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飛屋環(huán)游記觀后感英文
Up is the latest film from Pixar, and this time the main character is not a robot or rat or monster, but rather a little old man who looks like Spencer Tracy and occasionally growls like Clint Eastwood in Gran Torino. After his wife dies, Carl Fredericksen (Ed Asner) faces a lonely life ahead, possibly in a retirement community. He decides to have the adventure that he and his wife always dreamed of, and sets out for the quasi-legendary Paradise Falls in South America. His method of travel? The family home, lifted by an amazing canopy of balloons. However, he isn't alone ... he's inadvertently picked up an enthusiastic 8-year-old Wilderness Explorer, Russell (Jordan Nagai), who only wants to help.
As the movie progresses, Carl's house stops being a means for escape and adventure, and turns into a burden that the two explorers have to drag around with them. And the movie shifts from a sweet and slightly fantastic story about how an older man copes with loneliness and regret, into a comic action-adventure tale with a setting and characters that would be right at home in Warner Bros. cartoons, especially the "Road Runner" series. Only instead of Wile E. Coyote, Carl and Russell find the explorer who inspired Carl when he was Russell's age, Charles Muntz (Christopher Plummer).
Up moves smoothly from romance to drama to fantasy to comedy to action-adventure and then back to sentimental drama again, without jolting your emotions around too much. The sentimental parts are sweet but not cloying or overdone. On the other hand, the Carl-Russell relationship seemed a little too familiar to me, something we've encountered for decades, from "Dennis the Menace" to Bad Santa, without offering much that is new. I also would have liked Muntz to be a little less two-dimensional, so to speak. However, as a friend pointed out, Carl and Muntz have a wonderful dynamic that may remind you of not only Spencer Tracy but Kirk Douglas, together at last.
Co-director Pete Docter also directed Monsters, Inc., another Pixar comedy with some sweet moments and even a few that have you complaining about the allergies and the way that screen glare can make your eyes water. Bob Peterson, who contributed to scripts for Finding Nemo and other Pixar movies, co-directed and wrote the screenplay and voices one of the dogs. Pixar fans will appreciate the little touches typical of the studio's films -- of course John Ratzenberger has a role, this time as a construction worker, and there are a number of quick visual jokes that are impossible to catch in a single viewing.
It goes without saying, as it has for even the weaker Pixar entries, that the movie looks gorgeous. I saw Up in 3-D, found the 3-D effects to be very subtle ... so subtle that at times I wondered if parts of the film had been rendered into 3-D at all. The 3-D occasionally adds some depth of field that enhances the overall look of the movie, but for the most part you could do without it and not miss anything. I'm a little sorry that the one theater in town with 4K digital is only showing the movie in 3-D because I would love to see how a high-quality traditional screening fares in comparison.
Up is good enough to be included in arguments about which Pixar film is best, although I would still fight for Ratatouille, myself. Is Up a children's film with side jokes for adults, a family film, or a film that's made for grownups but has many elements that children also can enjoy? At times it seems to fit in any of these categories as well as others -- it would be a great date film -- but ultimately it boils down to being a very good movie that defies demographic categorization. In other words, if you're old enough to sit quietly through a feature film, go see it. (And bring tissues.)
飛屋環(huán)游記的英文觀后感2
In its opening stretch the new Pixar movie “Up” flies high, borne aloft by a sense of creative flight and a flawlessly realized love story. Its on-screen and unlikely escape artist is Carl Fredricksen, a widower and former balloon salesman with a square head and a round nose that looks ready for honking. Voiced with appreciable impatience by Ed Asner, Carl isn’t your typical American animated hero. He’s 78, for starters, and the years have taken their toll on his lugubrious body and spirit, both of which seem solidly tethered to the ground. Even the two corners of his mouth point straight down. It’s as if he were sagging into the earth.
Eventually a bouquet of balloons sends Carl and his house soaring into the sky, where they go up, up and away and off to an adventure in South America with a portly child, some talking (and snarling and gourmet-cooking) dogs and an unexpected villain. Though the initial images of flight are wonderfully rendered — the house shudders and creaks and splinters and groans as it’s ripped from its foundation by the balloons — the movie remains bound by convention, despite even its modest 3-D depth. This has become the Pixar way. Passages of glorious imagination are invariably matched by stock characters and banal story choices, as each new movie becomes another manifestation of the movie-industry divide between art and the bottom line.
In “Up” that divide is evident between the early scenes, which tell Carl’s story with extraordinary tenderness and brilliant narrative economy, and the later scenes of him as a geriatric action hero. The movie opens with the young Carl enthusing over black-and-white newsreel images of his hero, a world-famous aviator and explorer, Charles Muntz (Christopher Plummer). Shortly thereafter, Carl meets Ellie, a plucky, would-be adventurer who, a few edits later, becomes his beloved wife, an adult relationship that the director Pete Docter brilliantly compresses into some four wordless minutes during which the couple dream together, face crushing disappointment and grow happily old side by side. Like the opener of “Wall-E” and the critic’s Proustian reminiscence of childhood in “Ratatouille,” this is filmmaking at its purest.
The absence of words suggests that Mr. Docter and the co-director Bob Peterson, with whom he wrote the screenplay, are looking back to the silent era, as Andrew Stanton did with the Chaplinesque start to “Wall-E.” Even so, partly because “Up” includes a newsreel interlude, its marriage sequence also brings to mind the breakfast table in “Citizen Kane.” In this justly famous (talking) montage, Orson Welles shows the collapse of a marriage over a number of years through a series of images of Kane and his first wife seated across from each other at breakfast, another portrait of a marriage in miniature. As in their finest work, the Pixar filmmakers have created thrilling cinema simply by rifling through its history.
Those thrills begin to peter out after the boy, Russell (Jordan Nagai), inadvertently hitches a ride with Carl, forcing the old man to assume increasingly grandfatherly duties. But before that happens there are glories to savor, notably the scenes of Carl — having decided to head off on the kind of adventure Ellie and he always postponed — taking to the air. When the multihued balloons burst through the top of his wooden house it’s as if a thousand gloriously unfettered thoughts had bloomed above his similarly squared head. Especially lovely is the image of a little girl jumping in giddy delight as the house rises in front of her large picture window, the sunlight through the balloons daubing her room with bright color.
In time Carl and Russell, an irritant whose Botero proportions recall those of the human dirigibles in “Wall-E,” float to South America where they, the house and the movie come down to earth. Though Mr. Docter’s visual imagination shows no signs of strain here — the image of Carl stubbornly pulling his house, now tethered to his torso, could have come out of the illustrated Freud — the story grows progressively more formulaic. And cuter. Carl comes face to face with his childhood hero, Muntz, an eccentric with the dashing looks and frenetic energy of a younger Kirk Douglas. Muntz lives with a legion of talking dogs with which he has been hunting a rare bird whose gaudy plumage echoes the palette of Carl’s balloons.
The talking dogs are certainly a hoot, including the slobbering yellow furball Dug and a squeaky-voiced Doberman, Alpha (both Mr. Peterson), not to mention the dog in the kitchen and the one that pops open the Champagne. And there’s something to be said about the revelation that heroes might not be what you imagined, particularly in a children’s movie and particularly one released by Disney. (Muntz seems partly inspired by Charles Lindbergh at his most heroic and otherwise.) But much like Russell, the little boy with father problems, and much like Dug, the dog with master issues, the story starts to feel ingratiating enough to warrant a kick. O.K., O.K., not a kick, just some gently expressed regret.
飛屋環(huán)游記的英文觀后感3
Given the inherent three-dimensional quality evident in Pixar's cutting-edge output, the fact that the studio's 10th animated film is the first to be presented in digital 3-D wouldn't seem to be particularly groundbreaking in and of itself.
But what gives "Up" such a joyously buoyant lift is the refreshingly nongimmicky way in which the process has been incorporated into the big picture -- and what a wonderful big picture it is.
Winsome, touching and arguably the funniest Pixar effort ever, the gorgeously rendered, high-flying adventure is a tidy 90-minute distillation of all the signature touches that came before it.
It's also the ideal choice to serve as the first animated feature ever to open the Festival de Cannes, considering the way it also pays fond homage to cinema's past, touching upon the works of Chaplin and Hitchcock, not to mention aspects of "It's a Wonderful Life" "The Wizard of Oz" and, more recently, "About Schmidt."
Boxoffice-wise, the sky's the limit for "Up."
Even with its PG rating (the first non-G-rated Pixar picture since "The Incredibles"), there really is no demographic that won't respond to its many charms.
The Chaplin-esque influence is certainly felt in the stirring prelude, tracing the formative years of the film's 78-year-old protagonist, recent widower Carl Fredricksen (terrifically voiced by Ed Asner).
Borrowing "WALL-E's" poetic, economy of dialogue and backed by composer Michael Giacchino's plaintive score, the nostalgic waltz between Carl and the love of his life, Ellie, effectively lays all the groundwork for the fun stuff to follow.
Deciding it's better late than never, the retired balloon salesman depletes his entire inventory and takes to the skies (house included), determined to finally follow the path taken by his childhood hero, discredited world adventurer Charles F. Muntz (Christopher Plummer).
But he soon discovers there's a stowaway hiding in his South America-bound home in the form of Russell, a persistent eight-year-old boy scout (scene-stealing young newcomer Jordan Nagai), and the pair prove to be one irresistible odd couple.
Despite the innate sentimentality, director Pete Docter ("Monsters, Inc.") and co- director-writer Bob Peterson keep the laughs coming at an agreeably ticklish pace.
Between that Carl/Russell dynamic and Muntz's pack of hunting dogs equipped with multilingual thought translation collars, "Up" ups the Pixar comedy ante considerably.
Meanwhile, those attending theaters equipped with the Disney Digital 3-D technology will have the added bonus of experiencing a three-dimensional process that is less concerned with the usual "comin' at ya" razzle-dazzle than it is with creating exquisitely detailed textures and appropriately expansive depths of field.
There’s nothing better than an easy review: Pixar’s latest summer offering, UP, is a fantastic film. Simply fantastic. Seriously, if Ratatouille and Wall-E deserved to be in the running for Best Picture of the Year (as many said they did at the times of their releases) then UP certainly does.
It’s that good.
屋環(huán)游記的英文觀后感4
The film - which was written by Bob Peterson (Finding Nemo, Ratatouille) and directed by Peter Docter (Monsters, Inc.) - delivers all the things we’ve come to expect from a Pixar animated feature: gorgeous visuals, a strong story rife with moral lessons and (gasp) good character development; humor both low-brow (for the kids) and high-brow (for the grownups), with strokes of bold wit and a dash of sagely wisdom for good measure.
And yet, UP also delivers something quite unexpected: Pixar’s most adult-oriented story yet, slyly disguised in a fantastic adventure tale.
UP tells the life story of Carl Fredricksen (the unmistakable voice of Ed Asner), a shy little boy who grows up in (1930s?) America, an era in which people pack into movie theaters to watch news reels about adventurous explorers like Charles Muntz, who travels the world on one epic quest after the next.
Young Carl Fredricksen idolizes Muntz: He spends his lonely days roaming his neighborhood pretending to be Muntz until one day he runs into Ellie, an energetic and fearless young girl (everything Carl is not) who idolizes Charles Muntz just as much as Carl does. Ellie and Carl cross their hearts then and there and swear to be great adventurers like Charles Muntz, and with that oath, theirs is a match made in heaven.
After that fateful first encounter, we get a truly beautiful montage of Carl and Ellie’s life-long romance. We see the young kids grow into a teenage couple; see them get married and buy a house, working day jobs (balloon vendor) while saving up for the kind of adventures they fantasized about as kids. We watch the couple deal with the ups and downs, joys and tragedies of life; and gradually we watch them grow into old age, Ellie’s “My Adventures” scrapbook still unfilled, even as her time on Earth ends.
With Ellie gone, Carl becomes a disgruntled old man desperately trying to hold on to a house, heirlooms and a lost-love he cherishes. A physical confrontation with neighborhood developers leads to Carl being forced into a retirement home for the rest of his days - but before the old man will give in he decides to honor the oath he and Ellie swore as kids and take one last shot at adventure! Carl ties an impossible number of balloons to his house (working a balloon cart at the zoo was his job for many years), rigs a steering system and UP he goes!
執(zhí)著，信任，希望和愛，是皮克斯電影里永恒的主題，它們并不是要告訴人們這些理念有多么偉大，而是讓觀眾隨著主人公們的經(jīng)歷一起重新理解這些被過分濫用甚至扭曲，但卻無時(shí)無刻不在左右我們生活的人性。這份真誠，不會(huì)讓人失望的。
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.
主演: 卡爾(Carl Fredricksen)卡爾(Carl Fredricksen)假小子艾麗(Ellie) 小男孩小羅(Russell)
查爾斯·蒙茲(Charles Muntz) 凱文(Kevin)
劇情簡(jiǎn)介
小男孩卡爾(Carl Fredricksen)懷揣著對(duì)于冒險(xiǎn)的熱愛偶遇假小子艾麗(Ellie)，而艾麗把整個(gè)屋子當(dāng)成一艘大飛船游戲居然使他對(duì)這個(gè)女孩子有些著迷，相同的愛好最終使兩個(gè)人成為了一生的愛侶。
他們有一個(gè)夢(mèng)想，那就是有朝一日要去南美洲的“仙境瀑布”探險(xiǎn)，但直到艾麗去世，這個(gè)夢(mèng)想也未能實(shí)現(xiàn)。終于有一天，曾經(jīng)專賣氣球的老人卡爾居然用五顏六色的氣球拽著他的房子飛上了天空，他決定要去實(shí)現(xiàn)他們未曾實(shí)現(xiàn)的夢(mèng)想。令卡爾始料不及的是，門廊居然搭上了一個(gè)自稱是“荒野開拓者”的小男孩小羅 (Russell)，小羅的喋喋不休讓卡爾對(duì)這個(gè)小胖墩格外討厭。
一老一少在飛行中經(jīng)過了千難萬險(xiǎn)終于看到了傳說中的“仙境瀑布”，在相處過程中卡爾發(fā)現(xiàn)小羅其實(shí)是個(gè)惹人憐愛的孩子。在步行穿越一座森林時(shí)，他們遇到了不會(huì)飛的大鳥凱文(Kevin)和一只會(huì)說話的狗狗逗逗(Dug)，讓老人驚訝... (展開全部) 小男孩卡爾(Carl Fredricksen)懷揣著對(duì)于冒險(xiǎn)的熱愛偶遇假小子艾麗(Ellie)，而艾麗把整個(gè)屋子當(dāng)成一艘大飛船游戲居然使他對(duì)這個(gè)女孩子有些著迷，相同的愛好最終使兩個(gè)人成為了一生的愛侶。
他們有一個(gè)夢(mèng)想，那就是有朝一日要去南美洲的“仙境瀑布”探險(xiǎn)，但直到艾麗去世，這個(gè)夢(mèng)想也未能實(shí)現(xiàn)。終于有一天，曾經(jīng)專賣氣球的老人卡爾居然用五顏六色的氣球拽著他的房子飛上了天空，他決定要去實(shí)現(xiàn)他們未曾實(shí)現(xiàn)的夢(mèng)想。令卡爾始料不及的是，門廊居然搭上了一個(gè)自稱是“荒野開拓者”的小男孩小羅 (Russell)，小羅的喋喋不休讓卡爾對(duì)這個(gè)小胖墩格外討厭。
一老一少在飛行中經(jīng)過了千難萬險(xiǎn)終于看到了傳說中的“仙境瀑布”，在相處過程中卡爾發(fā)現(xiàn)小羅其實(shí)是個(gè)惹人憐愛的孩子。在步行穿越一座森林時(shí)，他們遇到了不會(huì)飛的大鳥凱文(Kevin)和一只會(huì)說話的狗狗逗逗(Dug)，讓老人驚訝的是他們還遇到了他少年的崇拜偶像——探險(xiǎn)家查爾斯·蒙茲 (Charles Muntz)，而且他發(fā)現(xiàn)蒙茲居然是一個(gè)為達(dá)目的不擇手段的壞人。這時(shí)，老人離自己的夢(mèng)想之地只有一步之遙……
美國影片與中國影片最大的不同就是從不說教，但卻會(huì)讓你感動(dòng)，感悟，會(huì)人性，對(duì)人生，對(duì)生活，乃至對(duì)世界的大的價(jià)值觀有一種正確的認(rèn)同。正義，環(huán)保，以及愛情和感情，總是在影片中一點(diǎn)一滴的讓你接受。反觀我們的影片，總是以一種愚蠢的高高在上的姿態(tài)，告訴我們，該怎樣，不該怎樣，特別是總是要把愛黨、愛國、愛人民掛在嘴上，這不但收不到效果，反而更讓人反感。刨除社會(huì)意識(shí)形態(tài)，世界各國人民大的價(jià)值觀是趨同的，都是向往民主democracy、自由、正義、和平。不得不承認(rèn)，西方文化對(duì)這方面研究運(yùn)用的很嫻熟consummate，他們注重細(xì)節(jié)，通過細(xì)節(jié)來潛移默化be imperceptibly influenced by的傳遞出自己的價(jià)值觀，而且讓你不由自主的接受這種價(jià)值觀�！讹w屋環(huán)游記》里的每一個(gè)場(chǎng)景，每個(gè)對(duì)白都是那么精心，那么認(rèn)真。男主人公自己獨(dú)居后，所住的房子成了房地產(chǎn)開發(fā)商眼中的釘子戶，開發(fā)商特意設(shè)計(jì)成穿著黑西服Western-style clothes，看不到眼睛的黑勢(shì)力形象的人物，開發(fā)商手下的人不得不想辦法讓老人搬走，但卻設(shè)計(jì)的很溫情，同情老人，而且還變相的幫助老人。這樣的場(chǎng)景影片中很多，看起來那么溫情，真實(shí)。
每個(gè)人都有夢(mèng)想，影片的主線就是實(shí)現(xiàn)夢(mèng)想，并由夢(mèng)想清醒過來，維護(hù)正義的一個(gè)過程的展示�？雌饋砜捎H，愉悅，溫情。但在片中我看到了人性的良善，看到了成長(zhǎng)，看到了正義戰(zhàn)勝邪惡。這些就夠了，呵呵，有機(jī)會(huì)朋友們也看看吧，別以為只不過是一部動(dòng)畫片，我相信你也會(huì)被感動(dòng)的。
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