人鬼情未了观后感英文

人鬼情未了观后感英文

This is probably Spielberg’s most personal film, he grew up in suburbia, he was part of a single parent family, he has a wildly imaginative mind.

There are so many classic moments, more so than any film released in the last 30 years. The bicycles flying past the moon is one of the greatest moments in cinema history. The John Williams score is timeless. Unforgetable quotes “ET phone home”

One of the greatest of all time.

Make no mistake about Paramount’s “Ghost.” It’s for mula-packed busineas usual. In fact, it’s double-packed, triple-packed, more: There’s the afterlife love affair between recently deceased Patrick Swayze and earthly girlfriend Demi Moore. There’s the beyond-the-grave odd-buddy-buddying between Swayze and s piritualist Whoopi Goldberg. It’s also a tearjerker, along the sappy lines of “Field of Dreams.” It’s a murder thriller . . . .

And strangely enough, it’s not that bad.

Now, hold it right there. I refer you to the

low-light critical tariff one must apply to Hollywood’s summer fare. In this artistically devalued summer of schlockbusters (“Days of Total RoboCop III”), it means Jerry Zucker’s movie (he made “Airplane!” and “RuthlePeople”) is surprisingly entertaining and goes along nicely with the th eater’s air conditioning.

“Ghost” starts off in the kind of cheesy way that Paramount seems so peculiarly proud of. We’re subjected to True Love Moments between Swayze and Moore, as she tells him she loves him and he says, wait for it, “Ditto.” (This is what screenwriters commonly refer to as a “hook” and is important for later.)

But as soon as the couple is confronted by a gunman, the thriller elements of the movie kick in and the movie gets . . . interesting. A lot of plot elements can’t be give n away, but suffice it to say, when Swayze’s spirit comes back from the dead, he finds out Moore is in great danger.

Unable to be seen by the living, Swayze finds out he can communicate aurally with Goldberg, a common-variety spiritual charlatan who discovers to

her ESP horror that she is the real thing. Swayze has to enlist Goldberg to thwart the dangerous mystery man and pathe amorous word on to Moore -- words like “ditto,” for instance.

Along the way, Swayze also learns, with the help of subway-haunting spirit Vincent (“One Flew Over the Cuckoo’s Nest”) Schiavelli, that ghosts can concentrate their psychic power into moving physical objects: ma-ki-ng objects fly around the room, slapping bad guys around, that sort of thing.

Only in the leanest of movie-acting years would Swayze or Moore ever find themselves clutching Oscars, but they’re very competent performers, certainly good enough to get through this mystery plot (decently scripted by Bruce Joel Rubin) without getting in your way. The best screen work comes from Goldberg, who puts spiritual oomph into an otherwise strained tea-reading role. Since her memorable performance in “The Color Purple,” she’s been mired in macho formula. But this movie, though it’s still studio-ready stuff, may augur well for her future.