楚门的世界影评英文200_楚门的世界影评英文90

1.求经典美国**影评，最好是英文版的，中文也行，一个**最好有多个影评 发776900490，非常感谢了

2.《楚门的世界》真的有那么差吗？

3.楚门的世界影评

我生活的这个世界，本身就是一个巨大的谎言。

**《楚门的世界》里的主人公楚门是小镇上平凡又普通的一个男人，拥有一个美丽的妻子，一份稳定轻松的工作，一个从小玩到大的死党...除了自己幼时在海上失去了父亲和对大海深深的恐惧之外，他也许会这样顺利的度过这一生。

可是，渐渐地，楚门发现了这个小镇的端倪，广播似乎在随时播报他的行踪，小镇上的每一个人都在盯着他一样，就连自己的妻子也是满嘴谎话，他开始怀疑了，也许这一切都是的。无奈又痛苦的楚门找到了自己的好友，他唯一可以信任的就是他了，好友虽然可怜他，但是在他面前依旧演着这出戏。是的，一切都是的，一切都是演戏。

楚门从出生，说话，走路，长大，上学，工作，结婚等等，他的一生都在被导演安排，他生活的小镇是的，这只是导演布的景而已，他的妻子和父母也是的，楚门作为这部**里唯一的真实的人，他不知道自己一直在大众的荧幕里，甚至没有见过真正的太阳月亮，周围的一切都在演戏，初恋女友想告诉他实情却也被当做带走。

知道了一切的楚门奋力反抗，他要走出去，走出这个虚拟的小镇，不管未来如何，总之不能活在象之下。

“也许以后我们再也见不到了，在这里祝你早安、午安、晚安！”

被“囚禁”了三十年的楚门，生活的不能算不幸福，但是当一切都是的，你还会选择这种安逸吗？不得不说导演脑洞很大，1998年就拍出了这种经典有深度的**，如我们的人生也是一部被人观摩的**，从另一个意义上来说我们每个人都是主角，所以，大胆的活吧，做自己想做的，冲破舒适圈，让那些看似不可能的也都变成可能。

求经典美国**影评，最好是英文版的，中文也行，一个**最好有多个影评 发776900490，非常感谢了

全美首映票房：$ 31,542,121.00 (单位:美元)　

全美累计票房：$125,618,201.00 (单位:美元)　

海外累计票房：$138,500,000.00 (单位:美元)

一句话评论　

一则荒诞无稽的人生寓言　

对惟利是图、践踏的社会现象的强烈讽刺　

激励人心、发人省思的黑色喜剧　

以讽刺的手法向人们展示了被媒体渗透了的世界　

有力地批判了“媒体万能”的价值观，用类似“乌托邦”的虚拟的完美世界寓意着“笼中鸟”式的生存悲哀　

·The Story Of A Lifetime　

·On The Air. Unaware.　

·The World is Watching　

·We like to watch!　

·Watch What Hens　

名家点评　

《楚门的世界》是一部与众不同、创意十足的**，内容发人省思、感人肺腑，同时也有令人会心一笑的幽默。喜剧天王金·凯瑞在片中的演出纯真中又有复杂的个性，他抛开了一切束缚，他在一贯的喜剧表演方式下流露出令人动容的感情，尽管他的表演尚未得到奥斯卡评委的青睐，但他至少已经征服了大部分普通观众。影片的成功向世人证明了谁才是真正的喜剧之王——尽管目前还只是“无冕之王”。总的来看，这绝对是部有笑有泪的好影片。　

——《时代》周刊影评人　理查·薛克尔　

从表象上看来，影片讲述的似乎是一个荒诞无稽的人生寓言，然而深入其内部，你会发现，其中所蕴涵的意义是深刻的，它会让你觉得不寒而栗，因为也许有一天，你会开始担心是否在自己的周围也会发生同样的事。

——纽约著名影评人　雷吉·史密斯　

我认为这部**拥有许多层面，并非一般的好莱坞**。同时，它的主题概念也十分有创意，而且令人能够感同身受，它会让人不禁扪心自问：“也许我周围生活的每个人都是在演戏？”　——本片主演　金·凯瑞　

精彩影评　

心灵的顿悟　

**《楚门的世界》是个虚构的故事，楚门是这个故事的主人公，他是一个电视长剧的主角，却不知道自己的演员身份。电视剧的导演是个超级天才，他让楚门从刚出生起就在他的镜头前长大，竟让他蒙在鼓里近30年，在这么多年的时间里，这个电视直播节目全天24小时滚动播出，从不间断。这个天才导演制造了整个“楚门的世界”，他派出了许多演员去充当楚门的母亲、朋友、同学、同事、初恋的情人、失而复得的父亲、缺乏共同语言的妻子……他的摄影棚是个庞大的空间，他让楚门每天生活在这个虚拟的空间中，一切都是制造出来的，包括空气、大海、城市、打雷和下雨……

楚门是个普通人，普通得就像生活在我们身边。他有许多的欲望，又很容易满足。因此，他有时欣喜若狂，有时如丧考妣，大多的时候则彷徨郁闷，不知所措。这时，天才的导演又有了用武之地，他不断地制造新的刺激，使他的长剧变得波澜起伏，吊人胃口。他在楚门快乐的时候便给他制造些麻烦，在其沮丧的时候，则不失时机地给其开启一线生机。他让金发女郎如言情般突然出现在楚门的视线中，开启他爱欲的阀门，又让她突然离去，使其心灵坠入无底的深渊；他让楚门从未谋面的“已故父亲”突然现身，夸张滑稽的相认场面令其热泪盈眶，同时也赚取了电视观众的热泪；他又让楚门的知心朋友在其情绪恶劣的时候去关怀他、开导他，令其感受到这“荒漠中的甘泉”而重生信心，虽然那位朋友只是一个演员，而且正背着大段台词……

很佩服**中那位才华横溢、不可一世的天才导演，他让人想到了上帝，同时看到那个软弱、疲惫、徨惑的楚门被一次次的虚伪所玩弄，还是对生活和前途充满了乐观时，我的内心就一阵阵地酸楚，我不忍面对——不忍面对一个真实的“我们”！

“人生如戏，戏如人生”，哲人如此感叹，但人生舞台上的演员——我们，是不是时刻都有一种演戏的自觉呢？还是在上帝的欺瞒和安排下，忘我地做着无意义的事呢？快乐，不足以使我们热爱这个世界；挫折，不足以使我们抛弃这个世界。上帝就像那个天才的导演一样，掌握着很好的度，他知道该在何时给我们当头一棒，何时又给我们烧起暖暖的火炉，他使我们在痛苦中保持希望，在希望中忍受痛苦，因为痛苦制造着剧情的波澜，也制造着收视率，希望则是赏给我们的出场费，使我们不至于中途罢演。

**的末尾，楚门是觉悟了的，他对着摄影机，真的向“上帝”罢演了。天才的导演恐慌了，他将失去观众，他竭力挽留楚门，告诉他离开了导演控制的世界是很危险的，但楚门还是走出了那扇门，走向那个黑漆漆的未知世界，他说不管那个世界中等待他的是什么，他都不在乎。佛家有“顿悟”一说，并说人的本性自足圆满，是人世的尘埃覆盖了它，使它迷失。看来楚门是顿悟了，他要找回那个失去的自我，那个自足圆满、自由自在的本性。

《金刚经》语：“凡所有相，皆是虚妄，若见诸相非相，则见如来。”戏装迟早要褪去，布景也迟早要撤下，演戏的时候则生龙活虎地演一场，只是别忘了过过看戏的瘾，随时让另一个“我”──本我，走下舞台，在观众席上，呷一口茶，看看戏台上的“我”和“他们”，鼓几下掌，流几滴泪，明白了这一点，便接近顿悟了。其实，我们跨不跨出那扇门又有什么关系？因为我们的心灵已经跨了出去。

《楚门的世界》真的有那么差吗？

网上很多的，列举两个~

《肖申克的救赎》的英文影评 版本二邮件发给你

Though adapted from a Stephen King novella, "The Shawshank Redemption" has more to do with a man's internal demons than the kind that routinely rise up from overgrown greyards. Like "Stand by Me," it's not a typical story from the horror King. Instead, it's a devoutly old-fashioned, spiritually uplifting prison drama about two lifers who must break their emotional shackles before they can finally become free men.

Set in a spooky old penitentiary with turrets and towers, the movie manages to be true to its Big House origins while incorporating such horrific mainstays as the clanking of chains and the creaking of the walls. There's even a ren that roosts in the prison library, where he is cared for by a darling old trusty (James Whitmore). For the most part, however, the movie expands upon cliches that date back to James Cagney's prison portraits梩he twisted warden (Bob Gunton) and the sadistic guard (Clancy Brown).

Director Frank Darabont, who renticed on B-scripts ("The Fly II") and TV movies ("Buried Alive"), manages to fashion an improbable new pattern from the same old material in his remarkable debut. While he deals with the grimmest aspects of prison life (sadistic guards, gang rapes and befouled food), Darabont is chiefly interested in the 20-year friendship that sustains Andy (Tim Ros) and Red (Morgan Freeman) .

The movie opens in 1947 as Andy, a prominent New England banker, is on trial for murdering his wife and her lover. Not only did he he a motive, but he had the opportunity梙is footprints were found at the scene of the crime梐nd he had a weapon of the caliber used in the shootings. He insists that he is innocent, but the jury finds him guilty. Sentenced to life twice over, Andy is shipped to the maximum-security state prison at Shawshank, Maine. An introverted loner with an interest in reading, chess and rock carving, Andy doesn't make himself many friends until Red, a 30-year-veteran of the system, decides to take him under his wing.

Things begin to change for the better when Andy finds a way to use his skills and education to benefit his fellow felons. When he overhears the guard captain complaining about losing most of an inheritance to taxes, he offers to trade his advice for three beers for each of the men who are working with him that day tarring the roof.

His reputation as a financial adviser spreads, and soon he is doing the taxes for all the guards and running the warden's outside scams. This leads to a position in the tiny prison library, which Andy gradually expands into the best educational facility of its kind in the area. It takes him six years to do it, but Andy never gives up hope.

It is hope that allows the self-proclaimed innocent man to survive what may or may not be an unjust imprisonment. And hope is his gift to his friend Red, who no longer even tries to impress the parole board at his hearings. He's become "institutionalized," he explains to Andy, and would be a "nobody" on the outside.

Red's gift to Andy is absolution when he finally confesses his true sins. Whether or not he pulled the trigger, Andy blames himself for causing his wife's death; his redemption comes as he learns to give of himself over the course of this marvelously acted and directed film.

Ros gives a performance that evolves with beautiful clarity from starchy banker to warm and loving friend. Freeman is sure to gain his third Oscar nomination for his portrayal of Red. He also reads the film's lovely narration, much of it drawn verbatim from King's 1982 novella.

A detailed portrait of the routine of cellblock life, "The Shawshank Redemption" might change a few minds about the usefulness of incarceration in terms of rehabilitation. Mostly, though, it reminds us of that we all hold the keys to our own prisons.

《楚门的世界》英文影评The Truman Show'' is founded on an enormous secret that all of the studio's advertising has been determined to reveal. I didn't know the secret when I saw the film, and was able to enjoy the little dous and wonderings that the filmmakers so carefully planted. If by some good chance you do not know the secret, read no further.

Those fortunate audience members (I trust they he all left the room?) will be able to reciate the meticulous way director Peter Weir and writer Andrew Niccol he constructed a jigsaw plot around their central character, who doesn't suspect that he's living his entire life on live television. Yes, he lives in an improbably ideal world, but I fell for that: I assumed the movie was taking a sitcom view of life, in which neighbors greet each other over white picket fences, and Ozzie and Harriet are real people.

Actually, it's Seaside, a planned community on the Gulf Coast near Tampa. Called Seahen in the movie, it looks like a nice place to live. Certainly Truman Burbank (Jim Carrey) doesn't know anything else. You accept the world you're given, the filmmakers suggest; more thoughtful viewers will get the buried message, which is that we accept almost everything in our lives without examining it very closely. When was the last time you reflected on how really odd a tree looks? Truman works as a sales executive at an insurance company, is hily married to Meryl (Laura Linney), and doesn't find it suspicious that she describes household products in the language of TV commercials. He is hy, in a way, but an uneasiness gnaws away at him. Something is missing, and he thinks perhaps he might find it in Fiji, where Lauren (Natascha McElhone), the only woman he really loved, allegedly has moved with her family.

Why did she lee so quickly? Perhaps because she was not a safe bet for Truman's world: The actress who played her (named Sylvia) developed real feeling and pity for Truman, and felt he should know the truth about his existence. Meryl, on the other hand, is a reliable pro (which raises the question, unanswered, of their life).

Truman's world is controlled by a TV producer named Christof (Ed Harris), whose control room is high in the artificial dome that provides the sky and horizon of Seahen. He discusses his programming on talk shows, and dismisses the protests of those (including Sylvia) who believe Truman is the victim of a cruel deception. Meanwhile, the whole world watches Truman's every move, and some viewers even lee the TV on all night, as he sleeps.

The trajectory of the screenplay is more or less inevitable: Truman must gradually realize the truth of his environment, and try to escape from it. It's clever the way he's kept on his island by implanted traumas about trel and water. As the story unfolds, however, we're not simply expected to follow it: We're invited to think about the implications. About a world in which modern communications make celebrity possible, and inhuman.

Until fairly recently, the only way you could become really famous was to be royalty, or a writer, actor, preacher or politician--and even then, most people had knowledge of you only through words or printed pictures.

Television, with its insatiable hunger for material, has made celebrities into ``content,'' devouring their lives and secrets. If you think ``The Truman Show'' is an exaggeration, reflect that Princess Diana lived under similar conditions from the day she became engaged to Charles.

Carrey is a surprisingly good choice to play Truman. We catch glimpses of his manic comic persona, just to make us comfortable with his presence in the character, but this is a well-planned performance; Carrey is on the right note as a guy raised to be liked and likable, who decides his life requires more risk and hardship. Like the angels in ``City of Angels,'' he'd like to take his chances.

Ed Harris also finds the right notes as Christof, the TV svengali. He uses the technospeak by which we distance ourselves from the real meanings of our words. (If TV producers ever spoke frankly about what they were really doing, they'd come across like Bulworth.) For Harris, the demands of the show take precedence over any other values, and if you think that's an exaggeration, tell it to the TV news people who broadcast that Los Angeles .

I enjoyed ``The Truman Show'' on its levels of comedy and drama; I liked Truman in the same way I liked Forrest Gump--because he was a good man, honest, and easy to sympathize with.

But the underlying ideas made the movie more than just entertainment. Like ``Gattaca,'' the previous film written by Niccol, it brings into focus the new values that technology is forcing on humanity.

Because we can engineer genetics, because we can telecast real lives--of course we must, right? But are these good things to do? The irony is, the people who will finally answer that question will be the very ones produced by the process.

如果你找不到，还需要的话，欢迎继续联系

楚门的世界影评

最近学了好久写影评的方法，也了解了好多**的拍摄手法，但依然不能学以致用~

昨天认真的看了这部**，看的时候还认真做了笔记，就是能更好的写这篇影评，可是感觉能写出来的还是一些自己的观影感受，算不上影评标准吧~

以后还是会努力多多阅片吧~

因为在看**前，大概了解剧情，所以一开始就知道楚门活在一个被人设定好的电视节目中，喜欢他乐观，积极面对生活的性格，喜欢那句“ Good morning, and in case I don't see ya, good afternoon, good evening, and good night!”（哎呀，好想对喜欢的人说这句话呀~）

几点感受~

一、梦想这事靠不靠谱都要坚持

因为对初恋 Sylvia 的念不念不忘，楚门想去外面看看，想去斐济（是看到后面才知道楚门要去斐济的原因），却遭到了身边人的一致反对，抛开楚门所属这个设定的电视剧情节来看， 妻子家人的这些反对理由都是我们生活中常见的。当你要做一些可能是比较理想化的事情时，也许是出于对你的保护，也许只是单纯的其他人主观意识上觉得这件事不靠谱，就会劝阻你去做，罗列出一系列你会遇到的阻碍，给你找各种难题等你去解决。

我不否认这是一种表达爱的方式，但我还是觉得当身边的人想做一件事时（不包括触犯原则违法犯罪的事），我们都要抱以一种支持的态度，可以告诉他做这件事不好的后果，但不应该去阻挠他去追求这件事，尤其是我这种永远不撞南墙不死心的人，怎么能轻易被说服呢？

二、如果是你愿意离开楚门的世界吗？

在楚门的世界里的确存在许多bug，看起来不那么完美。但相对于现实中许多的生活，都是安逸，舒服的。工作稳定，邻居和睦，妻子母亲都陪在自己身边，可能后续还会迎来自己新的生命的延续。就是许多人在现实中渴望而不可及的生活啊！我们设想，他回归现实，可能要面临很多生活压力。想起了前几天《奇葩说》的一个辩题“如果能为孩子一键定制完美人生，你要定制吗？”虽然楚门的世界谈不上是完美人生，虽然每个人都想追求自己想要的生活，想要的自由，虽然每天重复着同样的剧情，生活也许会很无趣，但是生活如果能安逸的话，我们为什么还要去逃离呢？（如果有这个选择，还挺希望我妈能给我定制一个完美的人生呢~毕竟我这20多年都过得稀里糊涂的~）

三、隐喻的社交媒体的可怕之处

这一点是我最感同身受的一点，我就是中了社交媒体的毒，越来越强的窥视欲，让我更加沉迷其中。我就是喜欢发朋友圈，也喜欢从朋友圈微博等社交网站去窥视别人的生活。明星生活的环境又和楚门的世界有什么区别呢？我觉得楚门的世界可怕的地方不是他身边的一切都是被安排好的，而是他的生活时时刻刻被人监视着。生活这本来就是件很隐私的事情，有些人喜欢和别人分享（比如我），有些人就不很排斥让别人了解自己。而愿意分享自己的那个人，在大家面前表现的一定是没有任何表演成分在的真实的自己嘛？

在这个社交媒体网络越来越发达的现在，人们的窥视欲越来越强烈，对其他人的私生活好奇心越来越重，我们拼了命的逃离楚门的世界，却从未想过我们自己就是生活在楚门的世界中。

《楚门的世界》：媒介时代的操纵隐喻

我们的时代究竟是一个怎样的时代？技术的发展、物质的充裕，究竟是解放了人还是束缚了人？究竟是把人推向了更加自主的方向，还是把他更加置于自己的对立面，更加失去了自我，更加远离了真实的世界和鲜活的人生？

《楚门的世界》用一个近乎残忍的故事，以一种寓言式的叙事，给了我们一个耐人寻味的回答。

很显然，楚门只属于楚门的世界——一个被操纵的虚拟世界。他的出生、成长，一切的喜怒哀乐，如果不出意外的话，包括他的死亡，都将在一个被人为操纵和设计好的舞台上上演，并被无以计数的生活于光鲜富足的现代世界的男男女女们驻足观看。他们与楚门融为一体，一起经历着成长的历程，离开楚门，他们的生活将无以为继，世界将大乱，生活将没有意义。

但一场被设计好的持续了三十年之久的旷古未有的秀，却终因楚门的疑心和探求欲被击碎了。在楚门历经了人造的风暴、雷电、巨浪的考验后，承载着他走向真相的船，无情地撞破了那个蓝得刺眼的美丽但却虚的天空。在那一刹那，一个神话结束了，一个阴谋被置于阳光之下。更为重要的是，这深深的撞击，证明只要人性尚存，心灵是无法被永远操纵的。

然而，楚门又绝不仅仅属于楚门的世界。他同时就是生活在这个弥漫着电子硝烟的世界里的你和我。

从出生，到成长，到死去，我们对世界的认识，从来是都是局限的，我们永远无法做到像万能的上帝那样，可以对这个世界了然于胸。我们不得不借助于各种载体来超脱我们的肉体樊篱，从而使得心灵可以通达久远的过去，遥想漫长的未来，想象异邦的人世间，以满足我们无限的好奇心和知识欲望。在这个意义上，我们不得不赞同麦克卢汉的至理名言：“媒介是人体的延伸”。

然而，文明发展的吊诡正在于，它常常走向自身的反面，成为剥夺自由和消解主体性的帮凶。今天，电子媒介在全球范围内的普及和迅速扩张，已经完全实现了麦克卢汉关于“地球村”的天才预言。也正因为如此，全世界的人们才得以在同一个地球上，同时观看楚门的世界，从而在如此广袤的时空范围内把人性中的窥探欲演绎得如此淋漓尽致。

现实的悲剧性正在于，在这个媒介的时代，谁都难以逃脱楚门的命运，谁也没有十足的底气说自己与楚门无关。在各种形式的电视秀节目中，难道我们不会见到楚门的影子吗？当我们在为超级女声而狂热欢呼的时候，难道我们不会在自己的身上看到那些抱着电视与楚门厮守的观众的影子吗？在经济利益驱动一切的今天，商业逻辑的泛滥，已经逼迫我们不得不把我们自己玩弄于股掌之间，我们只有自娱自乐，并在狂欢的刹那间，出卖我们的金钱、隐私、自由，乃至生命。

如此看来，《楚门的世界》作为一个时代性的操纵隐喻，不仅讲述了真实和虚的边界问题，更重要的则是提醒我们走出时代的，走近我们的心灵，在一种顽强的反思中，保有一份不那么时髦的自由。