⑴ 五月花号 电影在线观看或者下载！
1、这部电影国内没有介绍，国外找到的资料有限。该片原版光盘是NTSC制式的DVD光盘。
2、在国外网站上有相关故事梗概：
从讲的是关于美国的早期历史，五月花号从荷兰出发，穿越危险穿越大西洋，经历难以想象的艰难困苦中到达了美洲新大陆，这是一段关于信仰者最终到达心中圣地旅程的故事，描述了他们如何与恶劣的大自然抗争并最终到达在一个全新陌生的世界繁荣起来的故事。
3、如果你想得到这部电影，目前知道的就是通过亚马逊购物网站，市场价好像是24美元。
4、一些英文资料：
英文介绍：From their self-imposed exile in Holland and perilous Atlantic crossing in the Mayflower to unimaginable hardships encountered in their new land, this is the definitive story of the Pilgrims and how they came to live--and ultimately prosper--in the harsh climate of an unfamiliar world.
国外一些观众的评论：
This History Channel presentation of the pilgrims is two and a half hours of a well-known and very important part of our American history, although you may not realize how little you actually do know of these separatists and of the times they lived. In fact, it certainly is more movie than documentary and, although interspersed throughout are historians filling in the gaps, this docu-drama is as engulfing and riveting as any full-length period movie I have seen. The lives and times of these early European settlers are authentically portrayed by use of English Shakespearian actors, and the quality shows. Never have I seen any other film put flesh on the bones of the pilgrims to the extent this one does. A social history extravaganza!
The clothing, lighting, effects (especially while on the Mayflower), and, at times, even some of the speech patterns are reflected fairly accurately. I did not see the typical revisionist history so often reflected in many of today's historical depictions. They were very religious folk bent on keeping their practices, even if they had to cross the ocean to do it, and this movie shows that in no uncertain terms.
The Indian dramatization was done very well for the most part, although I would have preferred to have their speech in their original (or close to their original) language and include the use of sub-titles.
Oh well, can't have everything.
As an extra added bonus, by the way, there are a couple of short (too short!) extra's - one features the making of this extraordinary documentary, and the other has outtakes and bloopers.
For teachers and lovers of history I recommend this docu-drama very highly. A wonderful way to learn about our early American history.
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Most Americans know the story of the Pilgrims and Mayflower...or do they? The History Channel has done a great job here, showing us that there is more to the story than we'd been taught. For example, who knew that many of the Pilgrims had actually moved to the Netherlands for an extended period (12 years or so) before deciding to try their luck in the New World? Or that there were actually two ships (the other being called The Speedwell), but the 2nd one was left behind because it was deemed un-seaworthy? Or that the Pilgrims landed first, not at Plymouth, but on Cape Cod, only to be driven off by the Native Americans there? These facts and many others are revealed in this interesting film.
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It will be worth the dvd coming out the end of January. Shown now as Thanksgiving day fare. It is really an untold story. That is, the story of the struggles of the Separatist (Pilgims) in the 13 years before the Mayflower ever sailed. That was 1607, the year the first sucessful permanent colony was established in Virginia, named after King James. England was Protestant & The Anglican Church of England was the only lawful religion. James seemed to be quite pious in that regard. Not to the Separatist, who were loyal to the king in every way except religious. They printed tracts & even accused the King of popishness. This angered him & he harassed them until they left England for Holland. There they were tolerated but somewhat isolated & empoverished. This could not be a permanent solution & they decided that America might be option to consider. They needed a charter from King James who was basically angry with them but readily agree. He did not like them in Holland & in America they would be far away & out of his hair. Obtaining a ship, crew & provisions for the long trip was not cheap. Eventually they had to take non-believers with them who had money & for various reasons also wanted to leave. They had several fitful starts & even had to turn back several times. Finally they left England in late summer of 1620, a bad time to leave & even worse to land for it got them to America with winter bearing down & no chance to plant crops. They never got to Virginia. Instead they landed in Massachuetts Bay, outside of the area of their charter from the king. The weather prevented them from sailing out & around Cape Cod & south to Viginia. So there they stayed. Technically, they were no longer ruled by English law & the non-believers aboard knew this. They were not going to be governed by the rules that the separatist proposed once they landed. Both groups were of about equal size & what came about was the first great document in our history, The Mayflower Compact. Essentially a consensus document setting up a government with laws that all groups could live with. Quite remarkable. This document saved their lives. If they had split they surely would have perished. As it was, half the people died that winter. They pulled together & made it. These events were recorded for posterity by one of the original Pilgrims, William Bradford, who was there & later would become Govenor of the colony until shortly before his death in 1657. The reenactments for this documentary were quite well done. They choose a permenant site but not before fleeing & fighting some Native American tribes for stealing their seed corn & making friends with another tribe. A claim that there were over 50,000,000 people in North America at this time is hard to believe. But if true the number that died from disease & at the hands of Europeans over the next 250 years is truly a disaster eclipsing other examples of mass extinctions in history. By fall 1621 there was enough bounty to have a festival. According to this telling, the natives just dropped in bringing wild turkeys & both groups partied together for three days & nights. They ate all of the Pilgrims food. Later, they brought in supplies of venision, a high prestige gift of respect. The Pilgims were expected to do the same, that is drop in any time uninvited to eat & stay overnight. This version did not mention a story I had heard. The Pligims landed where they did because they were in a hurry to set up a brewery, having run through the ship's supply of beer. One thing that is important to point out is the Pilgrims did not come to America to practice religious freedom. They came to America for the freedom to practice their religion.
⑵ 《谍影重重3》《第九区》《非常嫌疑人》《心灵捕手》《光荣战役》求以上任意一部电影的英文影评。
《第九区》
Well, that wasn't supposed to happen. "District 9" was supposed to be another tired Man Versus Scary Alien late summer crapfest. Actually, when you think about the plot, it really should be a crapfest. "District 9" has absolutely no business being A Good Film. But, yet, here it is and here we are. We: the late summer movie going audience desperately seeking out... something... anything; one last eensy weensy morsel of precious, precious entertainment to use as an excuse to get out of the wretched heat of a mid-August sun . It: not content to be just A Good Film -- but, rather, A Great Film. And, on certain levels, maybe even An Important Film.
Whatever you think you know about "District 9" is, probably, wrong. "Well," you say, "It's about a reporter that discovers..." No. Wikus (Sharlto Copley), the main character, is not a reporter. He's a government bureaucrat. "OK, fine" you contend, "he discovers the atrocities that are occurring in District 9 and fights to help..." Nope. Wikus is well aware of what's happening in the district and, at first, is part of a team that's making things a bit worse. "Well, there are big scary evil aliens, right?" Evil? No. Scary? Not really, ornery might be a better adjective. Aliens? Yes!
You see, "District 9" plays out quite realistically -- if, you know, a giant alien spaceship visited Earth. Twenty years ago a spacecraft appears over Johannesburg, South Africa, and, for awhile, absolutely nothing happens. Finally, a mission to the hovering ship is implemented and around one million sick and malnourished aliens are found. They're brought down to the city, a large scale humanitarian effort takes place. Samaritans from around the world arrive to help feed and shelter the visitors. What happens next? Well, what always happen when the news of the day shifts to another story? Except for the government and a Nigerian gang who both have interest in their weapon technology, they're forgotten. (Remember those Iran elections the media cared so much about? Oh, yeah, you might not because Michael Jackson died.)
The aliens are far from evil -- writer and director Neill Blomkamp describes them as worker bees after the queen bee has died: a bit lost and without a purpose -- just neglected and, in terms of their life on Earth, quite poor. They live in a slum and absolutely no one wants them here -- especially the human residents of the slum. Wikus Van De Merwe is in charge -- a job he was given by his father-in-law -- of a relocation effort of the aliens from District 9 to the even less desirable District 10. Under South African law, each alien must be served an eviction notice. This is why Wikus and his team are in the district; to serve and have each alien sign a of his eviction notice.
Image &; Columbia Tristar Marketing Group, Inc.
Wikus does, eventually, take an interest in the aliens' well being. But not because Wikus has a sudden influx of morality or righteousness -- his motives are strictly selfish. There's a lot of selfishness at play in this film and not a lot to like about human behavior. The most genuine character in the film is named Christopher Johnson -- you may be surprised who Christopher Johnson turns out to be.
It next to impossible to ignore -- considering the film's South African setting -- the underlying comparisons of the aliens' plight to that of apartheid. Blomkamp -- a South African native -- draws on his own experiences of his home country and transforms black and white racial tension to human and aliens on a surprisingly low 30 million dollar budget. This isn't a particularly scary film, but it is gory (Christ, is it gory) and it has something to say. The thing is: even if you completely ignore "District 9"'s themes, there are aliens and a lot of things explode -- people seem to enjoy that. As stated: "District 9" shouldn't really be a good film; it shouldn't be a great film. It is. "District 9" is the best film of the summer -- possibly, so far, the year.
2
Shot and set in Blomkamp's native South Africa, "District 9" imagines a present-day scenario in which humans and aliens are forced into an uneasy co-existence and, predictably, bring out the violent worst in each other. As scripted by Blomkamp and Terri Tatchell, the result reps a remarkably cohesive hybrid of creature feature and satirical mockumentary that elaborates on the helmer's 2005 short "Alive in Jo'burg," borrows plot points from 1988's "Alien Nation" and takes its emotional cues from "E.T."
The film's faux-verite visual style, however, is very much a thing of the present, blending handheld HD camerawork with ersatz news coverage (complete with CNN-style text scrolls) and talking heads, plus actual archival footage from local news agencies, so as to suggest an urgent dispatch from the front lines of an interspecies war.
The introctory 15 minutes are swiftly paced, making modest demands on the viewer to keep up with the jiggly aesthetic and the particulars of the premise: Twenty years ago, an enormous spaceship came to rest over Johannesburg, now a sun-scorched urban wasteland. Since then, the ship's inhabitants, referred to as "prawns" -- four-legged insectoid beings that walk upright, secrete black goo and speak in subtitled grunts and gurgles -- have been moved into the titular ghetto and placed under the control of Multi-National United, a private corporation bent on cracking the secrets of the aliens' ultra-powerful weapons.
Into the fray strides Wikus van der Merwe (Sharlto Copley), an annoyingly chipper, boastful MNU operative overseeing the transfer of aliens to the more remote District 10. Blithely navigating cameramen through the creatures' filthy shack homes, Wikus accidentally comes into contact with an icky substance that, within hours, begins altering his DNA.
In the script's most ingenious gambit, the contaminated Wikus is suddenly coveted by MNU, as well as by a gang of Nigerian thugs and witch doctors who won't win the filmmakers any prizes for ethnic sensitivity. Forced into hiding, Wikus teams up with an intelligent, green-skinned prawn, Christopher Johnson (voiced by Jason Cope), and his kid, Little CJ, who's kinda cute in a hideous sort of way; together, they seek a way to reverse Wikus' alien metamorphosis and help the refugees return to their planet.
Rather than plunge the viewer immediately into unrelieved carnage and chaos, the film opens on a note of anxious uncertainty and tense humor as it probes the varying degrees of hostility in human-prawn relations. Though compelling throughout, "District 9" never becomes outright terrifying, largely because Blomkamp is less interested in exploiting his aliens for cheap scares than in holding up a mirror to our own bloodthirsty, xenophobic species.
That said, he doesn't skimp on the viscera; it's hard to watch the grisly climactic battle, with its parade of high-tech weaponry and exploding body parts, and not think of the horror cheapies Jackson was making pre-"Lord of the Rings." The pic does take a sentimental turn toward the end, with an excess of alien reaction shots that feel at odds with the much more authentic passion Blomkamp lovingly invests in his grotesque setpieces.
Copley makes the most of the only substantial human role -- and not an especially likable one at that -- with a twitchy, blustery, shifty-eyed performance of ferretlike intensity. Dropping F-bombs in Afrikaans-accented English, he ably conveys not only Wikus' physical transformation but also his mental deterioration and subsequent moral awakening; it's to the pic's credit that when Wikus is shown on the battlefield, his half-mutated body covered with festering wounds and alien protrusions, he has never seemed more profoundly human.
Lensed primarily on the Red-One camera, the film looks and sounds terrific, its seeming improvisation masking the obviously exhaustive planning required in all departments. The interactions between the aliens (a combo of f/x and old-fashioned prosthetics) and the humans are handled as confidently as anything in the "Transformers" movies and are arguably more impressive for d.p. Trent Opaloch's off-the-cuff shooting style. Clinton Shorter's percussive score is effective but at times over-reliant on the loud wailing/crooning that has become a too-easy signifier of Africa and other foreign locales.
3
第九区 英文影评 District 9 Movie Review
Throw another prawn on the barbie
I suppose there’s no reason the first alien race to reach the Earth shouldn’t look like what the cat threw up. After all, they love to eat cat food. The alien beings in “District 9,” nicknamed “prawns” because they look like a cross between lobsters and grasshoppers, arrive in a space ship that hovers over Johannesburg. Found inside, huddled together and starving to death, are the aliens, who benefit from a humanitarian impulse to relocate them to a location on the ground.
Here they become not welcomed but feared, and their camp turns into a prison. Fearing alien attacks, humans demand they be resettled far from town, and a clueless bureaucrat named Wikus van der Merwe (Sharlto Copley) is placed in charge of this task. The creatures are not eager to move. A private security force, headed by van der Merwe, moves in with armored vehicles and flame-throwers to encourage them, and van der Merwe cheerfully destroys houses full of their young.
Who are these aliens? Where did they come from? How did their ship apparently run out of power (except what’s necessary to levitate its massive tonnage?). No one asks: They’re here, we don’t like them, get them out of town. There doesn’t seem to be a lot to like. In appearance, they’re loathsome, in behavior disgusting and evoke so little sympathy that killing one is like — why, like dropping a 7-foot lobster into boiling water.
This science-fiction fable, directed by newcomer Neill Blomkamp and proced by Peter (“The Lord of the Rings”) Jackson, takes the form of a mockumentary about van der Merwe’s relocation campaign, his infection by an alien virus, his own refuge in District 9 and his partnership with the only alien who behaves intelligently and reveals, dare we say, human emotions. This alien, named Christopher Johnson — yes, Christopher Johnson — has a secret workspace where he prepares to return to the mothership and help his people.
Much of the plot involves the obsession of the private security firm in learning the secret of the alien weapons, which humans cannot operate. Curiously, none of these weapons seem superior to those of the humans and aren’t used to much effect by the aliens in their own defense. Never mind. After van der Merwe grows a lobster claw in place of a hand, he can operate the weapons, and thus becomes the quarry of both the security company and the Nigerian gangsters, who exploit the aliens by selling them cat food. All of this is presented very seriously.
The film’s South African setting brings up inescapable parallels with its now-defunct apartheid system of racial segregation. Many of them are obvious, such as the action to move a race out of the city and to a remote location. Others will be more pointed in South Africa. The title “District 9” evokes Cape Town’s historic District 6, where Cape Coloureds (as they were called then) owned homes and businesses for many years before being bulldozed out and relocated. The hero’s name, van der Merwe, is not only a common name for Afrikaners, the white South Africans of Dutch descent, but also the name of the protagonist of van der Merwe jokes, of which the point is that the hero is stupid. Nor would it escape a South African ear that the alien language incorporates clicking sounds, just as Bantu, the language of a large group of African apartheid targets.
Certainly this van der Merwe isn’t the brightest bulb on the tree. Wearing a sweater vest over a short-sleeve shirt, he walks up to alien shanties and asks them to sign a relocation consent form. He has little sense of caution, which is why he finds himself in his eventual predicament. What Neill Blomkamp somehow does is make Christopher Johnson and his son, Little CJ, sympathetic despite appearances. This is achieved by giving them, but no other aliens, human body language, and little CJ even gets big wet eyes, like E.T.
“District 9” does a lot of things right, including giving us aliens to remind us not everyone who comes in a spaceship need be angelic, octopod or stainless steel. They are certainly alien, all right. It is also a seamless merger of the mockumentary and special effects (the aliens are CGI). And there’s a harsh parable here about the alienation and treatment of refugees.
But the third act is disappointing, involving standard shoot-out action. No attempt is made to resolve the situation, and if that’s a happy ending, I’ve seen happier. Despite its creativity, the movie remains space opera and avoids the higher realms of science-fiction.
I’ll be interested to see if general audiences go for these aliens. I said they’re loathsome and disgusting, and I don’t think that’s just me. The movie mentions Nigerian prostitutes servicing the aliens, but wisely refrains from entertaining us with this spectacle.
《心灵捕手》
In essence, Good Will Hunting is an ordinary story told well. Taken as a whole, there's little that's special about this tale -- it follows a traditional narrative path, leaves the audience with a warm, fuzzy feeling, and never really challenges or surprises us. But it's intelligently written (with dialogue that is occasionally brilliant), strongly directed, and nicely acted. So, while Good Will Hunting is far from a late-year masterpiece, it's a worthwhile sample of entertainment.
Like Scent of a Woman, which was released around this time of the season five years ago, Good Will Hunting is about the unlikely friendship that develops between a world-weary veteran and a cocky young man. The formula for the two films is similar -- both of the principals learn from each other as they slowly break down their barriers on the way to a better understanding of life and their place in it -- but the characters are different. Al Pacino's Slade was a larger-than-life indivial; Robin Williams' Sean McGuire is much more subtle. And Matt Damon's Will Hunting uses pugnaciousness to supplant the blandness of Chris O'Donnell's Charlie.
Will is a troubled indivial. As a child, he was the frequent victim of abuse. An orphan, he was in and out of foster homes on a regular basis. Now, not yet 21 years old, he has accumulated an impressive rap sheet. He has a short temper and any little incident can set him off like a spark in a tinder box. But he's a mathematical genius with a photographic memory and the ability to conceive simple solutions to complex problems. While working as a janitor at MIT, he delights in anonymously proving theorems on the math building's hall blackboards. Then, one evening, his anonymity is shattered when Professor Lambeau (Stellan Skarsgard) catches him at work. Will flees, but Lambeau tracks him down. Unfortunately, by the time the professor finds him, Will is in jail for assaulting a police offer.
The judge agrees to release Will under two conditions: that he spend one day a week meeting with Lambeau and that he spend one day a week meeting with a therapist. Eventually, once several psychologists have rejected the belligerent young man, Sean McGuire, a teacher at Bunker Hill Community College, agrees to take the case. After a rocky start, the two form a rapport and Will begins to explore issues and emotions he had walled up behind impregnable armor. And, as Will advances his self-awareness in sessions with Sean, he also learns about friendship from his buddy, Chuckie (Ben Affleck), and love from a Harvard co-ed named Skylar (Minnie Driver).
The script, by co-stars Matt Damon and Ben Affleck, is not a groundbreaking piece of literature, and occasionally resorts to shameless manipulation. The characters are well-developed, however, and there are times when the dialogue positively sparkles. At one point, Will comments that a session with Sean is turning into a "Taster's Choice Moment." Later, Will gives a brilliant, breathless diatribe against the NSA that has the rhythm of something written by Kevin Smith. (Note: Since Smith co-executive proced Good Will Hunting, it's not out of the question that he had some input into this scene.)
Director Gus Van Sant (Drugstore Cowboy, To Die For) culls genuine emotion from his actors, and this results in several affecting and powerful scenes. There's an edginess to some of the Sean/Will therapy sessions, and the offscreen chemistry between Matt Damon and Minnie Driver (who became romantically linked while making this film) translates effectively to the movie -- the Will/Skylar relationship is electric. Likewise, the companionability of Damon and Affleck is apparent in the easygoing nature of Will and Chuckie's friendship. Many of the indivial scenes are strong enough to earn Good Will Hunting a recommendation, even if the overall story is somewhat generic.
Matt Damon, who recently starred as the idealistic young lawyer in The Rainmaker, is solid (although not spectacular) as Will. Minnie Driver (last seen in Grosse Pointe Blank) adds another strong performance to a growing resume (and it's refreshing that she was allowed to keep her British accent rather than having to attempt an American one). The outstanding performance of the film belongs to Robin Williams, whose Sean is sad and wise, funny and somber. Arguably the best dramatic work in the actor's career (alongside what he did in The Fisher King), Williams' portrayal could earn him a Best Supporting Actor Oscar nomination. Adequate support is provided by Ben Affleck (Chasing Amy) and Stellan Skarsgard (Breaking the Waves).
Like most of what comes before it, the ending of Good Will Hunting is completely predictable. But meeting expectations and following a familiar path aren't always bad things in a movie, provided the film accomplishes those goals with a modicum of style and an attention to detail. Good Will Hunting does both, and, as a result, earns a rating commensurate with the "good" in the title.
2
When I saw this movie, I decided that this movie reminded me of an old Pilgrim movie (wait, I'm not through). In the old Pilgrim or any sea-faring movie, there was usually a scene in which the flour barrel was opened, and found to be teeming with vermin of one sort or another. There was plenty of good flour in there, but you had to get past/through the vermin. I feel that there is a tremendous movie underneath the vermin in this movie (the blatant profanity; the obigatory love scene though it was toned down; and the violence of a basketball court fight). Once you get past the vermin, you can enjoy the sensitivity of this movie. It was worth seeing. On a Christian level, there's little to say good about this film. Robin Williams made a good counselor, but Jesus is still the best there is at healing wounds.
3
Foul language and sexual content—fabulous theme and acting. A christian friend told me that if I could get past the langauage, this is a superb and powerful film. I agree. The language and filthy content is overboard even considering the ghetto-like environment. I would suggest, however, that Jesus would hang out with people like these. Moreover, I found the themes of friendship, love and facing one's past and emotional confusion to be inspiring indeed. Robin Williams definitely deserves his Academy Award for best supporting actor, and this is a very well written movie.