building since last week. (I particularly liked this fan's hostile review, carried out via Instant Messenger after a screening.) The source of the backlash is unexpected, in a sense, since you'd think that a movie like “Avatar” — a science fiction epic with groundbreaking special effects and a weak script — would find its most intense apologists on action and sci-fi obsessed sites like Aintitcoolnews and CHUD.com, and its most dismissive critics in the more rarefied air of, say, The New Yorker. But the more highbrow critics have all seemingly decided to grade the movie on a spectacle-driven curve. (Thus David Denby: “The movie's story may be a little trite … but what a show Cameron puts on!”) So it's been left to the fanboys, the people who've watched “Aliens” 97 times and worship the ground James Cameron walks on, to insist that there's more to epic-making than spectacle and special effects.
And good for them for insisting. Sci-fi spectaculars deserve to be taken seriously, as pop art if not as high art, and not just patted on the head for putting on a good show. That doesn't require comparing a James Cameron film to, say, “The Rules of the Game” and finding Cameron wanting. But it means recognizing that there's a world of difference between a truly great special-effects driven fantasy — like “The Matrix” (the first one, not the sequels), or Peter Jackson's “Lord of the Rings,” or “The Empire Strikes Back” — and a gorgeous disappointment like “Avatar,” which succeeds at being eye-popping but doesn't succeed at very much else.
⑵ 寻找一个外国电影的故事情节
外国电影的故事情节，是不是什么电影都可以，可以给你推荐几部美国电影《复仇者》系列。讲的是钢铁侠，美国队长，雷神，绿巨人等超级英雄不断拯救地球的故事，拍的很不错，值得一看！
⑶ 文章的电影有哪些
我知道的就四部
不二神探 这部推荐不要看，因为它的名字就叫错了，它应该叫做最二神探，这部戏是广 电 局 某位局长的儿子拍的，所以客串的明星很多，如果要想多看几张明星脸的话，可以看看。（陈妍希在里面也毁的很惨...）
海洋天堂 很不错，很温馨，除了不习惯李连杰演温情戏外，其它没有什么缺点，剧情也不错。
白蛇传说 这部电影的剧情就有很大的问题，我不是什么评论员，但是那些常识性错误有很多，给我感觉除了特效不错（虽然和外国比还是很渣...），其它就没有啥印象了。
西游降魔传 星爷出品，必属佳作，内容很好，情节不错，虽然有点不清楚女主怎么喜欢上男主的，但是还是感觉不错 ，文章演的也挺好，只是有点惊悚，看的话请做好心理准备。
⑷ 求一部国外电影电影的名字 曾经在读者杂志一篇文章中提过
问那个女孩喜欢谁，这不是你们两个大老爷们的事了，喜欢一个人就应该让他快乐不是吗，况且为了她两个人闹得不愉快，结果女生谁也不喜欢，你认为你俩还能做兄弟吗，这个决定权应该交给女生，就算选择了其中的一个你们还可以做兄弟，至少你不会后悔不是吗。
⑸ 文章的电影有哪些
不二神探西游·降魔篇血滴子 干隆亲家过年三个未婚妈妈失恋33天白蛇传说万有引力神奇侠侣三日三夜越位者海洋天堂真心话大冒险走着瞧
后头几个是客串
⑹ 求经典的英语文章和欧美影片。
第一篇：Youth 青春
•第二篇： Three Days to See(Excerpts)假如给我三天光明（节选）
•第三篇：Companionship of Books 以书为伴（接选）
•第四篇：If I Rest, I Rust 如果我休息，我就会生锈
•第五篇：Ambition 抱负
•第六篇：What I have Lived for 我为何而生
•第七篇：When Love Beckons You 爱的召唤
•第八篇：The Road to Success 成功之道
•第九篇：On Meeting the Celebrated 论见名人
•第十篇：The 50-Percent Theory of Life 生活理论半对半
•第十一篇：What is Your Recovery Rate? 你的恢复速率是多少？
•第十二篇：Clear Your Mental Space 清理心灵的空间
•第十三篇：Be Happy 快乐
•第十四篇：The Goodness of life 生命的美好
•第十五篇：Facing the Enemies Within 直面内在的敌人
•第十六篇：Abundance is a Life Style 富足的生活方式
•第十七篇：Human Life a Poem 人生如诗
•第十八篇：Solitude 独处
•第十九篇：Giving Life Meaning 给生命以意义
•第二十篇：Relish the Moment 品位现在
•第二十一篇：The Love of Beauty 爱美
•第二十二篇：The Happy Door 快乐之门
•第二十三篇：Born to Win 生而为赢
•第二十四篇：Work and Pleasure 工作和娱乐
•第二十五篇：Mirror, Mirror--What do I see镜子,镜子,告诉我
•第二十六篇：On Motes and Beams 微尘与栋梁
•第二十七篇：An October Sunrise 十月的日出
•第二十八篇：To Be or Not to Be 生存还是毁灭
•第二十九篇：Gettysburg Address 葛底斯堡演说
•第三十篇：First Inaugural Address(Excerpts) 就职演讲（节http://read.freean.com/data/2006/0527/article_2572.htm
《阿甘正传》、《勇敢的心》、《e．t》、《钢琴课》、《蒂凡尼的早餐》、《紫色》，《修女也疯狂》，、《漂亮女人》(《风月俏佳人》），《世界末日》，《电子情书》《越狱》，用讯雷都有得下，对学习英语很有帮助
⑺ 【求欧美电影/短片/报道/文章】与社会热点有关，且其中有较深刻的思考和对问题的评价
啊啊这么晚回答真是对不起，但是这种事不是一天两天就有用的呢。英语双向思维这本书不错，然后就是可以看些科普文章。主要是敢说，先不要管说得好不好啦。
⑻ 文章电影有哪些
海洋天堂
走着瞧
再见最爱的人
神奇侠侣
白蛇传说
万有引力
失恋33天
真心话大冒险
爱在响螺湾
亲家过年
我在路上最爱你
西游降魔篇
不二神探
喜剧之王2
亲我只知道这些了，求采纳。
⑼ 英文作文 外国电影观后感2篇
Mr. A Gan has his own perseverance, keeping on running without any reason, JUST RUNS. He said: “Man has to look forward, and never encumbers by foretime. I think that's the meaning of my running.” Say goodbye to foretime and don't stay in-place. Although so many people in the world are used to following others and few people can stick to one thing, Mr. A Gan does and becomes “GOD”. There is another character Captain Dan. Dan lost his legs in Vietnam War. He said that his fate was death in war. However, Mr. A Gan saved him and let him be alive. After losing legs, Dan was decadent and disgusted with life, complaining that A Gan shouldn't save him. When he adjusted his mind, living on fishing with A Gan, he started to enjoy the wonderful life and thank A Gan's help. The movie is intended to tell people that life is wonderful by this character. Rainbow is always after cloud. The key point is that whether we have a good mind and an opportunity to ourselves to change bad situation. The movie also sends such a message to us: do well what we should do, and life will return us well. There will be a miracle if there is perseverance. http://hi..com/84777524/blog/item/757081d4af641c05a18bb7e4.html
⑽ 关于经典电影英文文章
珍珠港的影评
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