名著读后感，或英语电影影评，1000字以上,要英文的，三篇……谢谢 求三篇英语作文，关于英语电影观后感，120字左右，不要太多，...
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\u3000\u3000"Up" is a wonderful film, with characters who are as believable as any characters can be who spend much of their time floating above the rain forests of Venezuela. They have tempers, problems and obsessions. They are cute and goofy, but they aren't cute in the treacly way of little cartoon animals. They're cute in the human way of the animation master Hayao Miyazaki. Two of the three central characters are cranky old men, which is a wonder in this youth-obsessed era. "Up" doesn't think all heroes must be young or sweet, although the third important character is a nervy kid.
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\u3000\u3000The story is wonderful, and the structure is also extremely excellent.The author Emily Bronte use a series of flashbacks and time shifts draws a powerful picture of this story. Because of its wonderful story, excellent structure and graceful language, the book left a deep impression on me.
\u3000\u3000From this book, we understand the deeply love and enmity. We find that the enmity always touched by deeply love at the end of the story, true feelings and true love always moved everyone. So we must treat others with true feelings.
\u3000\u3000That\u2019s all I want to say about Wuthering Heights. It\u2019s really a good book. Readers will really gain much from this book.
英文影评:千与千寻(Spirited Away)
Animated feature from Japanese master Hayao Miyazaki. A young girl finds herself trapped in a mystical realm, where she must find a way to save her parents - who have been turned into pigs
There's something almost criminal about the way Spirited Away took over two years to reach Britain after its original Japanese release. In Japan, Hayao Miyazaki is both commercially successful (his films regularly beat box office records) and highly respected (Akira Kurosawa said: "I am somewhat disturbed when critics lump our works together. One cannot mimimise the importance of Miyazaki's work by comparing it to mine."). In Britain, however, his work has barely got more than a few cursory arts venue screenings. At least Spirited Away - which took the Berlin Golden Bear in 2002 and the Best Animated Film Oscar in 2003 - made it. Better late than never.
After the stress of making his last film, 1997's Princess Mononoke, Miyazaki had a breakdown and retired. But he came out of retirement when an idea to create another, lighter film began to take shape. Princess Mononoke was an action-packed epic that ranged across 15th century Japan. For Spirited Away he returned to the quieter - but no less serious - themes that he addressed to a degree in 1988's My Neighbor Tortoro. Both films feature a family moving house, girls getting used to upheaval, and elements of 'Alice In Wonderland'. But where the 1988 film used a few specific motifs from Carroll's book (a plunge into a 'rabbit hole', a version of the Cheshire cat), Spirited Away casts its 10-year-old protagonist, Chihiro (Hîragi; or Chase in the US dub), fully into a Wonderland, a mystical otherworld populated by animal spirits and gods. Chihiro arrives in this realm by accident. Her parents, heading for their new home, take a road that leads into the woods. Arriving at a dead end, they walk down a corridor through a building and emerge in what dad takes to be "an abandoned theme park". It's something like a Japanese Portmeirion, but eerily deserted. While her parents greedily help themselves to food, Chihiro wanders off and meets Haku (Irino; or Marsden), a boy who warns her to leave before dark. She's too late though - a lake has appeared, blocking her route, ghostly forms have populated the town and her parents have turned into pigs. She's trapped.
The only way to survive, Haku tells her, is to get work in the bath house that dominates the town. Here "eight million gods rest their weary bones", according to Yubaba (Natsuki; or Pleshette), the witch who runs the establishment. Chihiro makes her way to meet Yubaba with the help of Kamajii (Sugawara; Ogden Stiers), a multi-limbed codger who runs the boiler house, Lin (Tamai; Egan), a serving woman with a taste for "roasted newt", and even a 'Radish God', a giant sumo of a chap with tuber-like appendages. Yubaba is hardly forthcoming - her realm is "no place for humans" - but she's forced to give Chihiro work, thanks to an oath she swore. Chihiro gets work helping Lin. But the management give them the worst jobs - such as assisting a hideous oozing creature they take to be a "Stink God; an extra large stinker at that". It's an entity so foul its smell makes food rot instantaneously, while its suppurations fill the room with a noxious gloop.
Chihiro - or Sen as she becomes when Yubaba takes her name as part of her contract - does get by in the bath house, but it's not without further incident. She may lose her identity, but she retains her decency. One act of kindness results in a dangerous spirit, No Face, getting into the bath house and wreaking havoc by playing on the greed of the other employees ("Gold springs from his palms!"). She even gets involved in an adventure that reveals her mysterious bond with Haku. But can she save her parents? It's often said that Katsuhiro Otomo's Akira (1988) is the greatest anime ever. That's as maybe, but every one of Miyazaki's films is a masterpiece, so it's hard to pick just one that stands out. It's also tricky to compare his works with the more traditionally received notion of anime (giant robots, demons with phallic tentacles, telekinetic fighting, atom bomb-style explosions etc).
Although Miyazaki insists it's not his role to be didactic, all of his work (notably his second feature Nausicaa Of The Valley Of The Wind and Princess Mononoke) has strong messages about ecology and the human relationship with the natural world. But he's also fascinated with coming-of-age stories, notably about how girls (many of his protagonists are young females) can not only face up to adult responsibility, but also how they can become strong, principled members of society. Here Chihiro is forced to grow up fast, but the process, while gruelling, is not without real benefits, as her understanding of the way society functions and experience of adult emotions develops exponentially.
Some aspects of the film are likely to be too foreign for Westerners - we're ignorant of Japanese belief systems, with their hierarchies of entities - but Miyazaki's work has the power to transcend such culturally specific elements. While many of his earlier films drew on European stories (such as 1986's Castle In The Sky, from Swift), the folkloric features he reworks are often universal. But most of all, his team's animation - here utilising more digital techniques, while still being grounded in 2D traditions - is always beautiful and, in places, breathtaking. Locations are atmospheric, details are immaculate (you can identify the flower species in the gardens) and characters are diverse. Yubaba, for example, is a bizarre creation, a stocky woman with a huge head and even bigger hairdo; the bath house itself is stocked with all sorts of weird and wonderful creatures, from a Kermit-like assistant, to creatures reminiscent of his cuddly woodland deity from My Neighbor Tortoro, to troll-like beasts that look related to Maurice Sendak's 'Wild Things'). The only factor that could be seen as mildly misjudged is Jô Hisaishi's score, which is overbearing in places.
It's no wonder the likes of Pixar's John Lasseter (who executive produced the US dub) are so full of praise for Miyazaki. He's a true genius, an artist and great filmmaker who happens to work in animation - a medium often belittled as childish in the West. Spirited Away is wonderful.
蜜蜂总动员 Bee Movie review by Roger Ebert
From each according to his ability, to each according to his need.
-- Karl Marx
Applied with strict rigor, that's how bee society works in Jerry Seinfeld's "Bee Movie" and apparently in real life. Doesn't seem like much fun. You are born, grow a little, attend school for three days, and then go to work for the rest of your life. "Are you going to work us to death?" a young bee asks during a briefing. "We certainly hope so!" says the smiling lecturer, to appreciative chuckles all around.
One bee, however, is not so thrilled with the system. His name is Barry B. Benson, and he is voiced by Seinfeld as a rebel who wants to experience the world before settling down to a lifetime job as, for example, a Crud Remover. He sneaks into a formation of ace pollinators, flies out of the hive, has a dizzying flight through Central Park, and ends up (never mind how) making a friend of a human named Vanessa (voice of Renee Zellweger). Then their relationship blossoms into something more, although not very much more, given the physical differences. Compared to them, a Chihuahua and a Great Dane would have it easy.
This friendship is against all the rules. Bees are forbidden to speak to humans. And humans tend to swat bees (there's a good laugh when Barry explains how a friend was offed by a rolled-up copy of French Vogue). What Barry mostly discovers from human society is, gasp!, that humans rob the bees of all their honey and eat it. He and Adam, his best pal (Matthew Broderick), even visit a bee farm, which looks like forced labor of the worst sort. Their instant analysis of the human-bee economic relationship is pure Marxism, if only they knew it.
Barry and Adam end up bringing a lawsuit against the human race for its exploitation of all bees everywhere, and this court case (with a judge voiced by Oprah Winfrey) is enlivened by the rotund, syrupy voiced Layton T. Montgomery (John Goodman), attorney for the human race, who talks like a cross between Fred Thompson and Foghorn Leghorn. If the bees win their case, Montgomery jokes, he'd have to negotiate with silkworms for the stuff that holds up his britches.
All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off. We learn at the outset of the movie that bees theoretically cannot fly. Unfortunately, in the movie, that applies only to the screenplay. It is really, really, really hard to care much about a platonic romantic relationship between Renee Zellweger and a bee, although if anyone could pull if off, she could.
Barry and Adam come across as earnest, articulate young bees who pursue logic into the realm of the bizarre, as sometimes happened on the "Seinfeld" show. Most of the humor is verbal, and tends toward the gently ironic rather than the hilarious. Chris Rock scores best, as a mosquito named Mooseblood, but his biggest laugh comes from a recycled lawyer joke.
In the tradition of many recent animated films, several famous people turn up playing themselves, including Sting (how did he earn that name?) and Ray Liotta, who is called as a witness because his brand of Ray Liotta Honey profiteers from the labors of bees.
Liotta's character and voice work are actually kind of inspired, leaving me to regret the absence of B.B. King, Burt's Bees, Johnny B. Goode, and the evil Canadian bee slavemaster Norman Jewison, who -- oh, I forgot, he exploits maple trees.
贫民富翁(Slumdog Millionaire)
An orphaned Mumbai slum kid tries to change his life by winning TV's 'Who Wants To Be A Millionaire?' in a feelgood fable from director Danny Boyle and the writer of The Full Monty, Simon Beaufoy
Jamal Malik ('Skins' star Dev Patel) is being beaten by Mumbai police for allegedly cheating on hit TV show 'Who Wants To Be A Millionaire?' One question away from the ultimate 20 million rupee prize, no one, including slick show host Prem (Anil Kapoor), believes a chai wallah (teaboy) like Jamal could know all the answers. As the tough inspector (Irfan Khan) replays Jamal's appearance on the show, it's revealed that each question corresponds to a specific life lesson from Jamal's tragic past.
Raised in abject poverty in Mumbai's grimmest slum along with older brother Salim, then orphaned by a Hindu mob attack, Jamal and Salim are forced to fend for themselves on the streets through opportunistic petty crime. They pick up a young girl, fellow orphan Latika (Freida Pinto), escape the clutches of a vicious Fagin-like crime boss, lose Latika, and continue their picaresque adventures, one step ahead of the law. As adolescents, however, Salim becomes entranced by a life of crime and Latika's unexpected return sets brother against brother. Will Jamal salvage his girl, his fortune and his life on 'Millionaire'?
Adapted by Full Monty writer Simon Beaufoy from Vikas Swarup's hit novel 'Q&A', Slumdog is an underdog tale. Beaufoy's lively screenplay scampers after Swarup's self-consciously Dickensian storytelling tradition, and is even built around the 'Millionaire' show, as iconic a symbol of Western capitalist entertainment as exists.
Director Danny Boyle and cinematographer Anthony Dod Mantle have evidently immersed themselves in India's sensory overload. The film revels in the sub-continent's chaotic beauty and raging colours, from Mumbai shantytowns to Agra's regal Taj Mahal. The thrillingly off-the-cuff digital imagery reflects a nation in a state of explosive flux, looming skyscrapers erupting from wasteland, slum kids turning into overnight millionaires through the kiss of television. The film's uniquely vibrant, headlong 21st century rush is that of the infinite possibilities of modern India itself.
Slumdog's such a crowd-pleaser that some critics might brand it Boyle's best since Trainspotting . It even echoes a couple of that film's classic set pieces, notably a slum chase reminiscent of Renton and Co's opening Edinburgh dash and a lavatorial incident so stomach-churning (yet hilarious), it makes Trainspotting's infamous toilet scene seem like Ewan McGregor took an Evian bath.
In fact, the likable Boyle has been on great form for some time - 28 Days Later revamped the zombie movie, Millions is perhaps the best kids film of recent years. No other current British director makes such thrillingly current (all his films are set in either the present or future), kinetic, inherently visual films and proper recognition is long overdue - though, true to form, he's insistent here on crediting co-director Loveleen Tandan, whose major contribution seems to have been unearthing the wonderfully naturalistic kids to play Jamal, Salim and Latika.
Verdict
A spirited underdog fable marinated in modern India's melting pot. Danny Boyle's still the master of spices.
平凡的世界》名著读后感
劳动着是幸福的，无论在哪个时代。《平凡的世界》正白纸黑字的告诉我们这样的人生真谛。它响亮的提出，人，无论在什么位置，无论多么贫寒，只要一颗火热的心在，只要能热爱生活，上帝对他就是平等的。只有作一名劳动者，不把不幸当作负担，才能去做生活的主人，用自己真诚的心去体验，毕竟生命属于我们只有一次。 这是一部用生命来写成的书。在亘古的大地与苍凉的宇宙间，有一种平凡的声音，荡气回肠。 -------------------------------------------- 《平凡的世界》的作者是路遥。当代作家。路遥的小说多是农村题材，担又不局限于农村生活的描写和城市“交叉地带”发生的人和事。特别是着重表现年轻人的生活，通过他们爱情的波折反映出新生活中一代年轻人的价值观。 《平凡的世界》时间跨度是七五年至八五年。发生地点在广袤的黄土高坡上一个叫做双水村的地方。基本上整部小说是写双水村的变化和双水村的人。在这个十年里，中国又发生了惊天动地的变化。双水村及双水村的人是中国和中国人民的缩影。在那段年代里，文化革命结束了，邓小平上台执政带来了改革开放。 里面包含了当时社会生活的方方面面。路遥是想用一种现实主义的笔法细致的勾勒出一幅宏大的社会画卷。在里面各个阶层不论性格面貌的人物都栩栩如生。这是很重要的一点，因为路遥的精湛的小说功底，极其严肃的写作态度，使这部小说具备了作为那一段历史最好的辅助教材。 这部小说给我最大的教育意义则是一种对农民的深刻理解。现代城市年轻人可能很难真正理解农民。农民的生活，农民的想法。农曾经过的日子，农民现在和未来他们也不会关心。但是间接知识也能够贷给我们启示和触动。这就是《平凡的世界》。小说能够深刻的反映农民的生活和喜怒哀乐，读完这些小说从某个意义上说我们也经历过了那个时代，也曾在田中挥汗如雨。这些书的现实意义在于中国的现状，在于历史的延续，在于未来的展望和我们年轻人自身的提高：对人性的理解，对中国的理解，对构成中国大地那一片片生命陆地的人们的理解。 另外一个方面，我很喜欢路遥的出发点——平凡的世界。他的世界是平凡的，这只是黄土高原上几千几万 座村落中的一座。但路遥却在平凡中看到了他的主人公的不平凡。比如说孙少平，他受过了高中教育，他经过自学达到可与大学生进行思想探讨的程度。作者赋予了这个人物各种优良的品质，包括并不好高骛远。在路遥的世界中出现的都是平凡的人物，这是在这些平凡的人物里他描写着人性中的善与美，丑与恶。在他的世界里，人的最大的优点就是认识到自己是平凡的。这点从孙少平身上得到最突出的体现，。当他得到调出煤矿来到城市的机会时，哪怕他选择的是煤矿。这不是又无他有多高的觉悟，而是他对自己工作过的地方的热情和眷恋。他选择了平凡。 然而，就如萨迦格言所说的，“火把虽然下垂，火舌却一直向上燃烧”一样哪怕再平凡的人也应为其所生活的世界奋斗！
译文:
Ordinary world "famous Book
Labor is the well-being, no matter which era. "Ordinary World" is in black and white to tell us the true meaning of this life. Make it loud, people, whatever the location, no matter how poor, as long as a fiery heart, as long as they can to love life, God is his equal. Only as a worker, not as a burden, unfortunately, to do the masters of life, with their hearts in good faith to experience, after all life belongs to us only once. This is a life to write a book. In ancient times the land with desolation of the universe, there is a remarkable voice,荡气回肠. -------------------------------------------- "Ordinary world" The author is Luyao. Contemporary writers. Lu Yao's novels are mostly in rural subjects, Tam is not limited to descriptions of rural life and urban "crossroads" of the people and events took place. Performance with particular emphasis on the lives of young people, through their ups and downs of love life reflects the new generation of young people's values. "Ordinary World" is the time span from 2075 to 2085. Took place in the vast loess slope of a high double-known places where the water village. Basically, the whole novel is written in the village of dual water change and two-water village. In this decade, China has earth-shaking changes have taken place. Water Village, and two pairs of the water village in China and the people are the epitome of the Chinese people. During that era, the end of the Cultural Revolution, Deng Xiaoping came to power brought about by the reform and opening up. At that time, which includes all aspects of social life. Luyao is to use the technique of writing a realistic and detailed outlines of a grand picture of the community. Inside face of all walks of life regardless of character are lifelike characters. This is a very important point, because of the superb novel Luyao good, very serious attitude toward writing, so that the novel has the best history of that period as a teaching aid. The novel gave me the greatest educational value is a deep understanding of the farmers. Modern city may be difficult to really understand the young farmers. The lives of farmers, the farmers think. Days has been farming, the farmers now and in the future they would not care about. Indirect knowledge but also to loans to our inspiration and touch. This is the "mundane world." Novels can be a profound reflection of the lives of farmers and emotions, after reading these stories from a certain sense, we have experienced that era, also in挥汗如雨Tanaka. The practical significance of these books lies in China's status quo, is the continuation of history lies in the future and our young people to raise their own: the understanding of human nature, the understanding of China, China's vast land of movie life that people's understanding of the land . Another aspect, I like the starting point Luyao - ordinary world. His world is extraordinary, this is only the Loess Plateau on the thousands of tens of thousands of villages in a block. However, in the ordinary Luyao see his unusual character.孙少平For example, he received a high school education, he can be reached through self-study and college students to explore the extent of thinking. The author gives the characters a variety of excellent quality, including not ambitious. In Luyao appeared in the world are ordinary people, which is unusual in these figures, he described the good of humanity and the United States, ugly and evil. In his world, people's awareness of the biggest advantages is that they are extraordinary.孙少平body from this point the most prominent manifestation. When he got out of mine came to the city when the opportunity arises, even if his choice is mine. This is not how high he nor the consciousness, but he had worked for their enthusiasm and nostalgic places. He chose the ordinary. However, as萨迦格statement said, "Although the drop torch, flame has been burning up," even as ordinary people no longer should live in a world they struggle!
The Romance of the Three Kingdoms 三国演义 英语读后感
First off, you have to read the full translation of this book. I read the 1976 abridged version of Three Kingdoms translated by Moss Roberts first and thought it was pretty good, but felt that the story wasn't developed enough and lacked cohesion. Then a few years ago I finally found and purchased the full unabridged version published by the University of California Press and also translated by Dr. Roberts. This is the full-blown epic from start to finish with all the details and many of the translation errors of the previous editions eliminated. The prose was also improved and flows eloquently throughout the book's entire 3000+ pages. Three Kingdoms is the tale (part historical, part legend and myth) of the fall of the Later Han Dynasty of China. It chronicles the lives of those feudal lords and their retainers who tried to either replace the empire or restore it. While the novel actually follows literally hundreds of characters, the focus is mainly on the 3 families who would eventually carve out the 3 kingdoms from the remnants of the Han. The Liu family in the Shu kingdom led by Liu Bei, The Cao family in Wei led by Cao Cao, and the Sun family in Wu eventually led by Sun Quan. The book deals with the plots, personal and army battles, intrigues, and struggles of these families to achieve dominance for almost 100 yrs. This book also gives you a sense of the way the Chinese view their history: cyclical rather than linear (as in the West). The first and last lines of the book sum this view up best: "The empire long united must divide..." and "The empire long divided must unite..." If you are at least a little interested in Chinese history (ancient or modern) and culture this book is a must read.
A Dream of Red Mansions 红楼梦 英语读后感
This is book tells the story of a clan which is in the run-down. It is centered in a young man, Baoyu, and all his "sisters".
Don't expect a story in the traditional point of view, I mean like greeks said: an introduction, a development and an end.
This does not follow this trend, well, one could say that it sort of has an introduction and an end as a matter of fact but this book must be read as is, just daily life in the Rong and Ning mansions. Do not expect either a very deep story or characters, it is kind of superficial in fact although there a lot of characters and their whereabouts and machinations are told.
It gives an insight though into what might have been the life in that land and in that time, keep in mind though that this still a book.
西游记英文读后感
"Monkey" the most enchanting character is Sun Wukong, this all-resourceful monkey ascends the sky into, comes and goes freely, unrestrained, has become the children ideal symbol and reposing. West travels 81 with difficulty and a group mysterious strange, the moving heart and soul god evil spirit conflict, reflects learns from experienced people the tribulation which in the process suffers and difficult. “the Daoist scripture” has become “the success” and “the goal” symbol. When often I bump into the difficulty, I would to remember Sun Wukong to help skilled worker the Tang Xuanzang to take the Daoist scripture, did not fear that difficult, indomitable spirit, I will be brave, will overcome another difficulty.
A Journey to the West 西游记 英语读后感
Western literature has no equivalent to The journey to the West. Imagine Dante mixed with Kabala, and peopled by Daniel Boone, Mother Teresa and Wile E. Coyote. This sixteenth-century epic is both one of the half-dozen most venerated works in classical Chinese literature and a staple of popular culture. Its ubiquitous characters and stories appear in comic books, advertisements, even postage stamps. It is, simultaneously, a dragons-and-demons adventure, an allegory of self-mastery, a political satire, an anthology of rich, symbolic poetry, and an esoteric alchemical recipe book. It's picaresque, fantastical, wise. And hilarious.
绛旓細When often I bump into the difficulty, I would to remember Sun Wukong to help skilled worker the Tang Xuanzang to take the Daoist scripture, did not fear that difficult, indomitable spirit, I will be brave, will overcome another difficulty. A Journey to the West 瑗挎父璁 鑻辫璇诲悗鎰 Western lit...
绛旓細鏄嗚櫕璁拌鍚庢劅1 娉曞竷灏旀槸涓浣嶆硶鍥借憲鍚嶇殑绉戝瀹,绉戞櫘浣滃銆備粖澶,鎴戞鐫鏃犳瘮鍠滄偊鐨勫績鎯呰娉曞竷灏旀墍鍐欑殑涓閮ㄨ憲浣溾斺斻婃槅铏銆嬨傛硶甯冨皵鏄涓浣嶅湪鑷劧鐣屼腑鐮旂┒鏄嗚櫕鐨勭瀛﹀,鍦ㄨ嚜鐒剁幆澧冧腑瀵规槅铏繘琛岃瀵熶笌瀹為獙,鐪熷疄鍦拌褰曚笅鏄嗚櫕鐨勬湰鑳戒笌涔犳,鍐欐垚浜嗐婃槅铏銆嬭繖閮ㄦ槅铏宸ㄨ憲,浠栧彈鍒颁簡鍏ㄤ笘鐣屼汉姘戠殑灏婃暚鍜岀埍銆傘婃槅铏銆...
绛旓細鎴橀┈璇诲悗鎰1 銆婃垬椹嬫槸涓鏈潪甯稿ソ鐪嬬殑涔,鎯呰妭鏇叉姌,鏁呬簨鎰熶汉銆傛垜涓鍙ｆ皵鎶婂畠鐪嬪畬浜,鍚堜笂涔,鎴戜緷鐒舵矇娴稿湪鏁呬簨閲,鐪煎墠浼间箮鐪嬪埌浜嗛偅鍖瑰媷鏁,蹇犺瘹鐨勬垬椹璺戝湪绾烽鐨勬垬鐏腑銆 鏁呬簨璁蹭簡涓鍖瑰悕鍙箶浼婄殑椹,鍜屽畠鐨勪富浜虹敺瀛╄壘浼壒缁撲笅浜嗘繁鍘氱殑鍙嬭皧銆傜涓娆′笘鐣屽ぇ鎴樼垎鍙戜簡,涔斾紛涓嶅緱涓嶄笌鑹句集鐗瑰垎寮,璧颁笂浜嗘垬鍦,鎴愪负浜嗕竴鍖规垬椹
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