英文电影的观后感（英文）不要太深奥哦!3篇

英文电影的观后感（英文）不要太深奥哦!3篇

初恋50 First Dates
What would it feel if I can wake up
everyday forgetting what happened for the last whole year?
Lucy in the movie “50 First Dates” told me
this feeling. Every morning when she woke up, she only rememberred the Sunday
of last year which was her father’s birthday, also the date she had the car
accident which made her only keep memory before Sunday, so she always felt
happy living the same habit as what she did on Sunday a year ago with the kind
set-up by her father and brother. After meeting Henry, she could only remember
who he was on the same day. But after one night, he became a stranger to her.
She couldn’t even recognize he was the one she used to date and love everyday.
Henry tried his best to give her a new different meeting every day so as to win
her smile and regain their “First Date”. Henry made her tapes every morning to
help her remember what happened the day before and the last whole year. Lucy
thus felt grateful with all she had when she woke up everyday. On the same day,
she always had the same deep gratitude to face Henry with her sweet smile.
What a beautiful feeling it is to always
feel thanksgiving and to always appreciate each other’s effort. A touching
story between a memory lost woman and a devoted man taught all of us, normal
people, the essence of love. When two people can thank each other for their
devotion everyday like what they did for each other on first date, love can
forever be refreshed and energetic. On Lucy’s side, people with memory will ask
for more than yesterday and become critical of their partners day by day, while
people without memory will feel grateful for their life and the people around
them everyday.
In the movie, when one day Lucy decided to
break up with Henry to let him rebuild his life by burning all their diaries
and tapes, I cried for Henry’s broken heart. For her, it was just one day
feeling. For him, it was long-term affection and connection. It was easier for
her than him to give up their love. On Henry’s side, people with memory will
always remember the past happiness and treasure it for the rest of their life,
while people without memory will easily give up at the end of the same day.
What a ruthless feeling it is to end a
relationship just after one minute thought. People with fragile mind would
easily ruin a long-term relationship no matter what reason they have. The
torture between Lucy and Henry tells us the fatal factor to do harm to intimacy
between a couple is their fragile mind of balancing emotion and reason. Thus
most of couple lose their trust for each other after experiencing this weakly
testing broke-up.


飓风Taken
What is the right relationship between the
father and the daughter? There is no certain answer. But the love of Brain's to
his daughter must be one of the best ones.
His daughter, a young pretty 17-year-old
girl was kidnapped during a tour in Paris. Brain got the news and hurried to France
to take his daughter. He found that the gangsters that kidnapped his daughter
were connected with an old friend which made him exetreme angry. He finally
found the place where was holding an auction selling young virgins and broke in
successfully taking his daughter away.
No matter how hard and stressful the
situation was, and how dangerous things he faced, he never went back just
because of the greatest love of a simple father. In the movie, we are all moved
not only his actions of kindness, but also his insistance and the greatest of
all- a father's love.

魔术师THE ILLUSIONIST FACTS

When word of the famed Eisenheim's (Ed
Norton) illusions reaches Crown Prince Leopold (Rufus Sewell), the ruler
attends one of the magician's shows in order to debunk the performance. But
when the prince's intended, Sophie von Teschen (Jessica Biel), assists the
magician onstage, Eisenheim and Sophie recognize each other from their
childhoods, and pretty soon they're totally hot for each other. As the
clandestine romance continues, the prince's best cop (Paul Giamatti) is charged
with exposing Eisenheim, even while the magician gains a devoted and vocal
public following. Before long, Sophie turns up dead, and the logical suspect is
Eisenheim himself.

一线声机"Cellular" has the setup for a solid straight-ahead
thriller: A kidnap victim who does not know where she is being held phones a
total stranger who must then stay connected on his cell phone to find her
before she is killed. Joel Schumacher scored earlier with a similarly phone-themed
Larry Cohen story, "Phone Booth." As executed by tone-deaf director
David R. Ellis, however, "Cellular" becomes an unintentionally
hilarious cousin to Brian de Palma's "Raising Cain" and "Snake
Eyes."

Ellis seems to have unwittingly spliced together
two different films with mismatched tones: Kim Basinger as the kidnapee and
Jason Statham as the kidnapper occupy the deadly-serious, straight-to-video
thriller half, while Chris Evans as the rescuer and William H. Macy as a police
officer seem to be in a "Saturday Night Live"-alum action comedy.
Nowhere else is the disjointedness in tone more apparent than when Basinger and
Evans's performances are placed side-by-side during their conversations: The
scenes keep cutting between an overwrought Basinger wringing out every drop of
melodrama, while a blissfully inept Evans seems to be channeling a cross
between Chris Kattan/Jimmy Fallon and Ben Affleck/Keanu Reeves.

Meanwhile, Ellis pulls out tricks intended
to generate thrills and surprises. He throws in out-of-nowhere
"shocks," a la "Final Destination"; he throws in
flashbacks; he throws in a gun-blazing Macy in Jerry Bruckheimer action-hero
slo-mo; and yet, Ellis has no handle on staging any of them competently. Case
in point: "Cellular" is the proud owner of one of the most ineptly
scored chase sequences ever, as if Ellis simply heard a snippet of the song's
lyrics ("...where you gonna run to?") literally and paid no attention
to the inappropriateness of the accompanying music (which just bop, bop, bops
along). (The song is even reprised during the closing credits, which itself is
misbegotten in conception.)

And yet, for all of its failures as art,
"Cellular" is always entertaining for those very same faults