《洛奇》经典影评10篇

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《洛奇》是一部由约翰·g·艾维尔森执导，西尔维斯特·史泰龙/塔莉娅·夏尔/波特·杨主演的一部剧情/爱情/运动类型的电影，特精心从网络上整理的一些观众的影评，希望对大家能有帮助。

《洛奇》影评(一)：哇，5个鸡蛋

看过影片的应该知道在哪一个段落了。喋喋不休，这是最初对Rocky的印象。呵呵，怎么那么多话一直说个不停呢。

但是从5个鸡蛋开始，慢慢的我心潮澎湃了，理想是怎么达成的？述说一个典型的美国梦。

《洛奇》影评(二)：我看Rocky

现在来看这部电影，依然很好看，以至于让我看了第二遍，第三

遍。。。Rocky铁人一般打不倒的精神自不必说，让人看得血脉膨胀，有攻克掉一切难题的劲头；但更吸引我的却是他和宠物店小女孩的爱情，看强硬的男人柔情的一面，更动人！

《洛奇》影评(三)：电影微评：洛奇

史泰龙成名之作。故事很简单，表演也只能算是一般，但里面那种屌丝通过努力逆袭的情节比较容易打动人。电影前半段过于琐碎与拖沓，不过后半段还是非常精彩的。最后的高潮部分尽管只有10分钟左右，但看得人心潮澎湃。不得不说史泰龙当年的一身肌肉还是很有料的啊～～～

《洛奇》影评(四)：不完美的英雄

和所有的《洛奇》一样，影片完全可以从最后一半开始看。

但这并不能阻止《洛奇》赢得大家的认可。

这是第一部，讲洛奇由小人物和冠军的较量，有大量心理刻画，主要是自卑和期待，很不错。

实际上我们都会很认可这样的“神经大条型英雄”

史泰龙无疑就是这样的代表。

《洛奇》影评(五)：十五回合打完，黑人点数得胜

十五回合打完，黑人点数得胜

《洛奇》影评(六)：为生活卖命，不如替自己打拼

Rocky的海报是个亮点，没有采用满头大汗的头部特写，还好没有，不然愤怒的公牛会来找他算账。

海报是截自电影中Rocky晨跑结束后，高举的双臂是征服自己的宣召，这不是打倒拳王可以比拟的。

所以这张图看起来会觉得很亲切，眼窝浅一点，浮想多一点，差不多就能闪泪花了。

《洛奇》影评(七)：Rocky最好的拳击片没有之一

最喜欢的拳击片，没有之一。至今全系列看了有三遍以上，以后还是会继续回味，回味费城冷清的街头，回味aloneinthering，回味对Adiana单纯深沉的爱，回味micky老爹全无保留的爱护，回味creed 的友爱，回味在苏联战铁的强硬，回味街头教训不肖徒的畅快，回味老年决战中坚的战斗本色，回味paul老友那火爆的脾气……

《洛奇》影评(八)：整个系列就是一块石头！

意大利种马

用一对拳头摧毁一切

情节部部升华

宣扬美国精神

有时候就是似乎相对更坚强更透彻

那里个人可以代表体制

这里体制泯灭个人

于是这里出现了一个雷锋

于是那里出现了一个洛奇

真实存在的和虚捏造在的又有什么区别？

电影好看！

《洛奇》影评(九)：一个叫洛奇的穷小子

洛奇是个穷小子，是一个三流拳手

他还是一个帮人要高利贷的狗腿子

他也会为了十块钱去奋力打一场比赛

突然有一天，机会降临

世界拳王要与他打一场比赛

所有人把这次比赛当成拳王技能秀

洛奇却把他当成了比赛

他为了准备比赛努力的训练

为的却不是赢

而是打满全场

他真的打满了全场

他输了

他赢了

《洛奇》影评(十)：励志的故事不是讲给小学生，更是讲给我们

这么70、80后！

看了一个叫"超越运动鞋"的评论，如果在10年前，我挺你。但是现在我是一个7岁男孩的父亲，我要给他一个可信的未来，所以，我告诉你一定要相信梦想，哪怕现在你觉得他是错的！

今天的中国，缺的就是我来说服你的东西，但是我深知，它一定存在我们心灵的某个角落，只是尚未被唤醒。

有一天，他醒了，我们将不再愚昧和狭隘、不再仇恨彼此，我们中华民族就真正拥有了征服一切的力量！

最后，小编希望文章对您有所帮助，如果有不周到的地方请多谅解，更多相关的文章正在创作中，希望您定期关注。谢谢支持！

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甚至望而生畏。侠肝义胆，铁骨铮铮，利落的装枪上膛，迅捷的瞄准射击，一举一动，凌厉中饱含诗意，白衣上点点血色漫延而开，踉跄的身影凝聚了毫不屈服的意志…… 这不是翩翩公子的白衣，这不是文人墨客的白衣，这是独属于林觉民的白衣，白衣之下，隐藏的是坚韧不拔的革命之志;白衣之下，跳动的是义薄云天的赤血丹心;白衣之下，燃烧的是奔流不息的民族血脉。面冠似玉，肝胆如铁，心地赤诚如朝阳。即使沉尸于水下，嘴角依旧有浅浅的笑意，此情此景，凄美如画，可不难读出其中的深韵。也正是这个人，让我心疼，却也让更多的人看到了革命，看到了他所作的努力，相信了他所相信的一切。一个侠骨柔情的男人，用年轻而热血的生命换取了毕生的信仰，却留下了一个支离破碎的家庭。自古情义难两全! 他们，在那个黑暗的年代，用自己

Seven(七宗罪)1995经典电影英文影评

Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1

《一树梨花压海棠》经典观后感10篇

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情她妈.是够妖的,也不是一般人能受的了的.影片正是体现了这种变态之美.若不是画面处理的还算唯美,我就给他一个差评了. 《一树梨花压海棠》观后感(三)：纠结或许应该先看了电影再看书，总觉得电影的情节不够舒展，并且也少了很多亨伯的内心活动，而这是这部书的灵魂。还有高潮时的那段音乐很纠结，乍起时似乎很美好，然后就是一种忧伤，纠结的很…… 《一树梨花压海棠》观后感(四)：一樹梨花壓海棠喜歡JeremyIrons，於是看了這個洛麗塔、最喜歡的鏡頭，是在主人公初次見到小女孩，一片草地，灑水，綠樹，一切都是美的很。在那一刻，他看到了她，愛上了她…… 《一树梨花压海棠》观后感(五)：最后的那个泡泡另外的那个版本还没有看过其他的就不多说了，只说两点 1.居然会在里面坦然的暴露男性的那个器官 2.最后暴露者死之前嘴巴里面出来的那个气泡让我笑了好久……导演太有才了。《一树梨花压海棠》观后感(六)：一个寂寞的故事洛丽塔的小说只看过一点点开头，看了介绍，电影基本是按照原著来拍的，很不错的电影，两位主角的演技都很好，看完后，在空间里写了点评，朋友说这是一个寂寞的故事《一树梨花压海棠》观后感(七)：他只想回复到初恋的情境中

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红色经典电影观后感红色经典电影观后感【第一篇】：《地雷战》观后感今天我和爸爸一起观看了电影《地雷战》，其中的故事情节真是大快人心啊。这部电影讲的是抗战时期日本军占领了黄村，把黄村改为据点，向附近的村子进攻。离黄村最近的一个村庄叫赵家庄，只有八里路的距离。于是，日本部队派了大批的军队去攻占赵家庄。可赵家庄的人们毫不畏惧，凭借熟悉地形的优势，又合理运用了孙子兵法--以少胜多，敌在明我在暗的妙处，和鬼子展开了激烈的斗争...... 令敌人万万没想到的是，虽然山上的民兵们没有一支枪，没有一座炮，却学会了使用地雷的方法。是的，鬼子有强大的军队，无数枪支和大炮。但是，民兵们有地雷，有勇气，有智慧，等重要的是他们有团结一心保卫家园的决心！民兵们靠自己的双手，发明了许多地雷：碎石雷--用来封锁大路；水土雷--用来封锁河道；子母雷--只要地雷爆炸，地雷上的手榴弹就会飞到空中纷纷爆炸......敌人伤亡惨重，日本军一个高个子军官请来了青岛的工兵，一个个地雷被工兵挖了出来，高个子军官乐得眼眯成了一条缝。让他们没想到的是，民兵们很快又发明了新的地雷应对敌人，即使挖出来也会爆炸。麦收季节，鬼子从后面袭击，抓去了我们一部分人。随后民兵们凭着自己的机智成功把人救了出来。鬼子又来进攻了！可是没有一个人去引爆地雷，鬼子进村了，村里空无一人。一个鬼子闯进一栋房子，抱起值钱的柜子就跑。只听轰的一声，柜子爆炸了。原来，民兵们在村子里到处装了地雷！只听轰、轰接二连三的爆炸声，日本军队彻底瓦解了...... 看完这部电影，我感慨万千！一是为中国民兵过人的智慧而佩服;二是为日本人民和政府感到惋惜。是啊，为什么日本在几次大地震后仍能恢复盛兴？为什么当年小小的日本占领了中国的东北三省？为什么日本还敢跟中国争钓鱼岛？这一切都证明：日本人有勇气、有智慧。只不过他们运用不当！他们扭曲事实，不把他们当年侵华的真相告诉日本学生，他们与各国开战，中国的七七事变、卢沟桥事变，美国的珍珠港事件，导致第一枚原子弹在

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