in the film "assembly"， i feel their revolutionary heroic spirit of obeying orders to the death as a soldier. in the film, gu zidi, the company commander, resolutely obeyed the orders of his superiors, and faced many enemy troops in a situation of only 47 people. at that time, many soldiers demanded to retreat on the grounds that they had heard the assembly number. however, the company commander gu zidi still kept his promise to the head of the regiment, and even if he reached the final one, he would not retreat. but in fact, no one blew their horn. after several exchanges of fire, all the people in the company died except the company commander gu zidi. even at this time, millet kept fighting, and was finally hit by shells and fainted. the real fighting scenes in the film, the blood spilled by the soldiers, give people a strong shock, give people a very deep impression, let people have a feeling of being there and having a boiling passion.

under the test of life and death, they held their ground. this means that they chose to die. what kind of spirit and will is this? i dare not comment on this. for us living in modern society, i cant imagine what they are dealing with. i have a heartfelt admiration for the soldiers spirit of daring to sacrifice.

姜子牙的英文观后感篇2

总是认为，在美国的中国人只要解决了绿卡的问题，那么就相当于在那里定足了，稳定了。可是看完《刮痧》之后，就不觉得了，更多的明白的是在异国国人的艰辛。

许大同有了荣誉有了房子有了车子，老婆和儿子都有，可是还是存在着很多问题。种族差异是其中最主要的，那里面的文化问题是不可逾越的，不可解决的，这是几千年下来的问题。刮痧，在身上刮出一条一条的，片中所说的，像烤牛排一样鲜红的印子。就是这样的印迹，就让一个家庭支离破碎。

在我这个土生土长的从未走出国门看世界的孩子来说，完全不能想象地域文化差异带来的种.种问题。可是看了这部片子之后，却会觉得在一个文化相通的地方是一件多么幸福的事情。

这部片子的感情个性细腻，一路下来扣住观众的心，丝毫不放松。100分钟下来，欢笑、泪水，从未停歇。至少，我能够明确的感受到那里面表达的情感。在异乡巨大的压力之下的无奈和苦苦忍耐;应对文化差异的无能为力。觉得这部片子不容易，就像人生。

刮痧最让我感触的就是那里面的父爱了吧。那种男生之间的爱。是那么的深厚，是职责和承担。就像刮痧，一下一下，最开始没感觉，慢慢的，身体会感受到热，最终身上留下触目的印迹，可是换来的却是一身的简单。男生之间就是这样吧，不着痕迹，就像春雨，润物细无声。

父爱，就是这样，深厚却不言语。可是，回首是一片的触目惊心，那都是动人的场景。所以，父爱也总是外人看得真切，就像刮痧。

老许和许大同之间的父爱是老北京男生的爱。是承担和隐忍。

老徐来美国，是应了许大同的邀请吧，也想看看自我的孙子。一个在中国也是知识分子的老人只身一人来到美国，一句抱怨也没有，哪怕听不懂，不能说，可是用自我的眼睛，慢慢观察，细细相处。这样的男生是充满智慧的，他看明了，也只是抽烟，也许这样他能够沉默，他能够更加想清楚，想透彻。可是他不是没有缺点的，第一次看见老霍，竟高兴的用北京的爷们性格给他一拍，满天的黄色的粉，这是爽朗，可是细细想来，这也是不够大气的表现，不顾场合，不识大体。可是，这样的情感是真切的，直爽的。再而就是自负，自诩自我的中国的知识分子，到了美国却没有想过要学习英语，只是用他觉得足够丰富的人生经验处事。最终就是他的毛病，抽烟，抽烟的频率实在是太大，不论场合，不论地点都抽。哪怕媳妇再不喜爱也要偷偷的抽，就就是他的不识趣了。

说了这么多，并不是不喜爱他而挑刺，更是正因喜爱他，喜爱他的有血有肉，喜爱他的父感情深。就是这样一个优缺点都明朗的人，才让我更加感受到父亲的宽厚，固执，聪明。

他给丹尼斯刮痧，最终没想到会扯上这么多事，他主动儿子上司家里解释，他不懂英语，搭车过也只是一张纸片，可是他有他的聪明，最终他还是让上司明白刮痧不是许大同做的，并且，刮痧也不是件虐待儿童的事。最终，让我佩服的是，上司开车送他回家，不管是上司的礼貌还是什么，至少证明他是有人格魅力的，不然没有人会乐意这么远送人回家，个性是在美国这个注重时刻的地方。

他为自我的行为负责，他选取离开美国，回到那个熟悉的地方，许大同送他。他心里惦记的依旧是许大同一家三口的事，最终许大同提出要带着他和丹尼斯一齐回国，可是他骂了他。他更懂得职责，他明白职责，就要勇敢的承担，他的肩膀宽厚，他承担了很多，也期望儿子明白，人生就是这样，不是你不喜爱，你不能适应了，就逃避了。而是承担，正因他是男生，更要肩负一个家庭，没有他，就没有了顶梁柱，家就不是家。他没有一个完整的家，可是却履行了一个完整的家男性的主角。

他回国，满心忙碌着寻找刮痧这件中国国粹的事，复印给美国的儿子，就是为了弥补自我无心犯的错，他是爱许大同的，他是一个有职责的父亲。

这样的父爱，总让我想起身后那个宽大的身影，那个父亲，那个不管我犯了什么错都愿意原谅我，愿意包容我，让我成长，看我长大的父亲。

许大同，更是戏剧化，他的坏脾气，他的爱，是一个没有经过任何修饰的，丝毫不掩饰，有了很多美国的气息，更多的直接和鲜明的表达。

在丹尼斯和保罗打架，他硬生生的给了丹尼斯一掌，他在用中国的方式表示了他对上司的尊重，可是他不明白，文化差异是一件多么夸张的事情。最终他也是向上司狂吼，你不是中国人。他太固执，可是又不能不说有原则。

儿子不能回家，他心力交瘁，他用中国的方式求上司，求朋友，可是美国是个讲求原则和证据的地方，不是这样就能够解决的，可是，这样一个把自尊看得很重的男生，还是了。为自我写证词，证明自我多么多么爱孩子，组织了无数次，在听证会上他是有感而发，那是一个父亲对儿子的爱，是真挚的，善良的。

对方的律师对孙悟空的故意扭曲使他生气，正因他觉得他就是孙悟空，那就是他的道德典范。那个虽则意气用事，可是真的猴子，那个为了帮忙师傅被误解也不抛弃任务的猴子，他就是猴子，看似乖张，心里却都是爱。他难免不发飙，可是为了儿子他在后面答应了和妻子分居，那是低头。在外人面前怎样也要强势，在背后为了自我爱的人低头，这就是一个典型的中国男生形象。

他确实十分鲁莽的，送父亲离国，也是能够做出一些不合规则的行动来。他擅自带着丹尼斯到飞机场，企图带着他和父亲回家。对他而言，家是很重要的，就是重要所以当它破碎的时候，却只能想到逃脱。是父亲的话让他清醒，他明白了职责，就像那只猴子，原先只会打妖怪，只会冲动，能够之后，越来越明白，有时候能够透过其他的方式解决，也明白承担这份自我的任务了。他长大了。

他开车带着儿子抚养院，他不想让儿子年幼就明白一些不好的事，一些触及法律的事，他假装简单的带着儿子和警察玩游戏，一路上他看着儿子的笑脸，自我深处的苦也就这样一点点的消散了。最终儿子睡熟了，他也到了，警察逮捕了他，那只猴子被众人踩在脚下，那是丹尼斯最爱的玩具。

圣诞节，就是美国的信念，一家人等待他的团聚，哪怕简宁明白他怕是回不来了，可是他在电话里说，他会，并且会给丹尼斯一份大的圣诞礼物。

他在公园里，迎着寒风，自我做了一个有孙悟空面相的熊仔，在公园被打劫，二话不说的把钱包给他，可是劫犯伸手抢走他的熊仔时，他奋力的扑上，好像什么都不怕，差一点把他打死，这样的勇猛也是爱的表现。

最终，他化身圣诞老人企图进入家里，可是被发现，他竟想着从外排水管爬上，幸好法院撤销他的分居事宜，不然他这样进又是违法。最终，他和丹尼斯，简宁团聚。这是最好的结局。

新年欢乐。

爸爸，你为什么从窗户里进来啊。

正因我们家没有烟囱。

他到最终也没有告诉丹尼斯真相，这样也好，这样宽厚和承担是一个父亲给儿子最好的礼物。

中国的父亲，全天下的父亲都是这样，为了孩子能够做很多很多他们以为做不到的事，父爱也许不及母爱那样细腻。但他就像孙悟空，不管前途多么艰辛，他依旧会对你笑，一眼嬉戏的带着你千山万水，不然你看出他的疲倦。父爱，深深感动。

姜子牙的英文观后感篇3

昨天晚上我和妈妈看了一部电影《天堂的孩子》，并有所感动。

这部电影是围绕一双破了的球鞋展开的，这部电影中的孩子出身于一个贫困家庭，但是哥哥阿里稍不留神丢失了妹妹莎拉的鞋。但是买鞋对于这个贫困家庭来说也是个负担，所以兄妹俩决定不给父母增加负担，于是他俩轮流穿一双球鞋。妹妹莎拉一放学就第一个冲出学校，跑到一条没人的小巷里，这时哥哥已经在小巷等候了。哥哥立马和妹妹换鞋，之后妹妹穿着拖鞋回家去。(以前在伊朗，都是上午女生上学，下午男生上学)。

一次机会，让阿里参加了一个长跑比赛，得到第三名的同学可以得到一双球鞋，于是阿里为了妹妹，他努力去争取，鞋底烂了，脚上磨起泡，已经肿了，还沁出了血，想得个第三名，却不小心得了个第一名，然而没能得到那双鞋。

当我看到莎拉每次害怕哥哥下午迟到而心急如焚地大街小巷来回奔波，交换鞋子，我的心刀绞一般疼痛，而且他们家妈妈病了，爸爸每天出去赚钱，所有的家务都是阿里和莎拉承担，而且他们毫无怨言。我被他们的善良和纯洁而感动。

比起他们，我们的条件不是一般的好，我们一个人就有好几双鞋：高贵的高跟鞋，暖和的棉靴，软软的拖鞋，可爱的红皮鞋，舒适的运动鞋……而且我们一双鞋还没穿多久就又买新鞋，不懂得珍惜。我们只要给父母说什么，他们就给我们买回来什么，有时我们还跟父母发脾气，甚至不听话，而阿里和妹妹莎拉什么都为父母着想，更何况他们的年龄比我们小几岁。

所以为我们现在这么好的条件而知足吧。

姜子牙的英文观后感篇4

“功夫熊猫之父”mark osborne拍摄一部阅读率“仅次于圣经”的法国经典，然后感动了全世界的大人……一句话介绍的话，这就是近日中国上映的《小王子》。

其实当初听说一个好莱坞导演要拍摄法国《小王子》的时候，法国电影人的心情肯定很崩溃，这跟中国人眼睁睁看着老美毁了几版西游记一样，越是经典越会荒诞越会被骂成狗。本来打算看笑话，结果却是：戛纳放映结束，所有观众都被电影感动到哭成狗，近两千名观众和媒体长时间鼓掌向影片主创致敬，要知道，戛纳的掌声是有钱也买不到的。

?小王子》的故事又简单又老套，开篇望女成凤的母亲和学霸女儿，想尽千方百计进名校(原来国外也为名校、学区、教育发愁)，大大讽刺和嘲弄了看似一切尽在自己掌握的成人心态社会现象，然后“学霸”小女孩遇到飞行员(原书中那个飞行员已经老态龙钟)，从误打误撞到两人相识相知，老飞行员对女孩儿说起年轻时在撒哈拉见到过小王子的故事……书本来的故事被作为戏中戏，以折纸静态动画的形式表现出来，这个时候，原著童话才被娓娓道来。牛逼之处，不仅在于mark osborne对原著《小王子》加了学霸小女孩的前序，更狠的是电影导演为原著书还写了一段续篇。

回到地球的老飞行员，想拼尽最后的力气到小王子的沙漠里，再看一眼小王子，而学霸小女孩对老飞行员产生好奇、相识相知、误会及惦记，观众感受到一老一少的友谊带给小女孩(及成年人)轻松愉快而无忧无虑的童年后，又一段精彩的童话戏码上演，小女孩驾着飞机去寻找小王子，又一场冒险。而且这场冒险竟然将之前小王子一个个星球冒险遇见的人集中在一个星球上，而且小王子也毫无意外地长大了，当大家看到穿着清洁工套装的王子先生在疲于奔命的工作时，谁都无法接受，狠狠玩了把讽刺。

看似一个动画片，实则讲两个故事：一个给孩子看，一个给大人感悟。给孩子看的是一老一少寻找小王子，冒险、搞笑、刺激都有，足够让孩子们看得开心。而给大人的是原著小说里对爱与责任的感悟，对成人世界的价值观抨击：现代文明的污染、金钱诱惑、唯利是图的成人行尸走肉世界，还有那些空虚、自大、盲目和愚妄等个体的讽刺等，足够让成年人泪流满面。

作为一部3d电影，本片的音画技巧很不错，戏中戏是以折纸静态动画表现出来，手绘以及定格、cg动画技术交替来表现原著小说中经验视角、叙述视角交替的视角模式，学霸小女孩与母亲、老飞行员的故事线，色调阴冷，故事伤感，但当讲述到小王子的篇章则色调温暖，故事诙谐。作为今年收获全世界最多泪水的动画电影，《小王子》真心推荐，小孩子可以在电影院开心得人仰马翻，成年人肯定被虐得哭成狗。

姜子牙的英文观后感篇5

?罗马假日》是一部很老的片子了，此刻也仅有黑白的珍藏版。故事也十分简单，是一部喜剧。写得是某国安公主在古都罗马访问时，因烦琐的公务事和繁文缛节而逃出大使馆，偶遇一名美国报社记者――祖布什。阿祖带着安公主在罗马逍遥了一天。对我们来说坐在咖啡馆里看风景，在马路上横冲直撞都不算什么，可对于整天封闭于宫廷中的公主来说就不一样了。两个就在这一天的时间内坠入了爱河。可是公主有自我高贵的身份，总要回到自我的地方。全剧仅有最终的场景是悲伤的。两个互爱的人，因为身份的不一样而要分开，是何等的杯具。

?罗马假日》的情节简单，却凭借男女主角的成功出演以及罗马的街头风景成为了世界经典，尤其是奥黛利·赫本，其魅力倾倒了无数影迷，可爱的赫本发型也随之流芳百世。影片将罗马的名胜风光生动地溶入剧情之中，将一部浪漫感情喜剧拍得十分温馨悦目。两个人一个厌烦宫廷礼节的枯燥烦琐，一个是囊中羞涩的小记者，罗马的一日，虽然短暂，可是简便惬意的时光让他们体会感情甜美。虽然最终他们因为各自的身份和职责没有走到一齐，但罗马成为他们永久感情的象征。

故事的开始是一个有些青春期叛逆的发脾气的孩子几乎神经质的絮絮叨叨，良好的教育也不能使她坚持冷静，她几乎要崩溃了。但还是一位访问公主，那个冷寂的空房子，只能使她更加压抑，孩子的天性需要释放，从她跳窗户到穿过长长的甬道，我的心一向绷着，这块洁白无瑕的美玉要受到什么样的熏染呢？

麻醉剂的效果显现出来了！喝醉了酒的陀螺不明白要转到何处。邂逅了一个潦倒的美国记者，高大，英俊，风度翩翩，总之能够称得上是白马王子一类的人物，他并不想招惹这个孩子，生活的烦恼已经上他焦头烂额，没有更多的闲情逸致花前月下。几番周折，公主还是赖在他家了，看到自我的床位被占，记者没有怜香惜玉，可是能够理解，他那样的身高怎样睡沙发啊？第二天，他发现这个女孩子是大英帝国的公主，能够带给他很多财富，他决心利用这个机会回到美国。他要稳住公主，投其所好，就能够大展拳脚了。可惜公主要回家，这哪里是回家啊！只可是是关在家里太久了，出来透透空气。经过派克的精心安排，他们还是决定度过一个“罗马假日”，真正的罗马假日，不要太关注逻辑上的问题，他们流连于罗马的街边咖啡馆，摩托车在马路上横冲直撞，警察局里随机应变，真实之口的妙趣横生，罗马留下了欢声笑语，那时候，真是期望有一个大团圆的结局。

分手很快就来到了，就在那个街的拐角，路旁的房子也显得那么暧昧，街灯也是一幅恋恋不舍的样貌，犹豫的灯光，折射在公主纯洁的脸上，坚强的她还是说出了这些话：你走你的阳关道，我过我的独木桥，但少了很多依依不舍。随着她消失在街的拐角，我感觉到了记者先生的犹豫和失落。“最爱的，是罗马，当然是罗马！”当公主理解公众的敬仰，她生活着很大程度就是为了满足大众的心理，使他们有所敬仰。只此一句话，便胜却万语千言，落入尘间的精灵，俨然某个领域的守护者。

没人能够理解他们的邂逅，但为什么尊敬的人就不能幸福的活着呢？如果她们的生活就那么畸形，没有正常的交往，又有什么可作为大众表率的呢？仅有一个解释，大英帝国的脸面，王室能够理解王子和灰姑娘的故事，却不能理解公主和记者的故事！我们的精灵竟到了她的义务！当所有的人们都离去，记者盯着公主离去的身影，那段对白好像又要浮现，孤独的黯然离开，长长的通道……

奥黛丽．赫本一鸣惊人的处女作，不但当选金像奖影后，并且以其清秀典雅气质在五十年代掀起了“赫本热”，不少女孩模仿其发型服装。就影片的娱乐效果和艺术价值而言，本片也是叫好叫座的经典作。导演威廉．怀勒以罗马的名胜风光生动地溶入剧情之中，英俊潇洒的格利高里．派克亦与奥黛丽赫本十分登对，将一部浪漫感情喜剧拍得十分温馨悦目。

这部浪漫的感情喜剧影片堪称经典之中的经典，多少年来屡映不衰，一代又一代的影迷为之倾倒。同时，这也是一部无法言说的迷人影片，语言在它面前失去了颜色。影片最成功之处，就在于它塑造了一个美丽而不圆满的感情，就像几十年后的《泰坦尼克》一样。感情的魅力就在于它的转瞬即逝和无可奈何。影片在成功的营造了一个喜剧氛围之后，又转回头来成就了一个杯具结尾(当然，这也是别无选择的)，两者结合竟然如此成功，难怪会成为绝世经典。纯粹的喜剧和单调的杯具都无法脱离自身的局限而上升一个档次，这种笑过之后眼角带着泪花的影片才能抓住观众的心。

世上的感情大多是不圆满的，人世间的杯具莫过于此。在影片中这对男女来说，真正遗憾但又真正欣慰的是，两个人都没有说出“我爱你”这三个字，就像《大话西游》中悟空对紫霞一样，仅有深深一吻。但两个人心领神会的无限爱意和无奈又岂是语言所能表达的，这正是影片之所以成为经典的关键。

姜子牙的英文观后感篇6

leo tolstoy said, "happiness lies in living, but life in working." for an unhappy family, happiness is so far away, but the hero of the pursuit of happiness negates it all with his blood.

he lived in a single-parent family until he found his real father at age 28. he was fired from a securities firm, failed many times in his job, and later turned to selling medical equipment, which was stolen by thieves; he runs around, but no one wants to buy his equipment. he was jailed for parking and being unable to pay back the money; he tried his best to keep his family, but his wife left home resolutely. when he was on the verge of bankruptcy, he still worked hard to do his single responsibility, dedicated to raising his son, always guard beside his son. he is obviously so unfortunate, tragic, but he always believe: as long as today hard enough, happiness will come tomorrow, for the future of his son, he had to bite the bullet, pull himself together, everywhere to knock on the door of opportunity, finally he finally chase their dream, become a successful investment expert.

in an ordinary person, i saw his firm, tenacious, responsible and the kind of face cold eyes not to compromise, in this era of everything, in the eyes of these children who are not yet minors, not sensible of independence, how to experience his hard and struggling experience. however, in the usual study and life, we have not encountered heavy difficulties and setbacks, but we have not like the father, challenge their own limits, bear the cold eyes and ridicule of others, in the direction of their dreams!

this movie completely changed my view on happiness. all things are lost before i want to cherish them.cherish now, is to enjoy happiness. happiness is around us, every happiness is hard-won. we should cherish the happy life our parents have created for us and face all the difficulties in study and life correctly.no matter what happens, we have no reason to complain, no reason to escape. as long as there is faith, there is infinite power. only unremitting efforts, happiness will eventually knock!

姜子牙的英文观后感篇7

there are certain films that can heavily shock your soul, then elicit your thinking, and finally change your life. no doubt dead poets society is one of these infrequent films. it is a film about a teacher and his students. it is a film about perseverance and change. it is a film about love and cruelty.

the film is set in the united states in 1959. it shows us a series of things which happened to mr.keating and the young boys in wilton preparatory school.

mr.john keating is certainly the main character of this film. he is a respectable teacher with a high self-cultivation. he has an advanced conception which is different from tranditional educatin. the other two main characters are neil, a boy who is keen on performing, and todd, a boy with a little shyness. from todd, i see how a boy grows into a man.

the film starts with the opening ceremony of wilton preparatory school. todd, a shy boy, starts his school life with his roommate, neil. on the first lesson, their taecher, mr.keating, just told them 'seize the day, make your life extraordinary‘。 he reads whitman's poet oh captain! my captain. he taught the students to swim against the steam and to be themselves but not to perform. students regard mr.keating as a different teacher.

neil rebuilds the 'dead poets society’。 the menbers fall in love with poets, as well as todd. when mr.keating asks students to try writing a poem, todd has no idea. mr.keating is quite angry. with mr.keating's stimulation, the youngster first time shows great talent, reading his own poem loudly.

on the evening of todd's birthday, he talks about his birthday present which is the same every year and his brother ,who is so excellent that makes him feel inferior, with neil, with sadness and a little self-mockery on his face. neil encourages him a lot. finally, todd breaks up the disgusting present. todd smiles to neil, from the bottom of his heart.

neil has a sading ending. after performing on the stage, neil's father takes him home and warns him again. he just wants his son to be a doctor. feeling despairing, in the midmight, neil commits suicide with a gun. both neil's parents and the school think that mr.keating is the only reason for neil's death and decide to fire him. a second before mr.keating leaves the classroom, todd stands up on the desk for his captain, with the menbers of dead poets society followed. at that time, todd throws out his recreance and becomes a real man.

that is the end of this film. i have to say that neil's death is a certain event, whether there is a 'john keating' or not. it is not hard to see the long distance between ideality and reality. what mr.keating said and taught just strengthens the conflict between neil's heart and traditional conception. neil despairs, but todd doesn't. we can see that todd learns a lot from neil and mr.keating, such as optimist, perseverance, courage and many other qualities which he doesn't have before. so he stands up, and dares to shout what he thinks.

i love the boy named todd and his growth. i love the teacher called captain and his freedom. i love the beauty of dream, as well as the cruelty of reality. the film is not only a profound story but also a sincere advice. seize the day, make your life extraodinary. we just need to be ourselves and grow up step by step, with a clear conscience and a tenacious spirit, like a boy grows into a man.

姜子牙的英文观后感篇8

pearl harbor is a monstrous, costly and utterly disrespectful abomination of film with pretensions of serious emotional weight and proper historical context. with the cost of the movie comparable to the damage costs of the actual dec. 7, 1941, attack, more attention should've been paid to the script and research instead of all the models and gasoline for an attack sequence that, while spectacular, was more appropriate for a star wars clone or a video game than an actual world war ii-era film.

and that's about the only "positive," if you can call it that, of that hack michael bay's oscar-bait project. many history buffs have ripped the movie from the angle of historical inaccuracy and omission. assuming that pearl harbor is not meant to be a documentary, but a work of historical fiction, lack of historical accuracy and comprehensiveness is by far the least significant of pearl harbor's problems, per se, although such blatant historical carelessness certainly starts to say a lot about the movie as a whole.

but, if pearl harbor's aim was to be a work of fiction, it has also miserably failed at that. it fails as literature, and it fails as a film. pearl harbor tries to be an amalgamation of three past classic movies on the subjects it covers: 1) from here to eternity, a clever and well acted telling of the stories of several characters' romantic pursuits and personal struggles right before the attack on pearl harbor disrupted everything, 2) tora! tora! tora!, a mostly factual, well balanced depiction of the planning and execution of the actual pearl harbor attack with vintage cinematography, and 3) thirty seconds over tokyo, a meticulously detailed depiction of the doolittle raid with a schmaltzy but genuine love subplot involving one actual soldier and his wife. but pearl harbor falls far short of all three aforementioned films on not only their own terms, but simply as movies.

instead of from here to eternity's clever dialogues and personal plot twists and romantic moments dripping alternately with irony and genuine warmth, pearl harbor wastes its first hour and a half of screen time setting up a sophomoric love triangle that could have been ripped straight from daytime television soap operas and trash talk shows.

the triangle involves two generically glamorous flyboys, played by ben affleck and josh hartnett, who have been friends since childhood. even their names, rafe mccawley and danny walker, are mundane. rafe (affleck) falls in love with a nurse who presides over his physical named evelyn (played by kate beckinsale), who is also generically glamorous. rafe and evelyn spend the next hour or so exchanging pallid lines of dialogue that try too hard to hammer into the audience that, yes, they are in love. sort of like shakespeare or petrarch without any brains and about four centuries too late. in any case, rafe goes to britain to fly for the royal air force, where he faces serious butt-kissing from the brits in a disgustingly patronizing depiction of both british and americans, and gets shot down over london. but (who didn't see this coming) he lives.

but evelyn thinks he's dead. and so does danny (hartnett). after the token few minutes of mourning, danny and evelyn fly above hawaii and then make it like rabbits under parachutes, invoking obvious parallels to titanic's "i'm flying" scene followed by good ol' shagging in a car backseat. more faux-sonnet dialogue follows. then, just like clockwork, rafe comes back, poor evelyn is caught in the middle, and danny and rafe fight jerry springer-style. then it gets interrupted by the spectacular but oddly fake and inhuman money siphon ... er ... i mean, attack sequence characterized by cgi copies of trapped and screaming people.

meanwhile, pearl harbor occasionally alternates to shots of somber-looking japanese spies and soldiers planning the attack, all accompanied by evil-sounding music, going out of the way to make the japanese look like devious souls out for revenge because america wouldn't give them their oil (convenient partial reasoning). then, in an attempt to make the japanese appear somewhat remorseful, the script calls for admiral yamamoto to utter his famous "brilliant man" and "sleeping giant" lines.

after the attack, jon voight does a wonderful impression of peter sellers' dr. strangelove. only problem is, he was supposed to be franklin d. roosevelt.

o, and as for rafe and danny? they've sort of made up. heck, during the attack, they even team up to presumptuously usurp the roles of the two historical heroes of the pearl harbor attack, lts. george welch and kenneth taylor, who took to the skies and shot down anywhere from six to 10 japanese planes.

then our omnipresent plastic heroes listen in on a top gun-esquire rah-rah by alec baldwin's interpretation of col. jimmy doolittle, which leads into a half-baked annotation of the historical doolittle raid, which has the threefold purpose of making sure our two heroes achieve good ol' american vengeance on the japanese, to slap some convenient closure on our three-hour general hospital episode (in case you couldn't figure it out, danny dies, and rafe and evelyn live happily ever after with the parachute baby danny jr.), and to make me wonder why this movie was titled "pearl harbor" and not "babes, bombs and butt-kicking," or something rather. then the credits roll, accompanied by a pop song that sounds like a rejected idea for titanic.

the title "pearl harbor" presumes that this movie is the ultimate cinematic authority on the attack. but instead it amounts to little more than a three-hour soap opera with putrid dialogue that has the gall to give credit to generic g.i. joes for key historical roles. no other work of historical fiction has at the same time taken itself so seriously and managed to show such irreverence both for its subject and for the very craft of film-making.

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姜子牙的英文观后感8篇