imdb电影英文影评

A. 拜托各位电影达人们：有哪些权威的英文影评网站

我最经常上的是

IMDB 这个你应该知道http://www.imdb.com/

烂番茄http://www.rottentomatoes.com/

林肯中心影片中心：http://www.filmlinc.com/

其他的你看下这个帖子
http://www.douban.com/note/19340696/

这两个也不错的
http://www.classicfilmguide.com/index.php?s=home
http://movie-gurus.com/content/reviews/a/index.html

B. 天使爱美丽 英文影评 谢谢啦

天使爱美丽英文影评是：

1、英文影评：

In this film, the corners of the mouth are always slightly raised, and Audrey Tatu with a little elf temperament perfectly interprets the role of Emily.

French director Jean Pierre Genet creates a dreamy and sweet film world with his good fantasy style. Each frame seems to be a romantic postcard with a strong French flavor.

2、中文翻译：

该片中总是微微勾起嘴角，带着点精灵气质的奥黛丽·塔图完美诠释了艾米丽这个角色，法国导演让-皮埃尔·热内用擅长的奇幻风格打造了一个梦幻甜蜜的电影世界，每一帧画面都似乎是带着浓郁法国气息的浪漫明信片。

剧情简介：

法国女孩艾米丽从来就没有享受过家庭的温暖，她的童年是在孤单与寂寞中度过的。1997年夏天的一个事件改变了艾米丽的人生。那天新闻播报戴安娜王妃在一场车祸中身亡，而艾米丽手中的瓶盖掉到地上，撞上一块墙砖。

艾米丽从里面掏出一只铁盒，装满了小男孩所钟爱的小玩物和许多照片。艾米丽于是决定要是能找到盒子的主人——半个世纪前这个公寓的房客，她就开始帮助所有的人。

C. 急求电影鱼缸 英文影评

你好!这是IMDB网(国外的影评网站)上最热门的《鱼缸》"Fish
tank"的影评--
"All
my
films
have
started
with
an
image,"
says
director
Andrea
Arnold.
"It's
usually
quite
a
strong
image
and
it
seems
to
come
from
nowhere.
I
don't
understand
the
image
at
first
or
what
it
means,
but
I
want
to
know
more
about
it
so
I
start
exploring
it,
try
and
understand
it
and
what
it
means.
This
is
how
I
always
start
writing."
What
does
the
image
of
a
fish
tank
conjure
up
for
you?
On
the
inside
longing
to
look
out,
is
fifteen-year-old
Mia.
Trapped
in
a
housing
estate.
Trapped
in
a
single
parent
family.
Trapped
by
people
around
her
she
can't
respect.
Trapped
in
herself.
For
being
fifteen.
She
has
her
own
inner
world,
fighting
to
manifest
itself
.
Fortified
by
cigarettes
and
alcohol
she
can
kick
in
the
door
of
the
empty
nearby
flat.
A
bare
floor.
Her
CD
player.
Practice
her
moves.
A
better
dancer
than
those
kids
on
the
block
she
just
nutted.
Mia
is
quite
content
to
carve
out
her
own
double
life,
f*ck
you
very
much!
Never
mind
she
gets
caught
and
nearly
comes
to
grief
trying
to
steal
a
horse.
And
social
workers
don't
scare
her.
But
mom's
new
boyfriend
–
that
could
be
a
pain!
A
real
spanner
in
the
works.
Especially
when
he's
so
annoyingly
nice.
Under
Andrea
Arnold's
hand,
life
on
this
inner
city
concrete
backwater
is
suddenly
very
alive.
Banalities
become
beautiful.
Like
sunlight
through
cracked
glass.
Vibrant,
gritty
and
riveting,
but
in
a
way
that
entertains
powerfully.
As
pulsating
and
funny
as
Trainspotting
but
without
the
yuck
factor.
Its
momentum
is
overpowering.
We
never
know
what
is
going
to
come
out
of
Mia's
mouth
or
where
events
will
lead.
Each
jaw-dropping
new
scene
surprises
yet
seems
the
result
of
inexorable
momentum.
As
if
that
wasn't
enough,
the
story
mercifully
avoids
kitchen-sink
drama,
excessive
violence,
drugs,
getting
pregnant,
grand
larceny,
car
crashes
and
all
the
other
cliché-ridden
devices
to
which
cinema-goers
are
usually
subjected.
Tightly
controlled,
Fish
Tank
attacks
with
a
potent
and
thought-provoking
arsenal
of
story-telling.
Andrea
Arnold
proved
she
could
do
hard-hitting
realism
with
her
award-winning
debut,
Red
Road.
Here
she
excels
her
earlier
efforts
but
still
imbibes
many
of
the
verité
approaches
and
senses
of
discipline
that
have
filtered
down
from
the
Dogme
and
Advance
Party
movements.
Her
'strong
initial
image,'
or
lack
of
subservience
to
more
traditional
methodology,
maybe
reminds
of
the
devotion
to
experimental,
avant-garde
cinema
taken
by
artists-turned-filmmakers
such
as
Steve
McQueen
(Hunger)
or
theme-over-story
technicians
such
as
Duane
Hopkins
(Better
Things).
Michael
Fassbender,
who
took
reality
to
new
heights
as
Bobby
Sands
in
Hunger,
here
plays
the
mystifying
and
warmly
charismatic
Connor
(Mum's
boyfriend).
Arnold
didn't
allow
actors
to
read
the
script
beforehand.
They
were
given
their
scenes
only
a
few
days
before
filming.
For
the
part
of
Mia,
she
chooses
a
complete
unknown
with
zero
experience.
Arnold
spotted
Katie
Jarvis
at
a
train
station
after
drawing
a
blank
with
casting
agencies.
"She
was
on
one
platform
arguing
with
her
boyfriend
on
another
platform,
giving
him
grief."
However
the
performance
is
achieved,
Jarvis
is
electrifying.
If
Arnold
wanted
a
'real'
person
for
the
role,
this
seventeen-year-old
takes
over
the
screen
with
raw
adolescent
power.
Says
Arnold,
"I
wanted
a
girl
who
would
not
have
to
act,
could
just
be
herself."
Fish
Tank
will
lift
you
out
of
your
seat
and
on
an
unstoppable
flight,
ricocheting
against
confines
of
circumstance
and
imploding
a
dysfunctional
family
with
its
head
of
hormonal
steam.
Laugh,
cry,
hold
on
tight.
You
will
need
to.
I
could
almost
taste
the
vodka,
as
Mia
goes
through
her
Mum's
dressing
table
drawers,
bottle
in
hand.
I
wish
all
British
films
were
this
good.

D. 求傲慢与偏见100-150字英文影评。。急。。

Pride and Prejudice is a film that is stunning on several levels: the performances are excellent, the soundtrack is amazing, and the cinematography is beyond comparison.

The performances were stellar. The entire cast was great, and it's interesting to note that, among the "stars" that made up the cast, there are several lesser known actors; this was the first movie credit for both Carey Mulligan (Kitty) and Tamzin Merchant (Georgiana).

It's not a word-for-word adaptation of the book, and cannot be considered a replacement for it. Speaking as someone who loved both the book and the movie, I can honestly say that it's a very satisfying and charming film.

E. 急！！！------电影rain man的英文影评

Barry Levinson is one of the great screen directors of our time. He's most notable for being able to evoke subtly comedic discussions amongst his leading characters, save the rare occasion when his strained efforts backfire ("Toys" comes to mind). "Rain Man" (1988) is his crowning effort, his best achievement I can think of off-hand. It's considered a drama but it's also a true odd couple comedy, about two opposites who learn they have one common bond: their kinship.

The Cruise plays Charlie Babbitt, a wealthy car dealer living the high life in California. He's just gotten in a shipment of Ferraris and he's going to make a killing on an upcoming deal for all of them, when his entire background comes back to haunt him in a single unfortunate moment ring his newly acquired and quite happy life.

Charlie's father has just died, leaving him an old sports car and rose bushes. But more painful than the fact that his father has died or that he was left simply with a car and some prize-winning rosebushes is the fact that Charlie had tried to put his ill-fated past behind him, and now it has caught up with him again. He has to face the reality of his father once again.

This isn't really evident the first time you watch the movie. Charlie is angered at the fact that he got nothing more than some bushes and a vehicle, sure, but he admits he expected nothing more. What really angers him is that he has to face his father, dead or alive, once more; either through faded memories or by the realization that he is now dead and their friendship was never repaired.

When Charlie finds out that his father's entire estate has been left to a single trustee, he schemes around and unmasks who the trustee really is -- his older brother he never knew he had, Raymond Babbitt (Hoffman), who lives in a homey mental institute and quotes the Bud Abbott and Lou Costello "Who's on first?" charade when he gets nervous.

Charlie confronts his brother, who seems as though he doesn't recognize him. And in a moment of weakness, Charlie kidnaps his brother from his home, drives him back to California, and attempts to squeeze the money out of Raymond, who has no holding on the concept of money at all.

Despite his lack of understanding regarding monetary value, Raymond is an idiot savant, and Charlie takes advantage of Raymond's mathematical skills by taking him to Las Vegas to count cards. After achieving a fortune they are thrown out of the casinos and left to face charges of kidnapping. The problem is, by the time it's all over, Charlie has formed an odd sort of bond with his brother. Long after the laughs settle the emotional impact of the story sinks in.

The ending is the sort of rare conclusion that brings tears to the eyes. Throughout the film, Charlie is an arrogant, ignorant, greedy businessman who cares of no one but himself. By the end, however, he has learned more than he has in his entire lifetime from the brother he never had. And unlike a lot of the buddy films out there, we get to see the bonding between Charlie and his big brother, Raymond, form on a daily basis, until it is brought to a standstill.

Dustin Hoffman gives his best performance in "Rain Man," one of such unmatched strength and brilliance that we often feel that we are really watching an autistic man on screen. Raymond Babbitt is one of the most memorable characters you will ever encounter as a viewer, and though Dustin Hoffman isn't necessarily a favorite actor of mine, I place his performance in "Rain Man" as one of the most convincing and touching performances of all time.

Trying to put the reason that "Rain Man" is so great into words is simply impossible. It's got everything. And as humorous as Raymond Babbitt becomes, he never seems unreal or obnoxious. As I watch him every time I watch the movie, I completely forget Dustin Hoffman is playing him until I mentally remark on how well he is doing so. This is movie magic, folks.

Hollywood has a fascination with characters like Forrest Gump and Raymond Babbitt, but -- even more so than Gump -- Raymond is never annoying. (That's not saying that Gump is, but...Raymond is even more touching and realistic.) Raymond is a fair bit more impaired than Forrest, and we feel for him even more (though which is the better film I could never say).

By all means, see this movie. Drop whatever you're doing and rent it, buy it, watch it over and over. It's amazing. I don't care if I sound like a mainstream critic trying to get my quotes on the new Special Edition box of the DVD (yes, please!), I love this movie and I can't say enough good things about it.

访问参考资料，有更多关于该片的影评。

F. 请各位英语高手用英文帮我写四篇电影影评

1. 虎胆龙威（DIE HARD)：

What makes Die Hard the all-time classic it has rightfully become was the lack of extravagance and fantasy: there were no decades-old war grudges, no jungle action, no superhuman powers and only the occasional physics-defying stunts we are usually overloaded with. The characters in this film were regular people, with regular jobs and regular attitudes, confronted with an extraordinary situation, responding as most regular people would, by doing things which go beyond what they would "regularly" consider. Each character's backstory is one that could easily be ours if we were born in their shoes, and we all know at least one or two people like someone from the film. These are the people we live with, work with, and interact with, and the film captured them perfectly. This realism makes it very easy for the audience to believe that it too could have been caught at that party and had to face the situation.

Die Hard took the action genre in a new direction, adding a human touch and bit of reluctance to their invulnerability, while also showing them (as Spider Man would do so as well later on) as people who are much better at making others' personal lives work out than they are with their own.

Even if you haven't seen Die Hard, you've seen its legacy in many other films since. The formula was a brilliant one, and this was its birth.

2. 铁血战士（PREDATOR)：

Huge guns, Huge tough guys, macho dialogue, funny banter, One liners and an Alien. John McTiernan's 1987 classic 'Predator' is a action fans dream and a true guys film. What's not to like? Quick setup. Dutch (Arnold Schwarzenegger) and his team of bad-asses are sent to the South American jungles to rescue a group of POW's from an enemy hideout. Simple enough, but that's before they start getting picked off by a hunter from another planet. The rest of the movie relies on suspense, an over the top macho atmosphere and a entertaining team.

John McTiernan's style of creating a believable atmosphere shines out through the characters and dialogue. Every member of the rescue team is memorable and likable e to their humorous dialogue and over the top macho-ism. Dutch chomping on cigars, Blain wielding a mini gun, Mac shaving with his own sweat and Billy's huge knife are all examples of the manliness portrayed in the film.

The Predator is great in its first portrayal, brought to life thanks to Stan Winston's incredibly lifelike effect. His gadgets and weaponry stay cool and interesting right until the end. One of the things that make the film interesting is watching the team come up with new ways to kill this creature that's picking them off like flies.

The film is filled with memorable quotes and scenes that will linger in your mind any time you think of masculinity. Any fan of action or Schwarzenegger will know this is a must see and one of the quintessential 80's flicks.

3. 青春年少（RUSHMORE）：

Rushmore is an extremely well written movie about obsessive love.

The acting is a quality of Rushmore that contributes greatly to its appeal. I've seen a lot of Bill Murray movies, an I've always had a high opinion of him. Saying that Bill Murray is good in a movie usually means that he was really funny (which, with a few exceptions, goes without saying). In this film, though, there is something more to his performance. With his facial expressions alone capturing the tortured soul of Mr. Blume accompanied by his impeccable comic timing, Murray is plainly terrific. Jason Schwartzman is also outstanding as Max, although his appearance shows more years than the mere 15 he is supposed to be. Olivia Williams is subtle and extremely effective as the British object of affection. Finally, in a key role as Max's chapel partner, Dirk Calloway, Mason Gamble (from Dennis the Menace), convey's his bitterness and anger with such acuity and humor that one can't imagine that there he is actually acting in front of a camera.

The humor of Rushmore is so delightfully offbeat, hilarity sometimes being found in such places as silent pauses with the camera directed right at the actor's face, that it might not be for every taste (but be sure to give it a try first). In fact, everything about this movie is different. I've seen this film twice and from the surreal use of really vivid colors to the quick-paced direction by the obviously very talented Wes Anderson, it seems destined to have cult status in the future. Finally, I would like to mention the soundtrack, a compilation of primarily British "invasion" rock (along with a brilliant original score), for it almost perfectly captures the spirit and life of this amazing achievement.

4. 死亡证据（DEATH PROOF)：

Like classic directors invented the western imagery, Tarantino recreates a world of vinyl jukebox, groovy cars and adventurer-girls that only exists as an illusion. The girls, low-middle class , behaves with an independence that many housewives would envy and they are clearly inspired in the Russ Meyer pictures. But they are real, even one of the girls is credited as 'herself'.

The famous Tarantino's dialogs are a hit-and miss in this one. Sometimes they seem forced, others they flow naturally, the sheer pleasure of conversation, and they help to make the movie a lightweight experience, that could keep on running. I said that the world exists only as an illusion, but that doesn't apply to the objects (the cars, the jukebox). Tarantino is like an antiquarian that doesn't want to see his beloved treasures getting st.

Did I mention the virtuosity? The cinematography is ostentatious and generous, showing colorful scenarios. They don't try to be pervasive, on the contrary it is a "Hey, look what I'm doing" way all the time, and it works.

My only complaint is that I'm sure I'm gonna see a few semi-obscure movies from the 70s and think: "I've seen this before somewhere..." It is time for QT to do something that could be described as 'original'. Only Pulp Fiction fits in that category.

G. 好急啊！英文的影评大家都在哪里找呢如何在imdb网站找英文影评呢

East of Eden (1955)英文影评131篇：
http://207.171.166.140/title/tt0048028/usercomments

H. 求电影“弱点”英文影评

This movie is inspired by a true story about no one from a slum area and then became a professional football player, after he was adopted by a rich good American family.

I think blind side is a good movie. The story line is very inspiring, because the movie told one way how to be a good Christian family when you live at United states (because there were many dialogue that mention about Christianity). And the journey of the poor boy Michael Oher, who at the first did not know the Tuohys and then became a part of The Tuohys and protector for the youngest member of the tuohy, S.J. Tuohy.

The screenplay was very good, you can see many parts of their life. From the first time when The Tuohys met Michael until he got to the university. And there are real footage and pictures from the real character too, and they really helped me to knew the real persons behind the story.

I wasn't very surprised when Sandra Bullock got an Oscar for her performance as Leigh Anne Tuohy, because she had done a great job by acting as a kind rich mother. Especially her accent, it was very convincing.

Don't worry just because that this is a drama movie so you have to cry all along. I think this movie is fun to watch. Even when I watched it with my family, everybody laugh because a few hilarious parts. So, if you like drama and sport movies, I think this is just for you and you must watch it.

I. 求adaptation（中文名《改编剧本》 英文影评

如果你一定要求是国人写的，那么推荐豆瓣里的这篇http://www.douban.com/review/1378708/，作者马头可是个很强的人噢。不过翻译嘛，就得靠你自己或者另请高人了，这种影评翻译我实在是不在行。

下面这篇是IMDB上一位该片的观众写的影评，是本人看过的英文影评里写得比较好的了，奉上。字数有点长，你可以适当摒弃一些。

"Adaptation" is an off-the-wall film with a startling second half. Overall, the film is darkly comic, but viewers get an unexpected dose of movie action and violence before everything is said and done.

It's fair to say that there is a fair amount of violence in the film, and even when you know it's coming, you're still caught off guard. Spike Jonze is merciless in this regard. Some of the scenes are incredibly graphic, in fact.

There is a certain adolescent male tone to the film (the violence + sexual fantasy + masturbation). This is partially e to characterization and partially e to the director's own aesthetic and perspective. It's not a bad thing, necessarily, either. It just feels as if an unassuming (white male) kid who grew up thinking a lot about girls and watching movies where stuff blowed up made this film... See it and you'll know what I'm saying.

The script is crazy. Absolutely zany. Akin to "Being John Malkovich" really. Fortunately, this well gives opportunity for Nic Cage, Meryl Streep, and Chris Cooper to really be free with their art.

Cage has a difficult role, portraying two very different identical twin brothers. Cage is at the emotional core of the film. If his performance doesn't resonate, the film doesn't work. I thought Cage was excellent. And that the script really gives him some wonderful, challenging material to work with. His first scene with Tilda Swinton (looking gorgeous!) is excellent.

Meryl Streep...well, what can be said. She's fantastic. She exudes a tiredness and connectedness and hopelessness and sadness, evolving the character brilliantly over the course of the film.

Similarly, Chris Cooper brings a humanity to the role of the Orchad Thief, really grounding the narrative and making it all believable. Again, he's given a brilliant opening scene and he works wonders with it. Throughout, he is believably arrogant, lonely, vulnerable, and just plain real. Cooper's performance is as rich as any other I've seen this year; truly, truly sublime.

"Adaptation" is certainly not for everyone. If you're looking for something starkly different and simmering with originality, give this film a try, though. Amidst some cloying self-referential clap-trap, there are actually some really freshing film moments.

J. 求一篇外国电影《外星人et》 的英文影评

Nearly twenty years since it was first released on the world, Steven Spielberg's 1982 sci-fi/fantasy masterpiece E.T.: THE EXTRA-TERRESTRIAL remains one of the greatest movies ever made. This is one of those films that makes us feel and think at the same time.

Its story of a very benign alien being accidentally left stranded on Earth and protected by a ten year-old boy (Henry Thomas) from government agents is so well known it doen't really have to be discussed. E.T. is, alternately, magical, fantastic, suspenseful, and sometimes even a bit terrifying. And sprinkled throughout the film are singular moments that really stand out as some of the most unforgettable scenes in cinematic history; by this time, I think we know what those are. For me, perhaps the most priceless scene is the introction between E.T. and Gertie (Drew Barrymore), where she screams her head off, It is one of the very few times where I've wanted to laugh and scream at the same time!

Spielberg's film, though scripted by Melissa Mathison, is almost painfully autobiographical, given what the director has said about his childhood. Like Spielberg, Thomas' character goes through life minus a father, even though his mother (Dee Wallace) does her best. He feels isolated and picked upon in school, as Spielberg frequently did. There is also plenty of religious symbolism that probably doesn't need any analysing and was probably unintentional. In any case, looking past the fact that it won four Oscars--for sound, sound effects editing, special effects, and John Williams' legendary music score--and has grossed over $1 billion, E.T. is a masterpiece of the cinema, pure and simple, and it will always be that way.