1 Forrest Gump《阿甘正传》

Momma always said: "Life is like a box of chocolates, Forrest. You never know what you're gonna get."

阿甘：“妈妈常常说，生命就如同一盒朱古力，你永远不会知道你将得到什么。”

【这是阿甘经常提醒自己、“劝诫”他人的话。正是这句富含哲理的“箴言”激励着善良真诚、乐天知命的阿甘脚踏实地、努力拼搏，并终由一名智障者变成了美国人心目中一个不朽的传奇人物。】

2 《哈姆雷特》

To be, or not to be- that is the question

生存或毁灭, 这是个必答之问题。

3 007《007系列》

"Bond. James Bond."

“我是邦德，詹姆斯·邦德。”

【007电影系列的招牌台词。 此语是刺激“邦德迷”们肾上腺素加速分泌的最有效的“催化剂”(虽已用过19次)，Fans伴随着邦德一次次出生入死、一次次非凡艳遇、一次次化险为夷、一次次惊声尖叫……邦德已成为Fans心目中不死的银幕神话。】

4 The Terminator《终结者》

"I'll be back!"

T-800：“我会回来的!”

【阿诺先生在《魔鬼终结者》(1984)中怎么也死不了，临走前还撂下这句狠话。无需注解，事实上它已成为了阿诺周游各地后，与Fans辞别时的标志“结束语”。】

5 THE SHAWSHANK REDEMPTION 《肖申克的救赎》

Fear can hold you prisoner. Hope can set you free.

恐惧让你沦为囚犯。希望让你重获自由。

6 Braveheart《勇敢的心》

"Freedom!"

“自由!”

【最“震撼人心”之语：华莱士临刑前的一声疾呼：“自由!” 自由是人类最初亦是最终的梦想。自古以来，多少英雄豪杰、文人志士为之揭竿而起、前仆后继。生命可以付出，而梦想绝不能破灭，这是亘古不变的信念和追求。】 7 Gone With the Wind 《乱世佳人》

"... tomorrow is another day!"

“明天又是新的一天!”

【《乱世佳人》(1939)的结尾，命运乖舛的费雯丽站在树下迎向阳光，说出这句百折不挠的名句。】

8 《绿野仙踪》

"There's no place like home."

世界上再没有地方像家一样。

【小女孩桃乐斯历经重重冒险，最后总算回到家。】

9 《星愿》

The furthest distance in the world is not between life and death. But when I stand in front of you yet I don't say: "I love you " .

世界上最遥远的距离不是生和死，而是站在你面前却不能说：“我爱你”。

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企业英语培训

 

第二篇：英语电影欣赏作业

1.

Avatar is a movie about a future world. Please analyze this movie from critical perspectives.

The shotcomings of the Avatar

Although Avatar is a very good movie It still has many shotage . Avatar’s political shortcomings

Avatar challenged U.S. imperialism in a way that no other blockbuster film has! It was more than a little ironic to watch National Guard advertisements before a film that ended with the audience cheering on a struggle of an indigenous people against U.S. Imperialism.

James Cameron could have made the invaders some generic country, but he chose to politicize it in a contemporary way, forcing us to think of current justifications for U.S. wars and occupations. So I certainly don't think we should dismiss Avatar as "so much unreconstructed Orientalism," in the words of Nagesh Rao ("Anti-imperialism in 3-D").

Nevertheless, we should not be uncritical of its political shortcomings--centrally, the "going native" tradition that Rao (and other reviewers) discuss. In Rao's words, "the fantasy of 'going native' often ends with the white man not only assimilating into the 'native' culture, but emerging as their leader in their quest for

salvation or liberation from some oppressive force or circumstance."

I would have had no problem with Jake merely joining the resistance. But why did Cameron write the plot (in a "going native" tradition) so that Sully replaces the fallen chief to become the leader? The natives literally bow down before him. He becomes their spiritual leader while barely believing the religion himself.

He also becomes their political leader. He gives speeches to the Na'vi, suggesting that they should go to other clans to ask for assistance, after he becomes the person to fly/conquer a larger-than-life bird that nobody else has.

This situation is similar to the idea of an American GIs siding with the Vietnamese during the Vietnam War and joining the resistance. After a few months, NLF leader Ho Chi Minh dies, this soldier replaces Ho Chi Minh as the leader of the NLF, giving speeches in English to reunite and inspire an otherwise fractured and disoriented resistance.

While American soldiers certainly did openly identify with the Vietnamese resistance, the idea of one becoming the leader of this struggle is patently absurd. Cameron decided to write the film in a way so that this would happen, in an unfortunate tradition.

The film could just as easily been written so that Americans

were participants in the struggle of the Na'vi, with critical insight into U.S. operations, without someone replacing the chief to become the new leader. Why did Cameron write the movie this way? It's a problem, and while the film is great politically on many, many levels, this central plot line falls within the tradition Rao identifies, albeit within the context of movie that is otherwise politically very good.

However, we cannot deny this major problem with the film. And, frankly, we have to sympathize with people who have seen one too many "white savior" movies. Otherwise, we cede the ground to people like David Brooks, who has written a review about Avatar entitled "The Messiah Complex" to point out this flaw in an attempt to dismiss the movie and by association anti-imperialism in general.

2.

Why can we say the English Patient is a romantic movie? This is one of the most romantic films ever made and is filled with the joy and peril of appreciate and war. It shows that while war may produce logistical lines that can not be crossed, the heart has no boundaries. Anyone who has ever experienced a esteem of such emotional intensity and physical longing that worship and need became one will understand the esteem affair of Katherine and Almasy.

Cinematographer John Seale has given this film a grace and beauty seldom seen on film. A haunting net rotund of mystery and romance from Gabriel Yard accompany scenes never to be forgotten, and will not be described here in case you have not yet seen them. Director Anthony Minghella explores the mystery of the desert, and the heart, which according to the “The Histories” by Herodotus, a book the English patient clings to, is an organ of fire.

If there is but one ounce of romance in your soul, you will cherish “The English Patient.” It is a well charted and romantic procedure of the human heart, as wide and treacherous as the unending desert. This will be one of your accepted films once you examine it. I promise.

Haunting and beautiful, Ondaatje's award-winning novel tells

the story of four war-damaged souls living in an Italian monastery at the end of WWII, and the love story between two of them, the nurse Hana, and the severely burned unnamed English patient. Unforgettably unique.

The English Patient can rightly be compared to the films of David Lean, whose sweeping epics such as 'Lawrence of Arabia' and 'Bridge on the River Kwai must have inspired the director Anthony Minghella. The film is beautifully photographed, and like 'Lawrence', is set in Northern Africa, but during the second world war. The story is complex, but it boils down to a forbidden love between an opinionated and often difficult archeologist played by Ralph Fiennes and a married woman played by Kristin Scott Thomas.

The film makes clear that true love and passion, even with dreaded consequences, can make life worth living, or worth dying for. If you're a romantic at heart, and can appreciate a film without the standard happy endings and simple moral codes, you may find that 'The English Patient' speaks directly to you.