the reader 影评_

1.桑德拉·布洛克获得奥斯卡影后上台致辞时说了好多话，具体内容原话是什么？有大神给个中文版全的吗？

2.我要《终结者2》的全部资料 导演主演 DVD 还有影评

3.谁能帮我找到关于《指环王》的英文影评，我做speech用的，大概2~3分钟

4.第15届美国演员工会奖详细资料大全

5.求《辛德勒的名单》的英文影评，越详细越好，谢！

6.求钢铁侠的英文影评= =

7.哈利波特5英文影评

Iron Man

Tuesday, April 29 2008, 10:25 BST

By Simon Reynolds, Entertainment Reporter

Director: Jon Freau

Screenwriters: Mark Fergus, Hawk Ostby, Art Marcum, Matt Holloway

Starring: Robert Downey Jr, Gwyneth Paltrow, Terrence Howard, Jeff Bridges

Running Time: 125 mins

Certificate: 12A

It may he taken him the best part of 25 years, but Robert Downey Jr. has finally arrived as a bona fide movie star. When Tom Hanks first made a Splash and Tom Cruise was indulging in Risky Business with Rebecca De Mornay, Downey Jr. was starting out in Weird Science.

After a turbulent personal life he now looms large, plastered across the sides of buses and magazine covers in support of Iron Man, the first of this summer's blockbuster extraganzas. He's an unconventional leading man in a conventional superhero movie. His Tony Stark, a billionaire industrialist and weapons contractor turned superhero, is flamboyant, an eccentric genius - James Bond with a pinch of Howard Hughes. It's perhaps a little strong to say that he carries Iron Man, but it's hard to envision it being as enjoyable without him.

We first meet Stark in Afghanistan (updated from the comic's Vietnam setting). His military convoy is struck by terrorists and he finds himself captured and nursing a gruesome chest wound. Flashing back 36 hours we catch him indulging in his wealth and fame. He shamelessly ploughs head first into the playboy lifestyle, gambling at the Vegas high-rollers table and seducing a knockout blonde. Various supporting cast members are introduced in the process - his faithful but oddly-monikered assistant Pepper Potts (Gwyneth Paltrow), military advisor Colonel James Rhodes (Terrence Howard) and Stark Industries executive Obadiah Stane (Jeff Bridges).

Stark jets to Afghanistan to give prospective buyers a demonstration of the new Jericho weapon. After a successful sales pitch ("I prefer the weapon you only need to fire once") the story loops back to Stark's capture by the shady Ten Rings terrorist group. With an electromagnet installed in his chest to keep shrapnel away from his heart, he constructs a clunky, walking battle-tank exoskeleton to break out of captivity.

As far as superhero origin films go, Iron Man is at the higher end of the scale. Better than the first X-Men but not quite as soaring as Spider-Man, its mandate is fairly simple: be loud, be entertaining and don't get too serious. It succeeds on all fronts but, as is often the problem with inaugural superhero outings, there's a lot of exposition to wade through.

Starting and ending with a bang, Iron Man's heels are clipped in the middle by spending too long in getting the eponymous superhero into action. Stark constructs three different armour prototypes (a gift for toy manufacturers) before he gets to the final design. Downey Jr's charisma during the sagging mid-point is crucial in keeping the movie afloat. Take the numerous scenes with him talking to robotic arms as they construct the battle armour. He manages to keep things engaging and funny without threatening to turn proceedings into a high-tech Punch and Judy show.

Downey Jr. and Paltrow possess a crackle together on screen, their sny back and forth dialogue reminiscent of classic screen pairs like Grant and Hepburn. Paltrow's character is subservient and underused, but her introduction, where she dismisses one of Stark's floosies, paints her as more than a shrinking violet.

Iron Man briefly ponders exploring deeper territory, presenting an interesting shift in Stark's moral compass. He has generated billions as a warmonger but his brush with death in Afghanistan prompts an awakening, reinvigorating him with humanitarian drive and focus. He begins the movie as an empty shell but is given soul by hiding behind another. Director Freau wisely chooses not to dwell on the Lord of War vibe and pulls theme park action into the foreground.

As a first franchise entry (the film’s closing scene, with Stark's out-of-the-blue revelation, lees intriguing potential for a sequel) and a blockbuster to kick off the summer season, Iron Man proves to be an excellent introduction.

剧情：Tony Stark is the complete playboy who also hens to be an engineering genius. While in Afghanistan demonstrating a new missile he's captured and wounded. His captors want him to assemble a missile for them but instead he creates an armored suit and a means to prevent his death from the shrapnel left in his chest by the attack. He uses the armored suit to escape. Back in the U.S. he announces his company will cease making weapons and he begins work on an updated armored suit only to find that Obadiah Stane, his second in command at Stark industries has been selling Stark weapons to the insurgents. He uses his new suit to return to Afghanistan to destroy the arms and then to stop Shane from misusing his research.

桑德拉·布洛克获得奥斯卡影后上台致辞时说了好多话，具体内容原话是什么？有大神给个中文版全的吗？

《萨利机长：哈德逊奇迹》（英语：Sully，又称Sully: Miracle on the Hudson）[6]是一部於2016年上映的美国传记剧情**，由克林·伊斯威特执导，陶德·柯马尔尼兹基编剧，剧情根据切斯利·「萨利」·蘇伦柏格和杰佛瑞·札斯洛（英语：Jeffrey Zaslow）合著的2010年传记《最高职责（英语：Highest Duty: My Search for What Really Matters）》改编。该片由汤姆·汉克斯、亚伦·艾克哈特、萝拉·琳妮、安娜·冈恩（英语：Anna Gunn）、沃特姆·里瑟（英语：Autumn Reeser）、赫特·麦卡蓝（英语：Holt McCallany）、杰米·谢尔丹与杰瑞·费拉拉（英语：Jerry Ferrara）等人主演。剧情讲述2009年1月，蘇伦柏格驾驶著全美航空1549号班机降落在哈德逊河上，乘客与机组成员共155人皆幸免於难。事後，蘇伦柏格面临著随之而来的媒体压力及一连串的调查。

该片的发展始於2010年，当时制片人法兰克·马歇尔与艾琳·史都华取得了蘇伦柏格的自传《最高职责》的**改编权。主演汤姆·汉克斯与亚伦·艾克哈特分别於2015年6月及8月加盟剧组。《萨利机长：哈德逊奇迹》的主要摄影始於9月28日，地点位在美国的纽约市。该片的拍摄地点包含亚特兰大、洛杉矶、北卡罗莱纳州、霍洛曼空军基地（英语：Holloman Air Force Base）及纽泽西州。《萨利机长：哈德逊奇迹》於2016年4月29日杀青。全片几乎都是用阿莱Alexa摄影机拍摄而成。

《萨利机长：哈德逊奇迹》於2016年9月2日在第43届特柳赖德影展（英语：Telluride Film Festival）上首映，并於9月9日由华纳兄弟在美国发行（含IMAX版本）。该片所获评价多为正面，影评人主要称赞汤姆·汉克斯的表现及克林·伊斯威特的导演功力，而亦有影评人认为该片过於沉闷及单调。**的全球票房总计超过2.38亿美元。片中对国家运输安全委员会（NTSB）的描述引发了争议。美国**学会（AFI）将其列入该年度的十大**名单中。该片的蓝光及DVD版本於2016年12月20日发布。

《萨利机长：哈德逊奇迹》收获了普遍影评人的积极评价。烂蕃茄上收集的292篇专业影评文章中，有248篇给出了「新鲜」的正面评价，「新鲜度」为85%，平均得分7.2分（满分10分），该网站对**的共识性评价写道「正如同片中鼓舞人心、技艺精湛的主人翁，《萨利机长：哈德逊奇迹》善用了来自其主演及导演的高超表现来对日常生活中的英雄致上一些无声的敬意」, 而基於另一影评网站Metacritic上的46篇评论文章，其中35篇予以好评，无差评，11篇褒贬不一，平均分为74（满分100），综合结果为「普遍良好的评价」。据CinemaScore所进行的调查，观众的平均评价於A+至F间落於「A」。美国**学会（AFI）将该片排在年度十大**名单中的第9名。

《综艺》杂志的彼特·戴柏格给出了积极的评价，并称赞了汤姆·汉克斯的表现，「汉克斯的表现既经典又强大，很快的，我们便忘了自己正看著一名演员」。IGN的影评人赛门·汤普森给予该片9分（满分10分）的评价，称《萨利机长：哈德逊奇迹》是一部「美丽且和谐，卓越又细腻的感人**」，并称该片是「汤姆·汉克斯的职业生涯中的最佳表现」。同时，汤普森也指出导演克林·伊斯威特的手法「美妙又浓厚」。《纽约时报》的曼诺拉·吉斯（英语：Manohla Dargis）亦称赞了伊斯威特的导演功力，表示该片「不会让你失望」。《滚石》杂志的彼得·崔维斯（英语：Peter Trers）给出了3.5颗星（满分4颗）的分数，写道「该片透过深入发掘赢得你的目光及尊敬」，并称《萨利机长：哈德逊奇迹》「让人眼界大开」。

相反的，《时代杂志》的约翰·安德森给出了负面评论，表示该片有些沉闷。此外，他亦写道，尽管与全美航空1549号班机事故相隔8年，但911袭击仍在**中萦绕不去：掠过纽泽西州的天际线的飞机，让人联想到大楼倒塌的那一天。安德森表示，从这一切可以看出**对恐怖攻击的隐喻以及导演对美国的前景走向的不满。《芝加哥读者报（英语：Chicago Reader）》的J·R·琼斯给出1颗星（满分4颗）的评价，写道「正如克林·伊斯威特的《萨利机长：哈德逊奇迹》呈现出来的那样，哈德逊奇迹其实不是一个拍**的好题材」。《底特律新闻报（英语：The Detroit News）》的亚当·古温汉给出「C+」的评分，表示「从这部**可以看出，伊斯威特急著了事去拍别部片」。

我要《终结者2》的全部资料 导演主演 DVD 还有影评

sorry这么久回答你，才发现-=-。82届桑桑影后链接（）

://.56/u56/v_NTAwNzY4ODU.html

桑桑的在78分钟（超超超级美啊---） 桑桑在51分钟也上台颁奖了LOVE

望纳，有什么疑问可以找我//桑桑～～

Did I really earn this or did I just wear you all down? I would like to thank the Academy for allowing me in the last month to he the most incredible ride with rooms full of artists that I see tonight and that I've worked with before and I hope to work with in the future, who inspire me and blaze trails for us. Four of them that I've fallen deeply in love with I share this night with and I share this award with. （不看文本，Sandra Bullock一张嘴的第一句话就很有听力难度，wear someone down，这里大概是说exhaust someone,“我是真的（凭本事）赢得了这个奖，还是你们被我烦死了（颁个奖给我了事）？”blaze trails，开拓，探路，原指在荒野里烧出一条路来，NBA开拓者队Trailblazers得名与此。）

Gabby, I love you so much. You are exquisite. You are beyond words to me. Carey, your grace and your elegance and your beauty and your talent makes me sick. Helen, I feel like we are family through family and I don't he the words to express just what I think of you. And Meryl, you know what I think of you and you are such a good kisser. （exquisite本意“精致的、细腻的”，如果大家见过Precious中的Gabby Sidibe，就会了解，这里的exquisite是带着感彩的，而不是一般意义上的精致了。you are such a good kisser这句尺度比较大了，应该是指在之前的美国影评人颁奖典礼上Bullock“强吻”Meryl Streep吧。看到有译为“你的吻功很不错”。You are such a good kisser一句也可以作为“英语中的动作名词化现象”的又一例子，不说you kiss so well，而说you are such a good kisser，这和he is a good reader有异曲同工之妙，只不过前者在课堂里肯定更能激起学生的兴趣。）

I he so many people to thank for my good fortune in this lifetime and this is a once-in-a-lifetime experience, I know. To the family that allowed me to play them, the Tuohy family, I know they're in here and you'll probably hear her in a minute. Maybe not. Thank you for giving me the opportunity to... the family that made this film that ge me the opportunity to do something different. John Lee Hancock, Gil Netter, Alcon, Warner Bros., the actors, everyone who's shown me kindness when it wasn't fashionable, I thank you. To everyone who was mean to me when it wasn't... George Clooney threw me in a pool years ago. I'm still holding a grudge. But there's so many people to thank.

Not enough time, so I would like to thank what this film is about for me which are the moms that take care of the babies and the children no matter where they come from. Those moms and parents never get thanked. I, in particular, failed to thank one. So... if I can take this moment to thank Helga B. for not letting me ride in cars with boys until I was 18 because she was right. I would've done what she said I was gonna do. For making me practice every day when I got home. Piano, ballet, whatever it is I wanted to be. She said to be an artist, you had to practice every day, and for reminding her daughters that there's no race, no religion, no class system, no color, nothing, no ual orientation that makes us better than anyone else. We are all deserving of love. So, to that trailblazer, who allowed me to he that. And this. And this. I thank you so much for this opportunity that I share with these extraordinary women and my lover Meryl Streep. Thank you.

谁能帮我找到关于《指环王》的英文影评，我做speech用的，大概2~3分钟

片 名： Terminator 2: Judgment Day

译 名： 终结者2 | 魔鬼终结者2 | 未来战士2 | 终结者2:末日审判

导 演： ( 詹姆斯·卡梅隆 James Cameron )

主 演： (阿诺德·施瓦辛格 Arnold Schwarzenegger) (琳达·汉密尔顿 Linda Hamilton) (爱德华·弗朗 Edward Furlong) (罗伯特·帕特里克 Robert Patrick) (厄尔·波恩 Earl Boen) (乔·默顿 Joe Morton)

上 映： 1991年07月01日 美国 更多地区

地 区： 法国 美国 更多详细拍摄地

对 白： 英语 西班牙语

评 分： 本站评分..8.8/10 ( 86票 ) 详细

IMDb评分8.3/10 ( 128339票 ) 详细

颜 色： 彩色

声 音： CDS Dolby SR

时 长： 137 min / USA:152 min (director's cut) / USA:154

类 型： 动作 冒险 科幻 惊秫

分 级： 意大利：T 加拿大:PA 加拿大:A 加拿大：AA 加拿大:18 芬兰：K-18 美国：R 冰岛：16 阿根廷：16 澳大利亚：M 加拿大:13+ 加拿大：18A 加拿大：18A 智利：14 芬兰：K-16 法国：-12 德国：16 爱尔兰：15 以色列:PG 日本：R-15 荷兰：16 挪威：15 挪威：18 秘鲁：14 新加坡：NC-16 新加坡：PG 西班牙：18 德国：12

剧情介绍：

著名**杂志《**周刊》在评选20世纪最值得收藏的一部**时，此片以最高票数位居第一。而这部**居然是一部早在11年前就拍摄完毕的科幻片，这在电脑特效技术已经相当完善的2000年可谓一大新闻。但这部**的冠军地位决非浪得虚名，这与它所表现出的强烈的美国式个人英雄主义风格和出色的**平衡性和完美特效是分不开的。

20世纪末的19年7月3日，人类研制的全球高级计算机控制系统“天网”全面失控，大批的机器人有了自己的意志，将人类视为想敌人，并发射核弹到地球的各个角落，杀死了几十亿人。余下来的人类在一个叫约翰·康纳（John Connor）的人领导下，团结在一起，用有限的和武器与强大精良的机器人周旋作战，并逐步扭转了战局。机器人为了挽回败局，于2029年派出了机器人杀手T-800回到年去杀死约翰·康纳的母亲康纳·莎拉（Connor Sarah）,那时的约翰·康纳还没有出生。而约翰·康纳得知后亦派出人类战士同回年去保护自己的母亲。一番恶斗之后T-800被击败，不甘失败的机器人复又派出更为先进的液态金属人T-1000回到19年核之前去直接杀死只有13岁的小约翰，而约翰本人也派出经过改良成为人类助手的T-800去保护童年的自己。在经历了与T-1000危险紧张的追杀之后，约翰与莎拉终于相信了T-800不再是13年前那个狠辣无情的机器杀手，为了改变人类的命运，约翰、莎拉和“终结者”找到了天网系统的研究者，塞伯公司的技术总监莫尔斯戴森，并销毁了一切有关天网的资料，并在随后的战斗中终于彻底销毁了T-1000。为了最终毁灭一切芯片，T-800做出了牺牲自己的选择，自沉钢水之中毁灭。本片在首映后的次年获1992年度第64届奥斯卡四项大奖：最佳音效、最佳视觉特效、最佳录音和最佳化装。

凭心而论，这部**的剧情并不十分复杂和曲折，甚至仅用几句话也能说个大概，这种机器人消灭人类的题材也不算太新鲜了，但就是这简单的剧情，却呈现给了我们无比震撼的视听享受，本片的导演和编剧是好莱坞鬼才詹姆斯·卡梅隆（James Cameron），他的父亲是电气工程师而母亲是画家，这似乎造就了他生来具有的艺术天才和领导才能。在本片中，卡梅隆运用一种略带冷酷却不阴暗的画面风格来叙述故事，从一开头的T-800出场再到酒馆抢衣服的一段精彩镜头即向人们昭示了机器人的强大力量和完美，唯一与上一集不同的是这个T-800只伤人而不，从另一个角度也为它曾被约翰·康纳改造过留下了伏笔。即是如此，T-800的出手动作亦酷到了极点，简单而又有效，能与最短的时间内让人失去反抗能力。而它抢得一身黑皮衣之后与酒馆老板的一番交涉也向人们预示着本片的风格中有冷幽默成分，这与第一集的恐怖冷酷风格也有了较大的区别。本片的画面略微带一种类似金属色的蓝色，可能要从感官联想上让人们不要忘了这是在说关于机器人的故事吧！

而T-1000这个全新角色的出现则绝对可称本集的一大亮点，与早先的T-800一样，它是一个不折不扣的冷血杀手，除了执行杀约翰这一个命令之外，其它的一切事情在它看来全都是障碍，完全可以在自己力所能及的范围之内予以毁灭，而它随心所欲的变形能力与人类相比不啻于老鹰和小鸡的对比，它的手可以变成锋利的刚刀，尖刺，身体则能变成它接触过的任何一个人，而被它模仿的对象则必然被杀死。在它与T-800的数次交手中，后者从未占到过半点便宜，到了影片的最后更是被T-1000打得支离破碎，不得不靠仅有的一点备用电能才侥幸把T-1000打入钢水中，自己也投水自毁。

T2的成功，除了导演之外，还与施瓦辛格和帕特里克的精彩演绎是绝对分不开的。做为一个机器人，人们当然是努力将它们创造成最完美的形象，无论是长像，个头，还是身材等等，而施瓦辛格那完美的体魄和硬朗的外形当然是T-800的不二人选，他在**中的表现并不只是一个光知道卖弄肌肉的大块头，正相反，施瓦辛格的表演准确到位，传神精彩，将一个不懂多少人类感情却又逐渐了解了人性的机器人刻画得入木三分。而帕特里克饰演的T-1000液态金属人，绝对给每个看过T2的人留下了难以忘记的印象，这个机器人和T-800迥然不同，他说话不多，但传神的肢体语言却令人望而生畏；他如踩蚂蚁，却又和一般意义上的杀手还有根本性的区别，因为它的时候经常都是一击致命，从不浪费无用的动作，也不会过多的卖弄身手，这个如橡皮泥一样能变形的机器人，实在是给人留下了太深刻的印象。

扮演小约翰的爱德华·福隆的表演也不错，基本上把一个内心叛逆却又不失童心和善良的小男孩演活了。十几年后，在T3的策划当中，原本还是由他在扮演约翰，可惜现在的他又又不务正业，最终被剧组弃用。

琳达·汉密尔顿则将一个刚毅果断的女强人形象展现在观众面前，后来她还与本片的导演詹姆斯·卡梅隆结婚。

过多的讨论T2的剧情和人物似乎已无新意，T2吸引人的地方也决不仅是剧情和人物，而是它完美的平衡性和**蒙太奇的运用。首先在镜头的剪切上没有大的跳跃，也就不会给人以明显的情节脱节之感，另外简洁的台词也会让观众将主要注意力转移到了画面上，增加了故事吸引力，当然，既然是一部科幻题材的动作片，那当然少不了电脑特技的介入，本片的电脑特技镜头只占全片的一小部分，和时下某些特技大片相比有些少的可怜，然而每个特技镜头的出现都会令观众眼前一亮，正所谓“惊艳”，从开头的金属骨架机器人，到T-1000中枪后伤口的自愈，穿越铁栏门和变形成他人，和头部中枪一分为二，再到T-800撕下右手皮肤露出金属骨架，到后来头部被打露出金属头骨和红外线电子眼睛，都做得十分到位，令人击节赞赏，即便在十多年后的今天，当我们回顾这些电脑特效镜头时，也不会觉得过时和落伍，这是她的魅力所在。总之，这是一部真正懂得如何经济实惠又有效地使用数字特效的**，为那些单纯为特技而特技，滥用电脑特效的烧钱**敲响了警钟。当然这与好莱坞特效大师斯坦温斯顿是离不开的，斯坦大师曾为众多的著名**设计和制作特技道具，其中有《AI：人工智能》、《勇敢者游戏2》、《侏罗幻公园》、《拦截人魔岛》、《异形2》等等。有了这位四度奥斯卡最佳化妆大奖得主的加盟，也是本片获得巨大成功的砝码之一。

《终结者2：审判日》上映之后，好评如潮，曾被评为是**史上最好的**续集，结束了**续集普遍不如第一集的历史。该片以不到一亿美元的**预算，获得了五亿一千六百余万的票房收入，真正做到了“名利双收”。

一转眼十几年过去了，**的票房冠军也数易其主，《终结者2：审判日》的票房排行也从当年的第一名滑到了第四十三名，但值得一提的是，出品年代早于1991年（T2的出品年份）的**排名在《终结者2：审判日》之前的也只有四部而已，分别是《星球大战》的2，3集和《人鬼情未了》，更要说上一句的是全球目前**史的票房冠军《泰坦尼克号》（Titanic）的导演也正是这位鬼才导演：詹姆斯·卡梅隆，此片全球收入已达到十八亿三千五百万美元。后来的卡梅隆曾与T2中扮演约翰母亲的琳达·汉密尔顿结婚。

T2的成功，也造就了一批相关**产业的发展，从电脑游戏到文化衫，到旅游景点，使得T2不仅仅是一部**，而成为了一个有生命的奇迹。有关T2的音像制品也是年年出新，从剧场版到特别版，再到白金版，导演剪辑版……，无一例外地成了T2迷们的收藏佳品。T2的成功，代表了典型的美国式文化在全球的推广、渗透，当然也从一个侧面反映了人类内心深处的担忧：人类究竟会不会被自己创造出来的机器人所毁灭？

终结者2/魔鬼终结者2/未来战士2/终结者2:末日审判演员表-演职员表：

导演

詹姆斯·卡梅隆 James Cameron

演员

阿诺德·施瓦辛格 Arnold Schwarzenegger The Terminator

琳达·汉密尔顿 Linda Hamilton Sarah Connor

爱德华·弗朗 Edward Furlong John Connor

罗伯特·帕特里克 Robert Patrick T-1000

厄尔·波恩 Earl Boen Dr. Silberman

乔·默顿 Joe Morton Miles Dyson

S·伊帕莎·默克尔森 S. Epatha Merkerson Tarissa Dyson

卡斯图罗·奎拉 Castulo Guerra Enrique Salceda

丹尼·库克塞 Danny Cooksey Tim

珍妮特·哥德斯滕 Jenette Goldstein Janelle Voight

山德·贝克利 Xander Berkeley Todd Voight

Leslie Hamilton Gearren Twin Sarah

Ken Gibbel Douglas

Robert Winley Cigar-Smoking Biker

Peter Schrum Lloyd (as Pete Schrum)

Shane Wilder Trucker

Michael Edwards Old John Connor

Jared Lounsbery Kid

Casey Chez Kid

Ennalls Berl Bryant

Don Lake Mossberg

Richard Vidan Weatherby

Tom McDonald Cop

Jim Palmer Jock

Gerard G. Williams Jock

Gwenda Deacon Gwen, Night Nurse

Don Stanton Lewis, Guard

Dan Stanton T-1000 Lewis

Colin Patrick Lynch Attendant

Noel Evangelisti Hospital Guard

Nikki Cox Girl

Lisa Brinegar Girl

DeVaughn Nixon Danny Dyson

Tony Simotes Vault Guard

Diane Rodriguez Jolanda Salceda

Dalton Abbott Infant John Connor

Ron Young Pool Cue Biker

Charles Robert Brown Tattooed Biker

Abdul Salaam El Razzac Gibbons

Mike Muscaj Moshier

Van Ling Cyberdyne Tech

Dean Norris SWAT Team Leader

Charles A. Tamburro Police Helicopter Pilot (as Charles Tamburro)

J. Rob Jordan Pickup Truck Driver

Terrence Evans Tanker Truck Driver

Denney Pierce Burly Attendant

Mark Christopher Lawrence Burly Attendant

Pat Kouri SWAT Team Leader

迈克尔·比恩 Michael Biehn Kyle Reese (Ultimate Edition) (scenes deleted)

Na'loni Durden Blythe Dyson (Ultimate Edition) (scenes deleted)

Nancy Fish Roadside Woman (Ultimate Edition) (scenes deleted)

Misty Jo Walker Sarah's Granddaughter (Ultimate Edition) (scenes d

Michael Albanese SWAT officer (uncredited)

Ed Arneson SWAT officer (uncredited)

Bret A. Arnold Future Coda Man (uncredited)

Jim Dahl SWAT officer (uncredited)

Joel Kramer Male Nurse (uncredited)

Anne Merrem Psychiatric (uncredited)

Scott Shaw Cyberdyne Tech (uncredited)

Steven Stear SWAT officer (uncredited)

Randy Walker SWAT officer (uncredited)

小威廉·威舍尔 William Wisher Jr. Galleria Photographer (uncredited)

编剧 詹姆斯·卡梅隆James Cameron

小威廉·威舍尔William Wisher Jr.

制片人 Stephanie Austin

詹姆斯·卡梅隆James Cameron

Gale Anne Hurd

Mario Kassar

B.J. Rack

原创音乐 Brad Fiedel

改编音乐 摄像师 Adam Greenberg

**剪辑 Conrad Buff IV

Dody Dorn

马克·戈德布拉特Mark Goldblatt

Richard A. Harris

协调剧组人员 Mali Finn

造型设计 Joseph C. Nemec III

艺术指导 Joseph P. Lucky

布景师 John M. Dwyer

服装设计 Marlene Stewart

化妆师 Jeff Dawn

Ed French

Steve LaPorte

Robert L. Stevenson

Peter Tothpal

Stan Winston

Mary Guerrero

John Rosengrant

制片主管 Pamela Easley

Dirk Petersmann

助理导演 Randall Badger

Dustin Bernard

Xochi Blymyer

Kelly Cantley

Frank Dis

Gary Dis

Did Fudge

Grant Gilmore

J. Michael Haynie

James Lansbury

Scott Laughlin

Terry Miller

George Parra

Tony Perez

Barry K. Thomas

美术 Craig Baron

Charles Breen

Steve Burg

Steve Callas

Michael Cameron

Vince Catlin

Carole Lee Cole

Gary Diamond

William K. Dolan

Bill 'Kauhane' Hoyt

George Jensen

Duncan Kennedy

Walter P. Martishius

R. Patrick McGee

Carla S. Nemec

Phillip Norwood

Joe Pizzorusso

Charles Stewart

Barton M. Susman

Linda Waxman

Mike Wells

Martin J. Gibbons

Mark A. Mancinelli

音效 Nicholas R. Allen

C.J. Appel

Sandina Bailo-Lape

Sara Bolder

Gloria S. Borders

Christopher Boyes

Scott Chandler

Teresa Eckton

Ken Fischer

Stacey A. Foiles

Clare C. Freeman

Dan Garde

J.R. Grubbs

Samuel H. Hinckley

Tim Holland

Richard Hymns

Vanessa James

Tom Johnson

Hael Kobayashi

Barbara McBane

Marnie Moore

Tom Myers

Larry Oatfield

Philip Olbrantz

Lee Orloff

Diana Pellegrini

Michele Perrone

Susan Popovic

Allan K. Rosen

Kevin Rose-Williams

Gary Rydstrom

Claire Sanfilippo

Susan Sanford

Paige Sartorius

Jim Seymour

Robert Shoup

Did Slusser

Dianna Stirpe

Gary Summers

Ewa Sztompke

Dennie Thorpe

Pam Uzzell

Ethan Van der Ryn

Knox White

Marian Wilde

Gwendolyn Yates Whittle

Tim Boyle

John Countryman

Thierry J. Couturier

John Rotondi

特技师 Bob Ahmanson

Brent Baker

Bill Basso

Did Beneke

Evan Brainard

Len Burge

Rob Burman

Craig Caton

Richard Dison

Glenn Eisner

Greg Figiel

Scott R. Fisher

Thomas L. Fisher

Bruce Spaulding Fuller

Mark Goldberg

Armando González

De Grasso

Roger Hansen

Phillip Hartmann

Beth Hathaway

Adam Jones

Mark Jurinko

Eileen Kastner-Delago

Joseph Kelly

Bob King

Jay King

Terry W. King

Brad Krisko

Richard J. Landon

Mark Lohff

Frank Charles Lutkus III

Shane Mahan

Greg Manion

Karen Mason

Curt Massof

J.C. Matalon

Mark McCreery

Paul Mejias

Hal Miles

Bruce Minkus

Mark Noel

Jeff Periera

Jon Curtis Price

Joe Reader

Dan Rebert

Sean Rodgers

Steve Sanders

Andy Schoneberg

Paul Sciacca

Alan Scott

Shannon Shea

Michael Spatola

Ian Stevenson

Did Stinnett

Christopher Swift

Michiko Tagawa

Joseph Patrick Todd

Mike Trcic

Joe Viskocil

Robert E. Watson

N. Brock Winkless IV

Thomas Zell

Greg Aronowitz

Robert Hutchins

Andrew Miller

George Zamora

视觉特效师 Diana Ace

Tony Alderson

Bret Alexander

Scott E. Anderson

Ed Angell

Sean Applegate

Gordon Baker

Randall K. Bean

James Belkin

Jennifer C. Bell

Tom Bertino

John Andrew Berton Jr.

Scott Beverly

Ken Beyer

Beth Block

Barbara Brennan

Stephen Brien

Betzy Bromberg

Kevin Brown

约翰·布鲁诺John Bruno

Geoffrey Burdick

Geoff Campbell

Dan Carter

Anthony Chaney

Doug Chiang

Terry Chostner

Richard L. Cohen

Steve Cohen

Susan Adele Colletta

Tim Conrad

Bryan Cooke

James Cook

Michael Cooper

Robert Costa

Gail Currey

Jim Didson

Mark A.Z. Dippé

George C. Dodge

Miller Drake

Christopher Duddy

John Ees

Elaine Edford

Did Emerson

Eric Enderton

Rachel Falk

Stefen Fangmeier

Don Fergus

Anthony Forzaglia Jr.

Carl N. Frederick

Jonathan French

Dan Frye

Jorge Fuentes

Jack Gallagher

George Gambetta

Paul Gentry

Pete Gerard

Michael Gleason

Joanne Hafner

James Hagedorn

Janet Healy

Phil Heron

Robert Hill

Christian Hogue

Sandy Houston

Lincoln Hu

Leslie Huntley

George H. Joblove

Ed Jones

Kirby Jones

Michael Joyce

Emmet Kane

Michael Karp

Douglas S. Kay

Pam Kaye

Elizabeth Maxwell Keith

Richard Kilroy

Pete Kleinow

Jay Lenci

Jeffrey B. Light

Van Ling

Greg Maloney

Did Zen Mansley

Jim Martin

Jim May

Patrick McArdle

Brian McFadden

Roberto McGrath

Bob Micheletti

Carl Miller

W. Peter Miller

Jim Mitchell

Bart Mixon

Bret Mixon

Tony Moffett

Terry Molatore

Jack Mongovan

Doug Moore

Sergio Moreno

Tim Morgan

Jim Morris

Richard Mula

Mary Mullen

Dennis Muren

Michael J. Natkin

George S. Neil

John Nelson

Michael Novotny

Joe Pasquale

Steve Petruzates

Josh Pines

Paula Pirok

Dan Platt

Jeryd Pojawa

Angus Poon

Chuck Ray

Gary Rhodaback

Jay Riddle

Rick Rische

Stuart Robertson

Alice Rosen

Stephen Rosenbaum

Scott Ross

Richard Ruskuski

Alison Sitch

John Schlag

Andrew Schmidt

Leslie Schor

Dennis Schultz

Alex Seiden

Annabella Serra

Mark A. Shelton

Mary Shelton

Marty Shindler

Dwight Shook

Monty Shook

Chuck Shuman

Dennis Skotak

Robert Skotak

Douglas Smythe

Anthony R. Stabley

Joel Steiner

Samantha Stevens

William Stromberg

Ginger Theisen

Joseph Thompson

Tien Truong

Did Tucker

Lisa Vaughn

Bruce Vecchitto

Christopher Warren

Gene Warren Jr.

Judith Weer

Julie J. Webb

Steve 'Spaz' Williams

Tom Williams

Lou Zutern

Larry Arpin

Nelson Broskey

Kris Brown

Mark Burnett

Wade Howie

Al Magliochetti

Shawn Neely

Daniel Alan Ross

Jeff Varga

特技演员及其他部份参与职员 Gregory J. Barnett

Janet Brady

鲍勃·鲍文Bob Brown

Rocky Capella

Doc D. Charbonneau

Gilbert B. Combs

Jeffrey J. Dashnaw

Gary Dis

Debbie Evans

Billy Hank Hooker

Norman Howell

Tommy J. Huff

Larry Johnson

Peter Kent

Joel Kramer

Lane Leitt

Billy D. Lucas

Cotton Mather

Bobby Porter

Mike Ryan

Did Webster

Glenn R. Wilder

Dick Ziker

Kevin Bonaccorsi

Jack Carpenter

Terry Jackson

Monty Jordan

Mike Justus

Kevin Larson

Johnny Martin

Gin Alcott

Paul C. Babin

Mike Benson

Did L. Butler

Alan Cohen

James M. Cox

Richard Crompton

Bruce DeAragon

Christopher Duddy

Did Dunbar

Rick Dungan

Brad Emmons

Don E. FauntLeRoy

Michael A. FauntLeRoy

Todd M. Gin

Robert Gray

Jason Gunn

Donald L. Hartley

Steve Hastings

Ted H. Hauser

Did E. Hengstellar

Tyrone Jackson

Hilary Klym

Frank Krejsa

Dennis J. Laine

Kevin J. Lang

Brian Liberman

Bruce Manning

Pete Martinez

Steven C. McGee

J. Michael Muro

John Nash

Sal Orefice

Darrin Pulford

Rick Rader

Scott M. Robinson

Zade Rosenthal

Joe Rowan

Ryan Russill

Stephen Sfetku

John Smock

Donald Stanford

Michael St. Hilaire

Gary Tandrow

Daniel E. Teaze

Rodney Veto

Scott Warner

Bruce Byall

Thomas Enright

Adam Glick

Mark Gutterud

Steven C. Hodge

Ron Kunecke

Bill-Brady Majors

Randall Robinson

Abra Edelman

Emily Schweber

Paul Garnica

Colin Booth

Carol Dobrovolny

Greg Hall

Bruce R. Hogard

Dawn Y. Line

Pattir Moon

Joseph Berger-Dis

Crystal Dowd

Jane Kass

Kathleen Korth

Mary Nelson-Duerrstein

Clay Rawlins

Caroline Ross

Ron South

Kelly Tartan

Arthur Tostado

Clarinda Wong

Steve Bonner

Gene R. Johnson

Jerry F. Johnson

Pete Johnson

Kenneth Newland

George Grenier

William Hogue

其他职员 Frans J. Afman

Michael Albanese

Caroline Allen

Ed Arneson

Maryellen Aviano

Kim Balser

Timothy A. Burris

Marc Cohen

Anthony Cortés

Chris Cowan

Jim Dahl

Thomas A. Dila

John Dis

Stephen C. Dawson

John 'D.J.' Des Jardin

Tony Didio Jr.

Alexandra Drobac

Antoine Durr

Joe Earley

Ernest D. Farino

Chris Silver Finigan

Robert Foulkes

Marv Freeman

Uzi Gal

Scott Giegler

Joseph Goldstone

Rhonda C. Gunner

Richard E. Hollander

Did G. Hudson

Ronald D. Hughes

Peter Kent

Joyce King

Richard Klotz

Andy Kopra

Cindy Lasher

Ross Levinson

Harry Lu

Mary Lamar Mahler

Ed W. Marsh

Gregory L. McMurry

Tara Meaney-Crocitto

Pia Mehr

Anne Merrem

Rhonda Leigh Miller

Jim Morris

John Moy

Mike Muscat

Jeffrey D. Nelson

Steve Newman

Rachel Oberstein

Paul Olsen

Scott Peterson

Julian Michael Philips

Liam Phillips

Michael Pitt

Jane Prosnit

史蒂芬·奎Steven Quale

Trudy Ramirez

Wallace Sarver

Laura Sherman

Eric B. Sindon

Kristine Spindler

Steven Stear

Lisa Ann Stone

Rick Sweeney

Charles A. Tamburro

Michael Viglietta

Randy Walker

John C. Wash

Larry Weiss

Stan Winston

Jack Wood

Dean Wright

Vic Armstrong

Michael Barnes

J. Patrick Kanehann

Lisa Dennis Kennedy

James Marlowe

Bill McCamey

Denyse Rossi

Michael Tamburro

Ray Baghshomali

John Bell

Marc Duprey

Tom Hudson

James Juro

Mike Lanam

Chandra Shah

HDTV下载地址，不怕体积大的话就去吧：

://lib.verycd/2007/05/30/0000151965.html

第15届美国演员工会奖详细资料大全

I ABOUT THE AUTHOR

John Ronald Reuel Tolkien was born on January 3, 1892, in Bloemfontein, South Africa, where his father was a bank manager. After his father’s death, Ronald, then aged four, his mother, and younger brother moved to the English village of Sarehole, in the West Midlands. Thereafter, Tolkien always retained an idealized image of the Sarehole Mill, its old mill pool and overhanging willow tree, a tempting nearby mushroom patch, and the local clusters of cottages—all of which figured in his picture of Hobbiton. At this time young Ronald was already discovering two interests that were to shape his life: languages and stories about imaginary places. When his mother moved the family to Birmingham, the urban atmosphere with its trains and factories was much more forbidding and he later encouraged people to "escape" from such environments through imaginative literature.

During his years at King Edward's school in Birmingham and later at Oxford University, Tolkien concentrated on philology, moving from languages such as Latin, Greek, German, and French, to Old and Middle English, Gothic, Old Norse, Welsh, and Finnish. During his childhood Tolkien had started "making up" languages and as an undergraduate at Oxford he continued this practice, evolving from Finnish and Welsh what eventually became the languages of the elves in Middle Earth. His work with the signal corps of the British army from 1916 to 1918 during World War I stretched his linguistic talents in a different direction.

After the war Tolkien worked briefly on the Oxford English Dictionary, before moving into the profession in which he was to spend the rest of his life: teaching. He was first invited to join the English department at Leeds University; five years later he became a professor of Anglo-Saxon at Oxford, a position he held for 34 years. At Oxford he did much to demonstrate the strong bonds between what had been two rival fields: language and literature. Among his academic works medievalists he consistently praised his translation of the Middle English poetic romance Sir Gawain and the Green Knight and the posthumously published translations of The Pearl and Sir Orfeo. It is significant that the most prominent of his many studies in Anglo-Saxon literature should be his published lecture on "Beowulf: The Monsters and the Critics" (1936). As a child Tolkien had loved dragon stories and the anonymous Anglo-Saxon Beowulf-poet created one of the greatest dragons of literature, a model for Tolkien's treasure-loving dragons in The Hobbit and Farmer Giles of Ham, as well as his creation of malice and terror, Glaurung of The Silmarillion.

Throughout his life, Tolkien was drawn to the challenge of creating an imagined world and mythology. In the 1920s, while he was busy with his teaching career, he was also playfully creating "fairy-stories" to entertain his children. It was for them that The Hobbit evolved, episode by episode. When they grew out of listening to stories, Tolkien's motivation to create them stopped, and so did Bilbo's quest. It was not until 1937 that Tolkien completed the novel. The overwhelming popularity of The Hobbit led his publisher to request another book about hobbits. Tolkien began a sequel almost immediately, but The Fellowship of the Ring, the first part of The Lord of the Rings trilogy, did not see print until 1954, 17 years after he had written the first chapter.

The world of Middle Earth came to full form in The Lord of the Rings trilogy, but its underlying mythology continued to grow throughout Tolkien's life. After his retirement from Oxford in 1959 he concentrated on preparing for publication manuscripts that went back as far as his schoolboy song about Earendil (1914). Up until his death on September 2, 13, he was still revising—and re-revising—the manuscripts, which were finally edited and published by his son Christopher in The Silmarillion (17). Tolkien's own absorption in these myths is reflected by the inscriptions on his and his wife's grestones: "Beren" and "Luthien", the names of the human-elven couple from whom the great lines of Middle Earth descend.

II OVERVIEW

In The Lord of the Rings Tolkien demonstrates the evolution of a literary world. In The Hobbit, often considered a prologue to the trilogy, he created a kind of being with no parallel in literature; in the trilogy he expands his single hobbit hero into four hobbit companions and an assortment of helpers and enemies. The character of Bilbo from The Hobbit returns in The Fellowship of the Ring, the first volume of the trilogy. The central adventure of the trilogy spans three volumes, each divided into two books. Each of the six books builds to its own climactic ending, but an intricate system of interlacing allows the reader to move easily with the characters as the author fills in more details about the geography of Middle Earth, the history of its inhabitants, and the progress of the quest.

The expansive background against which the central action takes place conveys a sense of the universality of the conflict between good and evil. In this world everyone needs the support of others in overcoming obstacles and in doing good. Many of the background sections treat the nature of evil as a distortion of what could he been good. Basic to the history of the One Ring is the thirst for power of its creator, Sauron. In the central volume of the trilogy, The Two Towers, the desire for the power inherent in the Ring has also corrupted the wizard Saruman. Tolkien's analysis of the corrupting nature of power explains why three of his strongest forces for good—Gandalf, Galadriel, and Aragorn—refuse to take the Ring and why Bilbo is unable to resist its control. As the story develops, one major source of Bilbo’s nephew Frodo's internal conflict lies in the pull of the ring itself. The success of Frodo's quest flows from mercy, friendship, endurance, and the courage to risk life and hiness for the good of others.

III SETTING

Physically Middle Earth resembles modern Earth. It is the inhabitants that add the touch of unreality that a reader expects in what Tolkien calls a "secondary" world. In making a world for his hobbits, elves, wizards, dwarves, ents, orcs, ringwraiths, and other unusual beings, Tolkien assumes the creative rights that he says in his essay "On Fairy-stories" belong to the storyteller: the right to be free with nature; to use the world as a basis to make something new, while giving this new world its principles of inner consistency. Much of the mythology and history of Middle Earth comes through songs that pervade the narrative, but a more organized "history", complete with dates for the four ages of Middle Earth and genealogies of major families of elves, dwarves, hobbits, and human beings, is included as an endix to the third volume.

IV THEMES AND CHARACTERS

The enduring conflict between good and evil is the underlying theme of the trilogy, but Tolkien develops other themes in connection with it. He explores the positive and negative sides of power, the nature of heroism, and the role of friendship. To Frodo Baggins, fourite nephew of the ring-finder Bilbo Baggins, is entrusted the task of sing Middle Earth from the control of the master of evil, Sauron. Frodo's task reverses the basic quest pattern: instead of finding a treasure, Frodo is sent to destroy what Sauron values above all—the One Ring. Sauron has poured much of his power into the One Ring to strengthen his control over the 19 Rings of Power. Of these 19 rings, only the Three made by the elves for themselves he never been touched by Sauron and his evil. The Seven, originally distributed to dwarf leaders, he been destroyed and do not affect events in the trilogy. The major concentration of evil confronted by Frodo comes from the Ringwraiths, or Nazgul, who are men ensled by Sauron through the Nine Rings.

Sauron, hing learned from Gollum the whereabouts of the One Ring, sends the Nazgul to recover it. Since the defeat in which the Ring was cut from his hand, Sauron himself can no longer assume a physical form. He can, however, act through those who he submitted their minds and wills to his service. The nature of the Rings of Power and of the Ringwraiths is made clear to Frodo before he accepts responsibility for destroying the Ring. The wizard Gandalf and Elrond, great leader of the elves of Middle Earth, determine who will accompany Frodo on his quest. To match the number of Nazgul, they include nine individuals in the Fellowship of the Ring, representing the people of Middle Earth: four hobbits (Frodo, his servant Sam, and two young friends, Pippin and Merry); the elf Legolas; the dwarf Gimli; two men, Aragorn and Boromir; and Gandalf himself.

The fellows all demonstrate some aspect of heroism. Gandalf has an aura of supernatural power. He risks his life and his power when he is pitted against other supernatural forces: his fellow wizard Saruman, turned evil by desire for the Ring; the Balrog of Moria, who leads him to at least a symbolic death; and the Lord of the Nazgul, who is reinforced by the great strength of Sauron. Gandalf’s heroism is beyond human imitation.

Human heroes abound in the trilogy: Aragorn, Boromir, his brother Faramir, the aged Theoden, Eowyn and Eomer (Theoden's niece and nephew), and the many warriors of Rohan and Gondor. Boromir at one point yields to the power of the Ring, trying to take it from Frodo, but he recognizes his weakness almost immediately and dies defending the younger hobbits, Pippin and Merry. Aragorn, descended from two great marriages of elves and mortals, has a grace and power beyond that of mere human leaders. With this heritage he seems like one of the great epic heroes of the past, just as Tolkien's trilogy itself at times echoes the heroic epic world. Aragorn plans, leads, encourages, and heals; he is always ready to risk his life for the salvation of others. When the royal line of the great kings of the West is "returned" to power by him, the free peoples of Middle Earth can again find justice and the age of men can begin.

The most "human" heroes are the four hobbits. Although at first they do not fully understand the dangers of the quest, their commitment grows in proportion to their knowledge of the nature of their enemies. Frodo undergoes the greatest test because the forces of Sauron concentrate their attacks on him. He is also tested by the Ring, by Gollum whom a lesser hero might he killed for his own safety, and by physical strain. Although Frodo at the last moment yields to the evil pull of the ring, he is sed by his own virtue: the pity that had spared Gollum. Frodo carries a sword, but he rarely uses it, except when he futilely strikes at the Lord of Nazgul; his heroism lies more in endurance than in battle.

Sam, like his master, endures, but he is called to fight against Gollum, Shelob, and the orcs. He delights in hearing the orcs misidentify him as a great elven warrior. Sam's major role in the trilogy is that of loyal friend. However, he is also the voice of normality, longing for the beauty of home, his family and friends in the Shire, his garden, and his pots and pans. Like Sam, Pippin and Merry exemplify friendship and heroism on a more attainable level. They are too small to fight the orcs who capture them, but they outwit them and trel with Fangorn and the ents to overcome Saruman. Back in the Shire after the destruction of the ring, Sam, Pippin, and Merry all share in the battle against more "normal" enemies: mere men.

Neither Elrond nor Galadriel participate in the quest, but they do contribute to its outcome. Elrond's power rescues Frodo from the Nazgul attack and his wound; and it is at Elrond's home that the fellowship is formed. Galadriel's gifts, especially Frodo's phial of light and the seeds of new life in Sam's box, symbolize the life-giving nature of the elves. When Galadriel later tells Frodo that the destruction of the One Ring will probably destroy the power of the Three Rings, it becomes clear how much the elves are sacrificing for the success of the quest. The 19 Rings of Power made by the elves of old had originally been formed as objects of goodness and beauty; it was Sauron who turned the rings he touched into sources of evil. Tolkien demonstrates how goodness can be perverted into evil, but he also shows that evil in turn can be overcome.

In his preface to the trilogy, Tolkien distinguishes between allegory and the licability of works of literature to life. While he disclaims hing imposed any allegorical significance on his story, he asserts the right of readers to ly the meaning of the story to their own lives as they see fit. In light of this disclaimer, it seems contrary to Tolkien’s intention to interpret The Lord of the Rings as political or social allegory, as some critics he done. On the other hand, readers of all generations can ly to their own age some of the overall principles embodied in the trilogy. The fact, for example, that elves, dwarves, hobbits, and human beings can set aside major differences to work together for the welfare of Middle Earth can be extended to a hope that modern human races can set aside their differences, no more deeply embedded than the distrust between dwarves and elves.

Many battles take place in Middle Earth—often violent and bloody ones. The heroes fight brely, sometimes against terrible odds, but the "good" characters do not rejoice in fighting, except perhaps when Fangorn and the ents delight in overthrowing the tree destroyers, Saruman and his orcs, or when Legolas and Gimli compete over the number of orcs slain. Before the Battle of Bywater, after the return to the Shire, Frodo directs his companions to oid killing their enemies if possible. Even Saruman would he been spared if his own cruelty had not provoked the ensled Grima to turn against him.

Evil is readily recognizable by its ugliness and by its fruits. Goodness is equally recognizable and its fruits are more lasting. The author does not preach, but his good characters exemplify in action the virtues of mercy, perseverance, generosity, and friendship. Sauron, Saruman, and the Ringwraiths all embody the vices of hatred, greed, and the thirst for power. The influence of Sauron on those who once were normal men demonstrates the pervasiveness of evil, as does the ugliness of Sauron's land, Mordor. While the destruction of Sauron and the Ringwraiths suggests that evil can be overcome, it does not imply that the destruction of a major source of evil eliminates all evil. The Southrons continue to fight after Sauron's power has collapsed, Saruman's petty destroyers of good continue their work in the Shire, and Aragorn finds it necessary to establish guardians for his borders. Middle Earth after Sauron is no utopia, but it is a world very much like ours, one worth cultivating to bring forth beauty and goodness. In Gondor and in the Shire hope lives on.

求《辛德勒的名单》的英文影评，越详细越好，谢！

第15届美国演员工会奖2009年1月25日晚举行了星光灿烂的颁奖典礼，安吉丽娜-朱莉、布拉德-皮特、安妮-海瑟威等众多大牌汇集红毯。 本届的结果意外中夹杂惊喜，表演单项并不强势的《贫民窟的百万富翁》最终获得了最佳群戏表演奖 。

基本介绍 中文名 ：第15届美国演员工会奖 外文名 ：Screen Actors Guild Awards 时间 ：2009年1月25日晚 与会人员 ：安吉丽娜·朱莉等 简介,获奖名单,**类,电视类,终身成就奖,提名名单,**类,电视类, 简介 美国演员工会奖 (Screen Actors Guild Awards)美国当地时间2009年1月25日晚举行了星光灿烂的颁奖典礼，安吉丽娜·朱莉、布拉德·皮特、安妮·海瑟微等众多大牌汇集红毯。 本届工会奖的结果意外中夹杂惊喜，比如表演单项并不强势的《贫民窟的百万富翁》最终获得了最佳群戏表演奖，可见此片在演员工会的人气，这也进一步奠定了它杀向奥斯卡最佳影片的雄厚基础，而获得提名最多的《虐童疑云》最终靠梅姑的最佳女主角挽回了面子。 蒂娜-菲拿奖 电视方面，亚力克-鲍德温和蒂娜-菲均再下一城，剧情类最佳女主角则由《兄弟姐妹》中的萨莉-菲尔德夺得。 《米尔克》里的西恩-潘在失落金球剧情类影帝之后，在本届工会奖上一举击败《摔角手》米基-洛克，足见其在演员群体中的人气，这也为他的奥斯卡胜算增加了砝码。最佳女主角结果堪称一个小冷门——此前只开花不结果的梅丽尔-斯特里普，凭借《虐童疑云》力压《雷切尔的婚礼》的安妮-海瑟威和《革命之路》的凯特-温斯莱特，成为年工会奖影后。如此局面令奥斯卡影后之争更加戏剧化——凯特、安妮和梅姑分别占据了金球、广播影协和演员工会奖，到奥斯卡决战时会不会突然杀出梅丽萨-里奥，现在已经成了最大谜题。 在《黑暗骑士》中扮演反派“小丑”的希斯-莱杰，毫无悬念地夺得了最佳男配角奖，这也是他在夺取金球奖、广播影评人协会奖等重要奖项后，获得的又一殊荣，由此可以判断，莱杰摘取2009年的奥斯卡男配角奖已经板上钉钉。继勇夺金球奖最佳女配角之后，《朗读者》里的凯特-温斯莱特再下一城，摘取本届演员工会奖的最佳女配角奖，她在台上再度“语无伦次”：“我真的有点失语了，我向你们（其他提名者）深深地抱歉！”不过，温斯莱特的获奖并不意味着劲敌佩妮洛普-克鲁兹的奥斯卡之梦即将破碎，因为凯特凭借《朗读者》获得了奥斯卡最佳女主角提名，因此好戏还在后面。 最佳特技替身演员群戏奖颁给了《黑暗骑士》。《黑暗骑士》在拍摄过程中发生的一次事故曾为剧组蒙上了一层阴影，剧组在英国彻特西拍摄一场汽车追逐的动作场面时，特技师康尼-威克里夫正在给演员示范驾车，结果没有留神前方，猛撞到了一棵树上，最终不治身亡。所以，该奖实际上是演员工会向不幸去世的特技师康尼-威克里夫的一次深切致敬。 休-劳瑞 《豪斯医生》 反观电视方面的剧情类阵营，帝后头衔去向分散。《豪斯医生》（House）休·劳利把最佳剧情类剧帝的奖杯收入囊中，可见其颇受行业内部同僚们的追捧。 获奖名单 **类 最佳男主角：西恩-潘SEAN PENN《米尔克》MILK 最佳女主角：梅丽尔-斯特里普MERYL STREEP《虐童疑云》DOUBT 最佳男配角：希斯-莱杰HEATH LEDGER《黑暗骑士》THE DARK KNIGHT 最佳女配角：凯特-温斯莱特KATE WINSLET《朗读者》THE READER 最佳替身集体表演：《黑暗骑士》The Dark Knight 最佳群戏演技：《贫民窟的百万富翁》SLUMDOG MILLIONAIRE 电视类 剧情类剧集杰出表现男演员：休-劳瑞 《豪斯医生》 剧情类剧集杰出表现女演员：萨莉-菲尔德 《兄弟姐妹》 喜剧类剧集杰出表演男演员：亚力克-鲍德温 《我为喜剧狂》 喜剧类剧集杰出表演女演员：蒂娜-菲 《我为喜剧狂》 剧情类剧集杰出集体表演：《广告狂人》 喜剧类剧集杰出集体表演：《我为喜剧狂》 终身成就奖 詹姆斯·阿尔·琼斯 提名名单 **类 最佳群像演技 《返老还童》The Curious Case of Benjamin Button 《虐童疑云》Dou 《对话尼克森》Frost/Nixon 《米克传》Milk 《贫民富翁》Slumdog Millionaire， 最佳男主角 理察·詹金斯　《不速之客》The Visitor 弗兰克·兰杰拉　《对话尼克森》 西恩·潘　《米克传》Milk 布拉德·皮特　《返老还童》 米基·洛克　《摔跤手》The Wrestler 最佳女主角 安妮·海瑟薇　《姐姐的婚礼》Rachel Getting Married 安吉丽娜·茱莉　《换子疑云》Changeling 梅丽莎·里奥　《冰冻之河》Frozen River 梅丽尔·斯特里普　《虐童疑云》 凯特·温斯莱特　《革命之路》Revolutionary Road 最佳男配角 乔什·布洛林　《米克传》 小罗伯特·唐尼　《热带惊雷》Tropic Thunder 菲利普·西摩尔·霍夫曼　《虐童疑云》 希斯·莱杰　《蝙蝠侠：暗夜骑士》The Dark Knight 戴夫·帕特尔　《贫民富翁》 最佳女配角 艾米·亚当斯　《虐童疑云》 佩内洛普·克鲁兹　《巴塞罗纳》Vicky Cristina Barcelona 维欧拉·戴维斯　《虐童疑云》 塔拉吉·亨逊　《返老还童》 凯特·温斯莱特　《生死朗读》The Reader 电视类 迷你剧/电视**类最佳男演员 Ralph Fiennes – Bernard and Doris Paul Giamatti – John Adams Kevin Spacey – Recount Kiefer Sutherland – 24: Redemption Tom Wilkinson – John Adams 迷你剧/ 电视**类最佳女演员 Laura Dern – Recount Laura Linney – John Adams Shirley MacLaine – Coco Chanel Phylicia Rashad – A Raisin in the Sun Susan Sarandon – Bernard and Doris 剧情类电视剧最佳男演员 Michael C. Hall – Dexter Jon Hamm – Mad Men Hugh Laurie – House William Shatner – Boston Legal James Spader – Boston Legal 剧情类电视剧最佳女演员 Sally Field – Brothers & Sisters Mariska Hargitay – Law & Order: Special Victims Unit Holly Hunter – Sing Grace Elisabeth Moss – Mad Men Kyra Sedgwick – The Closer 喜剧类电视剧最佳男演员 Alec Baldwin – 30 Rock Steve Carell – The Office Did Duchovny – Californication Jeremy Piven – Entourage Tony Shalhoub – Monk 喜剧类电视剧最佳女演员 Christina Applegate – Samantha Who? America Ferrera – Ugly Betty Tina Fey – 30 Rock Mary-Louise Parker – Weeds Tracey Ullman – Tracey Ullman's State of the Union 剧情类最佳集体表演 《波士顿法律》 Boston Legal 《嗜血判官》Dexter 《豪斯医生》House 《广告狂人》Mad Men 《罪案终结》The Closer 喜剧类最佳集体表演 《绝望主妇》Desperate Housewives 《明星伙伴》Entourage 《办公室》The Office 《我为喜剧狂》30 Rock 《单身毒妈》Weeds

求钢铁侠的英文影评= =

*** This comment may contain spoilers ***

The Holocaust is undouedly one of the most significant and horrifying events of the twentieth century. Between 1938 and 1945, the Jewish population was segregated and persecuted, culminating in the merciless slaughter of roximately six million Jews (this figure is quoted in the film, though most historical estimates vary between five and seven million). Amidst all this butchery, one man decided to make a difference, famously sing the lives of more than 1100 Jews- men, women and children who would otherwise he been killed.

Oskar Schindler (played brilliantly by Liam Neeson, "Batman Begins") was a Sudeten German industrialist, a wealthy womanizer who wasn't afraid to throw his money around. Always bearing his Nazi Party badge proudly, Schindler would often frequent nightclubs, extragantly showering high-ranked Nazi officers and their girlfriends with champagne and ciar. With impeccable connections in the black-market, there was little that he couldn't get his hands on, and he was a good person to know. Buying friends was something that Schindler could do well, and he would often use these newfound alliances to aid his own business ventures. When thousands of the Polish Jew population was relegated to the Kraków Ghetto in 1941, Schindler saw an opportunity for further success, enlisting desperate Jewish investors and employing Jewish workers (who were substantially cheaper to employ) to open an enamelware factory. His connections in high places ensured lucrative army contracts, and Schindler need only he watched as his personal fortune grew, despite doing little to run the company beyond offering it "a certain panache."

It is clear from the beginning that Oskar Schindler does not harbour any racial prejudices. When Schindler requests the services of Itzhak Stern (a superb Ben Kingsley, "Gandhi"), a clever, humanitarian Jewish accountant, Stern declares that, "By law I he to tell you, sir, I'm a Jew." "Well, I'm a German, so there we are," replies Schindler indifferently, before getting straight to business. It is not race that he is concerned with, it is himself… and, of course, his money. Stern does not enjoy running Schindler's business, and he initially acquires little satisfaction from it. When Schindler attempts to convey his genuine gratitude for his profitable services with a glass of whiskey, Stern absentmindedly refuses to drink it, and an embittered Schindler drinks it himself before ordering Stern to lee.

With the arrival of Amon Goeth (played as the epitome of evil by Ralph Fiennes, "Red Dragon"), a Hauptsturmführer of the SS, the hopeless plight of the Jews grows darker. In a harrowing extended sequence, largely based on the testimonies of Holocaust survivors, the Jews are mercilessly "liquidated" from the Krakow Ghetto, many simply shot on the spot. "Today is history," proclaims Goeth. "Today will be remembered. Years from now the young will ask with wonder about this day. Today is history and you are part of it…. For six centuries there has been a Jewish Krakow. By this evening those six centuries will be a rumor. They never hened. Today is history."

This sequence also marks the celebrated earance of the little girl in the red coat. An ingenious plot device, the character was based upon a real girl named Roma Ligocka who, unlike her film counterpart, survived the war, and wrote a memoir entitled "The Girl in the Red Coat: A Memoir". The embodiment of innocence, Schindler spots the small girl wandering amongst the black-and-white chaos of the Krakow Ghetto, and we follow her as she retreats into a building and takes shelter under a bed. When Schindler later notices her disheveled corpse carted past him to be incinerated, he is understandably horrified, unable to understand how the soldiers could possibly destroy something so innocent. This event memorably signifies the turning-point of Schindler's attitudes towards the carnage, fuelling his desire to se as many Jews as possible.

Long known as a "blockbuster" filmmaker – with such adventure classics as "Jaws," "E.T. The Extra Terrestrial" and "Raiders of the Lost Ark" to his name - "Schindler's List" was - and remains - Steven Spielberg's most mature directorial effort. Working with a screenplay that Steven Zaillian adapted from Thomas Keneally's Booker Prize-winning 'Schindler's Ark,' Spielberg treats the subject matter with the respect it deserves. Wisely choosing to depict the events as realistically as possible, Spielberg allows the images to speak for themselves. Flawless acting, stunning cinematography and a haunting John Williams score excel this film above all others of the 1990s. This is the powerful story of the difference that just one man can make, and it is a story that deserves to be seen by all. We can only feel grateful that it was Steven Spielberg who chose to be at the helm.

=========================

Rather than impress you (the reader) with a grandeur review of the movie, I will sum up what the people are saying about this movie called Schindler's List.

It's brilliant, beautifully shot in black and white, but it's a Spielberg film, it did he it's share of flaws.

Despite the many rants from other users saying that "if it's Spielberg, it mustn't be that good," I still can't understand why people would rate this film with the lowest rating possible(1 out of 10, which = awful movie).

I rated this film a 10 out of 10. Why? "Now come on, Dude, it's a Hollywood Movie" I was told by a fellow student in school. Yes, but when was the last time any Hollywood made a movie like this? When was the last time you saw a Hollywood Movie that was actually worth watching for 3 whole hours? I reciate that any kind of film that is anything as dramatic as this can actually get made in Hollywood today, let alone get made way back in 1993. I find this film great for the fact that this doesn't stick to every Hollywood stereotype, cliche, bullsh**, and lie that seems to fill most Hollywood Movies.

Flaws. Let's face it, pretty much every film has them, even a huge movie loving geek like myself knows that. Yes, the ending is a bit pretentious(but I felt that the ending for Sing Private Ryan was a bit pretentious too, though I still think that it's also an excellent film). Hing seen this a few times already I can see where the arguments over the character lacking enough depth and being rather 2-dimensional he some truth in them.

Schindler's List, like any other film, has flaws. Truth is that any film, whether it be directed by Kubrick, Stone, Tarantino, Malick, or Spielberg, will most likely he flaws no matter how noticeable or unnoticeable they are.

What I feel after several viewings. Despite the films flaws, it stands out as a very moving, well-intentioned, strong, excellent, and remarkable film. See if you want to, nobody is forcing you to see this movie. I, like many others who hen't fallen into the "Everything that is Spielberg sucks" crowd, can't deny what a powerful film this is and what a great contribution to movie cinema history it is.

===========================

Many people he told me how devastated they were when they saw this movie. But I was just bored. We talked about it and, in the discussions that followed, I was accused of not caring about the victims of the Holocaust. One person even said I was denying the Holocaust hened!

And that soured me on the movie even more. The fact is, Holocaust movies he insurance against criticism: if you say the movie is a waste of time, someone might attribute your opinion to the Holocaust itself. I don't understand it, but that weird emotional blackmail made me really uncomfortable with Schindler's List.

I thought Liam Neeson was horrible. His acting is very stiff and unconvincing. The use of hand-held cameras and black-and-white cinematography *should* work, but ultimately they amounted to sule special effects.

I thought the movie was emotionally flat, as well. I watched each character go through the motions, wondering when something unexpected would hen. The horror of the Holocaust is shown in an almost clinical way.

I don't know. I just felt that this movie would feel less like a bid for an Oscar and more like a personal film.

At the risk of being a complete jerk, I'll give Spielberg this advice: Do it again. Make another Holocaust movie. Why not? He finished Kubrick's "AI." Kubrick had another movie in the planning stages, a Holocaust film called "Aryan Papers" (aka "Wartime Lies"). I hope he'll finish *that* Kubrick movie, too, and create a better Holocaust film, something I can sink into and be surprised by, something that feels much more personal.

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I mean, has enough time passed? Or has the release of *Schindler's List* on DVD fueled a new hushed awe towards the picture?

Spielberg's critic-proof Holocaust film has several problems, the biggest of which is the way it turns a horrible real-life tragedy into a three-hanky melodrama. I continue to maintain that the Holocaust is generally unfilmable, in terms of what we might call a standard movie. Generally unfilmable, but not inevitably unfilmable. Off the top of my head, I can recommend two recent films on this subject: Francesco Rosi's *The Truce*, and Costa-Gras' *Amen". Both films roach this material with far more nuance than Spielberg's film, which, I repeat, is weepy melodrama. (And as such, treads a fine line between reverence and tastelessness.) For that matter, Polanski's *The Pianist* gives us a more unique roach than what we get here, which is a movie that features a hero whom your erage American multiplex popcorn-tub-muncher can easily identify with: a gregarious capitalist named Oskar Schindler (Liam Neeson) who, despite all the war-profiteering (read: "initiative"), turns out to he a heart of gold. Or marshmallow mush. Please don't bother pointing out that this is a "true story": those who've read the actual book by Thomas Kenneally on which the movie is based will be rather shocked by the movie's willingness to sacrifice verisimilitude for "dramatic license". The biggest example of this is the "villain" of the piece, SS-Kommandant Amon Goeth (Ralph Fiennes in a career-making performance). The screenplay ladles all sorts of Freudian syrup over this character, meaning: he's crazy as a loon. So much for the "banality of evil": instead, we get, via Fiennes' Method-y performance, a study in mere neurosis instead of a rigorous examination of the murderous pathology that's inherent in humanity. Spielberg can't resist hing Herr Goeth develop a crush on one of his Jewish housemaids, and we get the requisite "Hath not a Jew eyes" speech, delivered with what is supposed to be irony by Fiennes. Then he beats the crap out of her. Change the plot particulars, and you've got your standard "Lifetime Channel" movie about an abusive husband.

Don't get me wrong, the film is not a total waste of time: even melodrama has cumulative virtues, and many of the scenes in *Schindler's List* are quite affecting, particularly the very last sequence in which the surviving "Schindler Jews" ear (in color), accompanied by the actors who portrayed them. They pay tribute to Schindler by laying stones on his gre. Moving stuff. Ben Kingsley, who portrays the worry-wart Itzhak Stern, must also receive special mention. And Spielberg's technical mastery is never open to question: this is one beautifully mounted film, impeccably photographed. The set-design, which is called upon to perform the daunting task of replicating Nazi labor camps and so forth, is beyond reproach. Proving that he's still the same guy who directed *Jaws*, Spielberg is able to send chills up our spines when a train full of Jewish women & girls is accidentally routed to Auschwitz: it's a night-scene, replete with a light-tower that roximates a beacon from Hell.

But, all-in-all, the movie remains an elementary roach to the Holocaust genre. It's tailor-made for desultory viewings by 12th-graders: "Hey mom, we learned about the Holocaust in class today." Nothing wrong with that, but aren't the kids better served by a FACTUAL documentary about this subject, rather than an Oscar-baited exercise in self-importance? You decide.

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已经尽量找了四篇比较长的影评了,希望楼主能满意.

哈利波特5英文影评

As an id reader of the Iron Man comics, I was excited but also very scared that this movie would flop.

While Robert Downey is not the biggest name in Hollywood, he plays the part perfectly and I was greatly impressed by how he portrayed Iron Man so well.

The humor works well for this film also. It's well-written and has a great cast.

What impressed me the most was the CGI! They're breath-taking, but aren't distracting enough to let you miss the finer points of this movie.

In conclusion, while not perfect, Iron Man lives up to its hype and my expectations as a reader of the comic

够简单吗？ o(∩_∩)o...

Harry Potter and the Order of the V is very good, there's not a lot of hatred before, talked about the hatred against a person, yes, victory over evil to those who depended on a bright, relying on love. .

哈利波特的第五部是非常好的，里面没有了很多以前的仇恨，讲到了仇恨对于一个人的危害，是的，战胜恶者要靠着光明，靠着爱。