《私人定制》电影影评

《私人定制》电影影评
《私人定制》电影影评

当提起私人定制这四个字,便会瞬间给人以高端大气上档次、低调奢华有内涵的感觉,私人定制往往多出现在物品身上,而且往往是土豪们的做法。然而江郎才尽的冯小刚,再也想不出没有了吸引观众眼球的东西,于是乎,不得不开始凭借标题党而取胜。虽然很多人说,《私人定制》这部电影是《甲方乙方》的续集,或者说是《甲方乙方2》,虽然冯小刚不否认,但也从未肯定过。因为他给这部贺岁片取了一个响亮的名字,这便是《私人定制》,私人定制中的土豪梦,而这部电影更加演绎的却是私人定制的爱情,而非再是物品,于是乎,当《非诚勿扰》结束后,我们的冯导依旧开始从事着有关爱情的电影,而且是吸引人们眼前的爱情电影。

《私人定制》中,最关键的两个定义无非是“梦想”与“希望”,梦想当然的屌丝们关于定制女神的爱情梦想,而希望则是土豪们关于定制未来伴侣的希望。看似毫无相关的两个词语,却瞬间交融在了一起,每个屌丝的心中,后怀揣着一个土豪梦,每个土豪都希望得到一份私人定制的浪漫爱情,这便是这部电影形成的原因。

冯氏电影,可以说是从爱情转战到记录,然后再从记录转战的爱情,这样互相交替着出现,从《温故1942》后,许

多的人都说冯小刚可谓的江郎才尽的,从古装到战争再到现代,冯小刚近些年来,可以说拍摄的电影把这些东西都包含在了其中。当《1942》结束后,人们看着疲惫的冯小刚,不由的让人们想起,冯小刚可能应该休息了,冯氏电影应该就此收官了。然后倔强的冯小刚却从未放弃过,当从新出发之时,他再次想起了自己的老搭档,这便是葛优,葛优一直是冯小刚贺岁电影中必不可少的成员,也是冯氏幽默中的核心唯一成员,无论这些年来,冯氏的电影中女主角换了多少,但唯一不曾改变的,永远是男主角葛优。

冯小刚用了20年的时间与葛优合作,20年的时间,让人们记住冯氏电影的同时,也深深记住了葛大爷这个光头的形象。20年的时间,说起来看似并不长,然而当我们回头再看时,不由惊叹到,原来他们一起携手走过了20年,跟一对夫妻相处的时间都差不多了。20年来,平均是每两年一部贺岁电影,让我们深深的感受到了冯氏的幽默,同时在我们的欢笑中,我们也记住了这个诙谐幽默的葛大爷。

葛大爷如今已经60岁,《私人定制》对于葛大爷来说,并非是收官之作品,葛大爷在《私人定制》的发布会现场曾说道,这20年来,自己是被冯小刚所抬起来的,所以希望的20年,再拍10部电影,既然冯小刚把自己抬了起来,那

么就需要冯小刚想办法让自己落地。看似平淡的回答,却依旧不失葛大爷保持的幽默风格。

接下来我们说的便是票房,从《非诚勿扰》开始,冯氏电影,便一直创造这票房的神话,同时也让冯氏电影成为内地第一部达到10亿票房的电影,接着是《唐山大地震》《非诚勿扰2》《让子弹飞》,无一例外都创造的票房的神话,于是乎,冯氏电影成为了中国市场上的一种品牌效应,但凡是冯氏电影,必然会创造不俗的票房记录。然而当《1942》上映后,票房却变得惨淡,于是乎,人们不得不说冯小刚可谓是江郎才尽,再也拍不出创造神话的电影。当江郎才尽这四个字围绕冯小刚时,冯小刚漠然了,惨淡的票房让他不得不从新思考自己的电影路线,他视乎明白自己真的不适合拍记录类的电影,而且观众对于冯氏记录类的电影也不买账,观众永远喜欢的是欢笑,永远喜欢的只是贺岁档。

为了摆脱票房惨淡,为了摆脱江郎才尽的这个帽子,冯小刚开始着手拍摄《私人定制》,虽然说《私人定制》是《甲方乙方》的续集,冯小刚不过是给电影换了一个名字,然而这样的无奈之举并没有影响到票房的收益。《私人定制》上映4天的时间,便刷新了票房的记录,成就了3.2亿的票房,看来冯小刚的无奈之举开始有了成效,看来观众依旧还是喜

欢冯小刚的贺岁档。如果说《甲方乙方》成就了葛大爷,那么《私人定制》便是再次成就了冯小刚在贺岁档永远不倒的地位,同时也见证了冯小刚与葛优20年的电影生涯。

《私人定制》电影影评

当提起私人定制这四个字,便会瞬间给人以高端大气上档次、低调奢华有内涵的感觉,私人定制往往多出现在物品身上,而且往往是土豪们的做法。然而江郎才尽的冯小刚,再也想不出没有了吸引观众眼球的东西,于是乎,不得不开始凭借标题党而取胜。虽然很多人说,《私人定制》这部电影是《甲方乙方》的续集,或者说是《甲方乙方2》,虽然冯小刚不否认,但也从未肯定过。因为他给这部贺岁片取了一个响亮的名字,这便是《私人定制》,私人定制中的土豪梦,而这部电影更加演绎的却是私人定制的爱情,而非再是物品,于是乎,当《非诚勿扰》结束后,我们的冯导依旧开始从事着有关爱情的电影,而且是吸引人们眼前的爱情电影。 《私人定制》中,最关键的两个定义无非是“梦想”与“希望”,梦想当然的屌丝们关于定制女神的爱情梦想,而希望则是土豪们关于定制未来伴侣的希望。看似毫无相关的两个词语,却瞬间交融在了一起,每个屌丝的心中,后怀揣着一个土豪梦,每个土豪都希望得到一份私人定制的浪漫爱情,这便是这部电影形成的原因。 冯氏电影,可以说是从爱情转战到记录,然后再从记录转战的爱情,这样互相交替着出现,从《温故1942》后,许

多的人都说冯小刚可谓的江郎才尽的,从古装到战争再到现代,冯小刚近些年来,可以说拍摄的电影把这些东西都包含在了其中。当《1942》结束后,人们看着疲惫的冯小刚,不由的让人们想起,冯小刚可能应该休息了,冯氏电影应该就此收官了。然后倔强的冯小刚却从未放弃过,当从新出发之时,他再次想起了自己的老搭档,这便是葛优,葛优一直是冯小刚贺岁电影中必不可少的成员,也是冯氏幽默中的核心唯一成员,无论这些年来,冯氏的电影中女主角换了多少,但唯一不曾改变的,永远是男主角葛优。 冯小刚用了20年的时间与葛优合作,20年的时间,让人们记住冯氏电影的同时,也深深记住了葛大爷这个光头的形象。20年的时间,说起来看似并不长,然而当我们回头再看时,不由惊叹到,原来他们一起携手走过了20年,跟一对夫妻相处的时间都差不多了。20年来,平均是每两年一部贺岁电影,让我们深深的感受到了冯氏的幽默,同时在我们的欢笑中,我们也记住了这个诙谐幽默的葛大爷。 葛大爷如今已经60岁,《私人定制》对于葛大爷来说,并非是收官之作品,葛大爷在《私人定制》的发布会现场曾说道,这20年来,自己是被冯小刚所抬起来的,所以希望的20年,再拍10部电影,既然冯小刚把自己抬了起来,那

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因为想顺便灭蟑螂不关窗却被消毒车喷得像虫一般窒息。 一个铅球冠军的妈妈,一个四次没考上大学的儿子,一个空有才艺没有学历的女儿,还有一个车技精湛却只能沦为泊车小弟的爸爸, 在经营台湾古早蛋糕店倒闭后放弃了努力工作改善生活的想法, 彻底变身寄生虫家庭。 全员入驻社长的豪华别墅后, 一家人展示出了并不输专业的能力, 基宇虽伪造学历,但给富家女补习英语时却讲得头头是道; 基婷看起来是不务正业的太妹,却进门就将谁也搞不定的顽童收拾得服服帖帖恭恭敬敬; 基泽老道的驾驶技术获得了社长大赏,咖啡测速的片段不输当年的秋名山车神; 贞淑的家务活更是做的井井有条十拿九稳,这点在雨夜戏的浣熊面片段足以看出功力。 然而讽刺的是, 聪明能干的一家人, 在行骗前却只能沦为半地下室的四只虫(实在害怕再打出那两个字) 在阴暗潮湿的角落里佝偻着, 而富人一家却愚蠢到基本分辨能力都没有,

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电影一个都不能少观后感(通用4篇) 电影一个都不能少观后感 认真观看完一部影视作品以后,相信大家的视野一定开拓了不少吧,需要好好地对所收获的东西写一篇观后感了。那么我们该怎么去写观后感呢?下面是精心整理的电影一个都不能少观后感(通用4篇),仅供参考,欢迎大家阅读。 电影一个都不能少观后感1星期五的下午,我们二年级三个班的老师和同学在学校阶梯教室看了一部电影,名字叫《一个也不能少》。 电影情节是这样的:有一个贫困的小山村,村里有个水泉小学,小学里只有28个孩子,课桌、椅子都破烂得不成样子,但孩子们的脸蛋是红扑扑的。学校里只有一个老师姓高,同学们都叫他高老师。一天,高老师的母亲病危,所以不得不回家探望,村长找了一个代课老师叫魏敏芝,并吩咐她学生“一个都不能少”。一天,一个叫张慧科的同学去城里打工了,魏老师凑钱买票但钱不够,不得不去混车,结果半路被识破推下车,她走呀走。一路上买纸写寻人启事,风餐露宿,最令我感动的是魏老师在电视台前那一遍遍地问:“你是台长吗?”然后她在电视台发出了呼喊:张慧科,你快回来!我找你三天了。那抽泣的声音在我耳边久久回荡。因为魏老师的愿望只有一个:全班二十八,一个都不能少。最后在大家的共同努力下,张慧科找到了,大家还给小山村捐了许多物资,渐渐地学校的条件也变好了。 看完这部影片,我想:我们的学习条件这么好,与那个破烂不堪的水泉小学相比简直是天壤之别,如果还不努力学习,那就太不好意思了,我以后一定要更加努力! 电影一个都不能少观后感2如今是二十一世纪,我们都坐在宽敞明亮的教室里,用电脑上课,可是在偏僻的贫困山区,跟我们是截然不同的景象。这次老师给我们看《一个都不能少》电影正是讲述一个在贫困山区的`代课老师的故事。 在电影中,有个情节触动了我。粉笔在教室里甚至可以说成理所当然的事情,可对于贫困山区的学校来说,是非常珍贵的。学习委员是个女孩,她十分珍惜粉笔,她印象中的高老师,连一个捏都捏不住的粉笔头都不肯丢弃,能多写一个字也是好的,所以当魏敏之教训调皮捣蛋的学生张惠科时,把本已摔断的粉笔又踩了一遍,她拚命阻止,魏敏之知道后,让张惠科道歉,并买了一盒新粉笔。 看到这儿,我十分惭愧,因为我有时也背着老师,偷偷用粉笔砸人,如果说电影中的学习委员是个爱惜公共财物的人,我就象个品德低下、没公德心、不珍惜财物的人,所以我决定以后一定要爱惜粉笔,爱惜一要教学用品。 相比贫困山区的教学条件来说,我们是幸运的,所以我们更应该珍惜这来之不易的学习机会。 电影一个都不能少观后感3看影片《一个都不能少》后,我不由得赞叹“多好的一位老师!” 影片中的主人公——代课教师魏敏芝仅仅13岁,小学刚毕业,当时要代替高老师上课了,高老师临走之前告诉她:全班28名学生,在他回来之前,“一个也不能少”! 内因魏敏芝可以极力克服,而外因却给魏敏芝带来了不少的压力。第一次县里选拔明新红为跑步运动员,她以“失踪”保住了“一个都不能少”。第二次张家慧因家庭贫寒,突然离校进城打工挣钱去了,这件事可急坏了魏敏芝。为了“一个都不能少”,她小小年纪,又是女孩子,社会交往又少,路途又远,怎么办?魏敏芝首先与同学们一块儿商量,继而单独一个进城寻找,在寻找中,她一整天没顾得吃饭,一整夜呆在电视台门外,为了“一个都不能少”,她忍耐着,她到长途车站,用身上所有的钱买了纸和笔墨车寻人启事,又进电视台…… 魏敏芝忍饥挨饿,风餐露宿,四处奔波,是什么力量在激励着她?是爱我课堂,遵守诺言“一个都不能少”。是忠实党的教育事业的一颗赤胆忠心。

Tess(苔丝)1979经典电影英文影评

Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1

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