勵志英文電影觀後感300字

『壹』 勵志電影《決戰冰河》觀後感

[勵志電影《決戰冰河》觀後感]勵志電影《決戰冰河》觀後感作者：勵志一生勵志電影《決戰冰河》觀後感昨天看了一部勵志類的電影《決戰冰河》，勵志電影《決戰冰河》觀後感。電影里的主人公威爾從一個默默無聞的鄉村小夥子到全美國人追捧的對象，在這背後又隱藏著什麼呢?我願意為大家分享我的感受：電影的英文名叫IronWill，直接翻譯成中文就是鋼鐵般的意志，其實看過之後才知道這還是英雄的主人公在公眾心目中的名字，到電影的最後IronWill成為了一個符號，一個象徵美國精神的符號，象徵夢想和信念的符號。Will只是一個18歲的少年，但是他卻以頑強的意志征服了所有人，包括我們這些電影觀眾。電影展現給我們的第一個鏡頭是威爾與火車賽跑。他從小就有一個明確的目標--參加狗拉的雪橇隊並拿第一。他的家境不是很好，正在這時他收到了一封大學錄取通知書，學費是他們不能承擔的。他的父親為了能讓他讀大學報了狗拉的雪撬隊比賽，如果獲得了第一名就能拿到一萬元的獎金。但是不幸的事情發生了，父親在一次訓練中經過一條狹窄的冰河時掉進了水流湍急的河裡，為了不讓兒子也跟著掉下去他毅然地砍掉了雪橇鏈子。父親死了，從那以後威爾消沉了好長一段時間，在這段時間里他迷失了方向，模糊了自己的目標。家裡要債的逼得急，母親情急之下商量著賣掉農場。正在這時威爾看到了父親留下的報紙--狗拉的雪橇隊比賽。他頓時豁然開朗明確了自己的目標，為了實現父親的遺願保住農場以及上大學他說服了母親。威爾的叔叔在訓練他時說了一句很經典的話"你沒有足夠的實力和經驗與別人比，你唯一能夠爭取的就是時間和毅力。比賽的第一天只能睡五小時，第二天四小時…最後一天不睡覺。當別人在睡覺時你在跑，這樣才有機會獲勝。不管別人有多出色，只要相信自己做到更好就行。"威爾牢記叔叔的話，帶著毅力參賽。參加比賽的都是些來自各個國家的名人，剛開始沒有人瞧得起他，因為沒有錢交遲到的罰金而不能參加比賽，在一位記者的幫助下他才獲得了這個機會，觀後感《勵志電影《決戰冰河》觀後感》。在強大的對手和惡劣的天氣下威爾沒有放棄，在威脅和誘惑下他沒有放棄。(班主任工作www.banzhuren.cn)他克服了重重困難，始終牢牢記住了叔叔的話"相信自己，相信自己的狗，當你很難做出決定時把自己交給上帝吧，上帝會幫你的！"在路途中他救了一個對手，他那顆善良的心感染了許多人。他每天都以鐵人威爾的名字上報紙的頭版新聞，全美國人都在為他喝彩，許多人還到現場為他加油，他是全美國的英雄和希望。當對手用卑鄙的手段將他的狗弄傷後他沒有放棄。這時他的目標遠遠超過了去獲得一萬元的獎金，而是金錢以外的東西；他參加比賽遠遠不是代表自己一個人，而是代表全美國，全美國都在期待著他的好消息。最後那一刻最讓人感動：他實在是太疲憊了，快到達終點的時候他倒下了，眼看著後面的對手追了上來，人們都在為他加油。這時是他的毅力支撐著他，他沒有放棄，艱難地爬了起來完成最後的使命。曾經沒有一個人預料到他會堅持到終點，事實證明那些人都錯了，威爾不但到達了終點而且還拿到了第一名，他的毅力震撼了在場的每一個人。他不但完成了父親的遺願保住了農場獲得了上大學的資金而且成為了全美國人知曉的英雄。看了這部影片後我深深的敬佩威爾，他真的是一個了不起的英雄。他有一個明確的目標並為這個目標而奮斗，不管中途遇到多少艱難險阻他都沒有放棄，靠著他的信念堅持到最後。年僅十八歲的他怎能與強大的對手比呢，他有的僅是時間，所以在別人睡覺的時候他在跑，就是靠他的毅力堅持到最後。在這一點上我們與他又何嘗不是一樣呢。也許我們沒有別人聰明，也許別人做同樣一件事只需要花我們用的一半的時間，為了打敗對手拿到第一我們只有多花點時間，在別人睡覺的時候我們在學習，這樣我們才會立足於不敗之地。幾乎我們每個人都有夢想，只是容易被惰性消磨，我們每天為日常瑣事疲於被命，而忽視了我們的夢想。人人都期待成功，但成功往往只屬於那麼幾個人，這是為什麼呢?因為只有那麼幾個人有堅強的毅力和頑強的信念，他們不但有夢想而且還有決心，雖然在前進的途中會遇到許多尷尬甚至是困難，但是他們沒有放棄心中的信仰，目標唯一，決心堅定。到了某一個時候你所追求的遠遠不是你最初的夢想，而是超越夢想的那些更有價值的東西，這才是真正的成功。路在你自己的腳下，只不過看你自己怎麼走罷了！轉發請註明本文鏈接地址：空間完美搬家到新浪博客！〔勵志電影《決戰冰河》觀後感〕隨文贈言：【人生舞台的大幕隨時都可能拉開，關鍵是你願意表演，還是選擇躲避。】

『貳』 英文電影觀後感中文300字

鮮艷明亮的色彩運用，仿若一本童話書的打開方式，使這部動畫在第一時間便足以吸引孩子的矚目，電影講述了不開心的博啃族只有吃了樂天的精靈族才能開心，因此每年都會舉行吃精靈的美食節，而精靈族國王為了改變這樣的命運，帶著所有族民逃離了精靈樹，開始了新的生活，但隨著時間的推移，精靈族也放鬆了警惕，肆無忌憚的狂歡終於又引來了博啃族，為了營救被抓走的精良族，公主波比和另類不喜歡樂的布蘭開始了這段拯救同伴的旅程。
當故事伊始，過於低幼的展開，令我錯以著這是一部如斯皮爾伯格《圓夢巨人》般只是獻給孩子的作品，但隨著劇情的推進，老歌新唱的方式使電影所洋溢的快樂逐漸的開始也能感染著大人，而極具現實的隱喻，更能為人心生共鳴，這根本不是一個淺顯的童話故事那麼簡單，電影在令人收獲快樂的同時，更在授人以漁的啟迪著每一個大人如何面對生活的態度。
孩子是最不缺乏快樂的，真正失去快樂的是已經長大的成人，從這一點來說《魔發精靈》的出發實則也是一部獻給大人的童話寓言，我們在面對生活種種問題壓力的同時，其實很多時候早已遺忘了快樂這項最為基本的能力，還自以為這是一種心智的成熟，實則電影所塑造的博啃族並不是什麼醜陋的怪物，而就是我們自己，必須食用精靈才能快樂的錯位認知，包括不斷壓抑自我的布蘭，又何嘗不是很多人現實中自身的寫照。
正如電影中那句令我映像深刻的歌詞「真實的色彩如此美麗」，笑對生活，回歸真實其實並不困難，我們或許無法改變這個世界必然存在的陰暗，但卻可以決定自己是活在陰暗中鬱郁寡歡的博啃族，還是生活在陽光下美麗樂天的魔發精靈。

『叄』 勵志電影觀後感300字左右，不要太多300字就行了

《肖申克的救贖》毫無疑問是一部好片子，沒有動作,沒有特技,甚至沒有美人，卻依然能深深打動觀眾,並且歷經十幾年而魅力不減。它靠什麼吸引我們？

有人說是因為它反映出了「人性之韌」。確實，用一把小榔頭，近20年的時間，在人身控制極為嚴格的法西斯式監獄，挖出了一條逃生的小隧道（或許叫敲鑿出了一條小隧道更合適，那個榔頭實在太小了）。這難道不是體現了人的韌勁嗎？

不過我覺得這個情節明顯是戲劇化的，這只是導演在情節安排上的需要，這樣的結尾只是為了反映安迪的「自我救贖」最終成功了，否則整個情節和主題難以為繼。所以有人認為，《肖申克的救贖》反映的其實是「希望」對於人是多麼寶貴。是的，片中直接講到希望的地方就有很多。比如安迪在逃獄後給瑞德的信中所說的：「Remember， Hope is a good thing， maybe the best of things and no good thing ever dies。」 或許這正是作品和導演想告訴我們的。「Fear can hold you prisoner， Hope can set youfree。」這句話已成名言。

對我來說，《肖申克的救贖》打動我的地方不僅於此。

先說說我對影片中人物的看法。一個鯊堡監獄，裡面的囚犯和官員，似乎是我們這個社會的眾生相。

典獄長諾頓高高在上，平時道貌岸然，對聖經倒背如流，實際上攫取利益時不擇手段，殘酷、陰險而貪婪。獄警長海利和其他警員，兇狠殘暴，充當諾頓的打手，草菅囚犯的人命。他們是不是象極了我們現實中的掌權階層？我稱之為鯊堡這個「小社會」的統治者。

囚犯中也有不同。除了主人公安迪之外，瑞德（Morgan·Freeman）當然是關鍵人物，我認為他是整部影片的線索：其實，整部電影中對白不多，影片很多想展現的東西都是通過瑞德的獨白說出來的，其中多半都是瑞德對鯊堡生活的反思總結和他對安迪的解讀。

瑞德是一個睿智的人，他在鯊堡混得非常好，犯人們的需求「沒有他搞不到的」。他的智慧也洞悉了鯊堡生活的本質，他對安迪說：「在鯊堡，希望是一個危險的東西」，這是智者之言。放在我所處的環境中，人們一定會說「瑞德同志非常成熟老練」雲雲。但是，和現實中的那些所謂「智者」一樣，盡管瑞德看清看透了鯊堡的本質，但他沒想過去抗爭，更不用說是影響和改變別人，他只是順應鯊堡的規則以求自保。直到安迪出現，改變了他，並最終引導他走向了自由彼岸。

湯米，影片主要人物中最晚到鯊堡的，他和安迪一樣，對生活充滿希望，並在安迪的幫助下為之努力，可是他年輕幼稚不懂自保，結果在即將獲得成功的時候，因為知道了安迪被冤的真相而被諾頓和海利謀殺。

博格斯三姐妹，瑞德說他們是「禽獸」，是鯊堡這樣一個環境中「培養」出來的雞奸狂，我們可憐的主人公安迪數次慘遭其毒手。博格斯他們雖然不是鯊堡統治者的一分子，但他們是統治者威脅其他囚犯的工具。在湯米被諾頓和海利謀殺之後，安迪拒絕為諾頓洗黑錢，諾頓就曾以此威脅。但博格斯最終也是因為欺負安迪，影響了諾頓和海利們的貪污而被打成廢人。

當然還有圖書管理員布魯克斯，這是最讓我震撼的一個角色。老布的一生，深刻反映了「體制化」下人的一生。在鯊堡度過了大半輩子，終於被假釋，獲得了自由，可一旦離開了熟悉的環境、熟悉的人，他感覺不到自己的價值，找不到自己的位置，他有了身體的自由，但其實他的靈魂早已被鯊堡扼殺，屬於他自我的世界已經被壓縮到了最小。最終他只能選擇從這個已經完全不屬於自己的世界消失。為什麼要安排老布這樣一個人物呢？我覺得導演是想告訴我們，如果沒有安迪出現，老布就是瑞德和其他絕大多數囚犯們的未來。他是不是也象我們現實生活中許許多多人的未來呢？

而安迪（Tim·Robbins），我們的主人公，他是一個真正的人。「It takes a strongman to save himself，and a great man to save another。」瑞德可以說是一個「Strong man」，而安迪則是一個「Great man」，他救贖的不僅是自己，他也盡一切努力拯救囚犯們的靈魂。實際上整部影片關於他挖隧道逃生的情節是惜墨如金，以至於安迪逃走那一幕讓我感覺相當突兀，這說明神乎其神的逃獄並不是影片的主題。而且瑞德告訴了我們，安迪在挖好地道之後並沒有立刻逃走，他最終離開是因為湯米的死讓他看清了諾頓們的殘忍無情，看清了自己並沒有能力救贖其他的囚犯。也就是說，盡管安迪已經做好了逃獄的准備，他也沒有馬上逃走，雖然他有擁抱自由的極切渴望——在他逃出鯊堡之後站在小河裡擁抱風雨的那個俯視鏡頭相信觀者都會印象深刻——但他仍然留在鯊堡幫助那些「無希望的人」。影片主要就是在這方面進行描寫，我想這也是影片叫《肖申克的救贖》而不是《安迪·杜佛瑞的救贖》的原因。

安迪利用自己的特長為諾頓們洗錢，為囚徒們爭取著不多的權益和精神空間，比如當安迪頭一次利用理財特長為海利做事時，所要求的只是讓海利請難友們喝酒，他自己不喝，微笑著看著瑞德和赫伍他們喝，別人都不懂安迪為什麼這樣做，瑞德明白，因為那一刻安迪讓他自己和別人都享受到了自由的感覺。

再比如建設監獄圖書館、教湯米識字和幫助他考試等等。而我印象最深刻的，是他利用監獄廣播為眾人播放《費加羅的婚禮》那一幕，那個情節非常恰當地體現出，安迪的救贖確實對鯊堡眾囚頗有意義，而安迪也是一個真正的救贖者。特別是，當諾頓和海利們站在門外向安迪發出警告的時候，安迪卻面帶微笑地把留聲機的音量調到了最高——可怕的懲罰就在門外，但是安迪沒有退縮。這是真正的勇者！一個偉大的人！以至於我有這種感覺，安迪來到鯊堡壓根就不是作為囚犯去的，而是作為救贖者去的。

寫到這，可以回答以下問題了：《肖申克的救贖》到底是什麼如此打動我？又為什麼如此打動我？

首先，是「institutionalizing」對人性的摧殘。片中多處對此有篇幅或長或短的提示。長的如老布這個角色，短的如瑞德的只言片語，他在假釋後，不用向誰報告請示就能WC了，但他甚至因此而不習慣，「一滴尿都擠不出來」。再有象其他犯人，對於安迪所做的事，比如讓海利甘心請犯人喝啤酒，放歌劇給犯人聽，甚至每一個和獄方對話的情景，都是其他犯人津津樂道的談資，他們覺得安迪的所作所為真是難以想像的。這樣的情節，讓人想起了魯迅先生的作品。

其次，我認為這部電影主要就是在回答「面對『institutionalizing』應該怎麼辦？」這個問題，而作者把所有我認為正確的答案集中在了安迪身上。有四點：
首先，對人生要保有希望，永遠不棄。前面說到了，安迪在逃獄後給瑞德的信中說：「Remember， Hope is a good thing， maybe the best of things and no good thing ever dies。」還有一個情節我也覺得說明了這一點，再進鯊堡的前幾年，安迪遭到莫格斯三姐妹的十幾次毒打和輪奸，但是在這樣的黑暗生活下安迪並沒有沉淪，他能做到，唯一的解釋就是，安迪心中獲得救贖嚮往自由的信念在不斷的給予著他希望。（連理想和希望都沒有的人，只是一堆行屍走肉，不管他富可敵國還是貧無立錐。）
其次，要有足夠的勇氣。安迪首次面對海利時；面對莫格斯們的侮辱時；特別是為犯人們播放歌劇時，做這些事中的每一件都面對著生死考驗，但他毫無懼色，沒有勇氣怎能做到！（有理想而無勇氣，那這理想幾乎等同於無。）
第三，要有堅持行動的毅力。用一把可以藏在書中的小榔頭，用近20年時間鑿出一個逃向自由的隧道，沒有毅力是絕對不行的。此外，堅持六年如一日的寫信給州議會爭取拔款，為犯人們建圖書館也是片中著墨較多的反映這一點的情節。（沒有毅力和恆心的人，最高的成就只能是夢想家。）
第四，就是要有行動的智慧。這一點不必多說，相信看完全片，你會在心裡贊一聲安迪的才華和智慧。他的計劃宏大而完美，安迪之所以能完成救贖並處罰諾頓與海利們，靠的正是他的智慧。（有勇氣、有毅力，卻沒有智慧，那最終的結果往往並不是成功而是挫折和失敗。理想仍然可望不可及）
短片結束的時候，我清晰的記得片尾有一行字幕「In memory of Allen Greene」（紀念艾倫格林）他是《肖申克的救贖》編導弗蘭克.德拉邦特的經紀人，在影片完成的前夕死於AIDS的並發症。生前的他和無數的女人在一起過，也有過子女，但是他一輩子都沒有結婚，據說他的慾望強到離開伊藤猛鬼就沒法活的地步，我想這也是他過於混亂的的生活才會死於艾滋吧。

1994年的奧斯卡太強了，《低俗小說》、《四個婚禮一個葬禮》、《阿甘正傳》、《肖申克的救贖》……如此之多的強片。《阿甘正傳》最終成為最佳影片，但如果讓我選擇得獎者，我更鍾意《肖》片。因為，我認為《阿》片固然好，但更多是體現了美國的社會特點和美國人的價值理念，換句話說，它更像一部美國的「主旋律」影片。而《肖》片，它所反映的「體制化」（institutionalizing）問題，對於中國社會更有意義。我對影片中的那段話，「Thesewalls are kind of funny like that：First you hate them，then you get used to them，Enough time passed，get so you depend on them。That'sinstitutionalizing。」，極有共鳴——這個可怕的過程正是我一直以來極力避免的。我不是生活在監獄中的囚犯，但我是不是其他某種形式的囚犯呢？救贖對我而言，恐怕也不能只是說說而已。

『肆』 一個英語電影的讀後感 要300字 讀後感是中文 電影隨便什麼

一、《功夫熊貓》

今天下午我們小記者班的同學一起觀看《功夫熊貓》。
這部電影的主人公是一隻普普通通的熊貓。主要演義著這只熊貓通過自己的信心，浣熊師傅的信任，勤勞、刻苦的練習功夫，遇到困難不輕易放棄，最終練出一身好功夫打敗了太郎。影片贊揚了這只熊貓相信自我，不輕易放棄，勤勞刻苦的奮斗精神。
在這部影片中給我印象最深的畫面還是浣熊師傅在廚房發現熊貓只要有了食物，就會實現它原本不可能實現的事。浣熊師傅就利用食物了引導它學功夫。這一畫面，給我的印象特別深。我深深的體會到浣熊師傅的用心良苦。師傅它以引食學功夫的方法來刺激熊貓學功夫的興趣，熊貓也知道這是激起它學功夫的興趣，但它沒有放棄，而是更加勤奮和刻苦的堅持學下去。熊貓的這種不屈不撓的奮斗精神永遠留在我的心中。同時我也從熊貓這種精神中想到自己的親身經歷的一件事。
那是一年寒假，媽媽認為我寫日記方面很欠缺，便讓我每天寫一篇日記。我聽後十分不情願，每次三言兩語就沒了下文，最後徹底放棄了寫日記，現在想起來都有些慚愧，與功夫熊貓中的主人公不能相比。
通過觀看功夫熊貓，我明白了這些道理，世上沒有不可能的事，凡事都要相信自己，遇到困難不要輕易放棄機會，在以後的學習上，時時牢記《功夫熊貓》這部電影，以影片中的主人公為榜樣，認認真真的走好每一步，爭取成為一名對社會有用的人。

二、《藍精靈》
前天，我懷著興奮的心情去觀看3D版電影-——《藍精靈》。戴好3D眼睛，我迫不及待地坐到了位子上。
故事是這樣開頭的。在一個很遠很遠的地方，有一座高山，山上有一個美麗的村子，村子裡無憂無慮地生活著九十九個精靈男孩和一個精靈女孩，對了，還有一個精靈爸爸。突然有一天，禍從天降，壞蛋巫師格格巫為了收取藍色精華，要抓精靈孩子們。而我們的主人公笨笨，因為走錯了路，掉下了懸崖，幸虧，他的朋友們一個接一個，像猴子撈月似地拉住了笨笨。本來精靈、格格巫與笨笨之間沒有什麼關系，卻因為一個漩渦，把他們都吸進去，卷到了紐約，一個個精彩的、讓人捧腹大笑的故事就此展開……看著看著，我彷彿成了藍精靈中的一員，和笨笨他們一起想辦法，一起進攻，用雞蛋、刺球、乒乓球打倒格格巫，平安回到精靈村。直到影片結束，我還沉浸在故事當中。

看完影片後，我從心底里佩服笨笨。他雖然很頑皮，做下許多錯事，但他知錯能改，為了彌補自已的過錯，鼓起勇氣，和強大的格格巫作斗爭，設法偷取格格巫的魔法戒指，讓他失去法力，為最後戰勝格格巫出了一份力。另外，我也看到，一切的邪惡，貌似強大無比、不可戰勝，但只要我們不屈不饒、團結一心、堅持戰斗，終將被我們征服。因為，正義必將戰勝邪惡。

三、《國王的演講》
和影片的片名一樣，《國王的演講》一開始給人的感覺是波瀾不驚，和好萊塢大片的氣質相去甚遠，與去年奧斯卡最佳影片《拆彈部隊》對現代戰爭背景下的人性思考也十分不同。但波瀾不驚決不是清湯寡水，《國王的演講》彷彿一出內斂而精緻的戲劇，在低調中醞釀出深厚，在深厚中鋪展出令人動容的力量。

影片的故事情節非常簡單，取材於真實的歷史事件。英國國王喬治六世從小患有嚴重的口吃，最後，在萊昂納爾的治療下，終於克服口齒，發表了振奮人心的演講。這個簡單朴實的故事之所以會產生那麼大的戲劇張力，首先就是因為細小的事情發生在了重大的歷史人物和歷史事件身上。時值二戰，作為一國之象徵的國王，需要發表演講來凝聚人心。在這樣的背景下，口吃治療就變得尤為重要，細小的事情變得茲事體大。

國王能否被治好口吃，成為整部影片最大的戲劇張力，一直到最後，在萊昂納爾的"指揮"下，喬治六世終於完整進行了戰前演講，觀眾才會舒一口氣。影片的張力還來自於國王和治療師本身，這是兩個身份差距很大的人，一個是國王，一個只是普通的治療師，國王的性格不僅內向，還容易憤怒，總有居高臨下的氣勢。這種因為身份差異帶來的個性碰撞也成為影片的亮點。（勵志一生 www.lz13.cn）治療師萊昂納爾的角色在這個碰撞過程中顯得尤為出彩，他並沒有因為治療對象是國王而卑躬屈膝，他要求國王打破常規，到自己簡陋的治療室來接受治療，一副"我的地盤聽我的"的架勢，他用自己不卑不亢的耐心和誠懇，最終打開了國王堅固的心扉，找到了國王幼年的心理陰影。他甚至故意激怒國王，讓國王流利地說出罵人的話。而正是這種不卑不亢的真誠交流，讓萊昂納爾獲得了尊重，國王也把他當成了一生的好友。

『伍』 初一學生勵志電影讀後感不少於60詞用英語寫

Last night,I saw a great film,Forrest Gump.I am greatly impressed by this film,by the stories of Forrest Gump.Forrest Gump was born in a small village.He was born mentally retarded,and he was discriminated by others.But his mother is a strong female who encourages Gump to be strong and live the same as normal people.Besides,he meets Jenny,a tragic but kind-hearted girl.With the love of his mother and Jenny,Forrest Gump begins his running all his life.

『陸』 求三篇英文電影的觀後感 用英語寫（30詞）

電影《阿甘正傳》觀後感：

Last night,I saw a great film,Forrest Gump.I am greatly impressed by this film,by the stories of Forrest Gump.Forrest Gump was born in a small village.He was born mentally retarded,and he was discriminated by others.But his mother is a strong female who encourages Gump to be strong and live the same as normal people.

《阿甘正傳》是由羅伯特·澤米吉斯執導的電影，由湯姆·漢克斯、羅賓·懷特等人主演，於1994年7月6日在美國上映。

電影改編自美國作家溫斯頓·格盧姆於1986年出版的同名小說，描繪了先天智障的小鎮男孩福瑞斯特·甘自強不息，最終「傻人有傻福」地得到上天眷顧，在多個領域創造奇跡的勵志故事。電影上映後，於1995年獲得奧斯卡最佳影片獎、最佳男主角獎、最佳導演獎等6項大 。

2014年9月5日，在該片上映20周年之際，《阿甘正傳》IMAX版本開始在全美上映。

『柒』 求勇敢的心觀後感一篇，英文的，300字左右

1
Wags enjoy razzing the 13th-century Scottish epic Braveheart, starring Mel Gibson in the role of freedom fighter William Wallace, as Die Hard in a kilt. Wait till they get to the knobby question of how Gibson's knees stack up against Liam Neeson's in Rob Roy. No matter. Gibson gets the last laugh. Braveheart resists glib categorization. This rousing, romantic adventure is laced with sorrow and savagery. The audacity Gibson shows as the film's director extends to the running time, which is nearly three hours. Hamlet, with Gibson playing the melancholy Dane, was shorter, and Braveheart isn't Shakespeare. Don't panic. Though the film dawdles a bit with the shimmery, dappled love stuff involving Wallace with a Scottish peasant and a French princess, the action will pin you to your seat. With breathtaking skill, Gibson captures the exhilaration and horror of combat in some of the most vivid battle scenes ever filmed.
Wallace was knighted for leading his people in the fight against domination by England. Few facts are known about his personal life, which frees Gibson and screenwriter Randall Wallace (no relation) to run with the legend passed down mostly from the rhyming verse of a poet known as Blind Harry. It's a shame that Harry predates Hollywood by five centuries -- he could have made a killing cranking out kick-ass crowd pleasers.

Gibson's Wallace is a potent blend of Robin Hood, Attila the Hun and, yes, the wags were right, Detective John McClane in Die Hard. Wallace could relate to any story that pits one pissed-off fighter against the system. He faced an English army led by bad-to-the-bone King Edward the Longshanks, played by Patrick McGooban in a classic portrait of slithering sadism. Wallace also had to inspire Scottish peasants and nobles to follow his lead against daunting odds.

It's a ripping yarn, and Gibson could have slid by with the usual hack heroics. Kevin Costner's Robin Hood: Prince of Thieves did just that and still earned a pile. Gibson does it the hard way with attention to detail. He has retained the keen eye for character he showed in The Man Without a Face, his promising 1993 directing debut. Wallace doesn't spring to life as a full-blown legend, though he does speak Latin and French when he returns to his village in Scotland to settle down as a farmer and marry Murron (the meltingly lovely Catherine McCormack), his childhood sweetheart. It's the brutal fate dished out to Murron by the English that makes the farmer an outlaw.

That's when Wallace organizes the villagers into a ragtag militia. Brendon Gleeson's Hamish, James Cosmo's Campbell and Alun Armstrong's Mornay register strongly, as does David O'Hara's Stephen, the Irish warrior who joins the Scottish cause. The teasing camaraderie botched in Robin Hood is expertly handled here. Gibson's impassioned performance as the hero who would not trade his freedom for English gold doesn't shrink from showing the barbarian who emerges at a call to arms.

"Are you ready for war?" Wallace shouts to his outnumbered troops at Stirling. It's the film's first major battle scene and a triumph for Gibson. Trying to stir hundreds of fatigued soldiers to action, Wallace rides his horse back and forth in a frantic effort to be heard. In most historical films, the stationary star manages to move multitudes with a throaty whisper. Gibson jettisons the Hollywood fakery. Riding among the men, his face streaked with woad (a blue dye used to terrify the enemy) and his voice hoarse from yelling. Wallace is a demon warrior crying out for vengeance.

Cinematographer John Toll, an Oscar winner for Legends of the Fall, thrusts the audience into the brutal frays at Stirling, York and Falkirk. Superbly edited by Steven Rosenblum (Glory), these sequences recall the blood poetry of Welles' Chimes at Midnight and Kurosawa's Seven Samurai. Sophisticated weaponry was centuries away. The Scots used hammers, axes, picks, swords, chains and even farm tools to crack skulls as they battered the English in the mud. They also set oil traps on the ground to burn their enemies, though shields and chain mail offered scant protection against the rain of English arrows. "Quite the lovely gathering." says Longshanks, surveying the carnage and dispatching his officers to send in Irish volunteers instead of expert English archers. "Arrows cost money," he sneers.

Gibson's handling of Wallace at war is so thrillingly done that one regrets the subplots that distract from the action. Wallace's flirtation with the king's French daughter-in-law, Princess Isabelle (Sophie Marceau), is fanciful fluff that undercuts his undying love for Murron, and the king's homophobic revenge on his preening son, Prince Edward (Peter Hanly), and the son's boy toy, Phillip (Stephen Billington), comes off as inexplicable gay ting. Judicious cutting might have sharpened the film's focus and impact.

Still, don't get your kilt in a bunch over a spectacle that provokes such lively debate about the method and madness of war. Filmed with furious energy and surprising gravity, Braveheart takes the measure of a hero with a taste for blood to match his taste for honor. Wallace is an inspiring, unsettling role, and Gibson plays him, aptly, like a gathering storm.

2
Braveheart is an action/drama movie about William Wallace (Mel Gibson). The film is no less than amazing in any way. Though the movie sports us with a 177 minute run time, it is amazing to see the interesting way in which, Mel Gibson behind the camera, works his magic. As the acting is magnificent, and the war sequences are brutal and violent, the film works out as a movie which will always be remembered as a classic.

The film focuses on William Wallace, growing up as a kid, his father was a fighter. After his death, his uncle took him in to watch over him, and teach him how to fight. When he is older though, he meets Murron MacClannough(Catherine McCormack). After he weds with her, she is murdered. Now avenging her death, William sets out ot fight for his freedom, his justice and the right to live.

Mel Gibson did really an amazing job on capturing the character of William Wallace. Putting on the Irish accent, he shows us that he is a great actor and can do some things which we never thought he could do. Behind the camrea though, Mel is a completely different kind of person. He captures the fight scenes perfectly and beautifully. The one thing that was done well though, was the greatly realistic violence and brutal warfare of the film. The violence is spilled nicely, and realistically.

3
Braveheart is another film directed by its star, Mel Gibson. Close on the heels of Rob Roy, this is the second tribute to a legendary Scottish hero, this time round William Wallace, the great medieval warrior leader. Though less clever than its predecessor, it is much grander in its nearly three-hour epic sweep.

The obvious comparison is with Henry V (the Olivier, not the Branagh), and even though Randall Wallace may not be quite so good a screenwriter as Shakespeare, the movie can hold its own. Randall Wallace calls himself the spiritual descendant of William Wallace, and he has deftly incorporated the not many known facts about his namesake, and addressed the legend with gusto and eloquence. The result is an epic that, a few excessively romantic touches notwithstanding, is more realistic than most. These medieval Scots live in ferocious-looking hovels, seem (at least the men) heroically unwashed, and have coiffures in which a kestrel could nest. The friendly punches with which they communicate could easily kill a lesser fellow -- an Englishman, say. Braveheart aims to be a thinking man's epic. ``It's our wits that make us men,'' young William's da tells him, and, after da and big brother are killed by the English, Uncle Argyll continues the boy's ecation along similar lines. Pretty soon William has turned into Mel Gibson, a young man who wants to settle down and live in peace. But the English are making things hard, what with such things as ius primae noctis (in the film, more tersely but less correctly, the prima nocte) giving the English magistrate the right to deflower each lassie on her wedding night. Braveheartrending business, that. Finally William secretly marries the bonniest of lasses, Murron -- played by the breathtakingly beautiful and talented Catherine McCormack -- but the English get wind of it, and when she won't put out for them, slit her throat in a shattering scene irradiated by Miss McCormack's performance. So William turns avenger and, by one small further step, leader of the Scottish populace (as opposed to the nobles, suborned by Edward Longshanks, the Machiavellian English king). There are plots and counterplots as the nobles sabotage William's efforts, and Robert the Bruce, who wants to help him, is prevented by his leprous father (well played by Ian Bannen), who expects the nobles to crown his son king. And much, much more. The love scenes are so-so, the political scenes ho-hum, but the fighting -- both indivial contests and mass battle scenes -- is first-rate, barbaric, and sublime. You might think that so much battle stuff would pall after a while: how much slashing, chopping, stabbing, and skewering -- not to mention mangling and incinerating -- can there be without diminishing returns? Quite a bit; Gibson, to give him his e, comes up with new forms of warfare, better ways to turn charging men and horses into shishkebabs, new modes of battering down castle gates in a rain of boiling pitch from the battlements, fresh tricks to outsmart the enemy. And whereas this much violence with modern weapons would be unbearable, with medieval arms it becomes heroic and exhilarating. There is something appealing about Mel Gibson -- the ruggedly masculine countenance, the quick half-smile, the knack of conveying blue-eyed hurt (as when he discovers the Bruce under an enemy helmet), and a squarer-jawed determination than Dick Tracy's -- that sustains Braveheart even through the unlikely scenes with Isabelle, the Princess of Wales (indifferently played by Sophie Marceau), and through the Wallace's -- or the Gibson's -- unconvincing displays of polyglotism. Add to this the beauties of Scotland, searchingly chronicled by John Toll's inexhaustible camera, the solid supporting performances among which Patrick McGoohan's sardonic-sadistic Edward I is especially noteworthy (never before have terminal consonants been drawn out to such ironic length), and the intelligently deployed music by James Horner. A Scottish acquaintance, George Campbell, questions the use of the sweeter uilleann (Irish) bagpipes rather than the fiercer Highland ones ring the battle scenes, but these scenes are so exciting Horner could have used marimbas and I wouldn't have noticed. The film put me in mind of a four-line poem by Scotland's greatest modern poet, Hugh MacDiarmid: The rose of all the world is not for me. I want for my part Only the little white rose of Scotland that smells sharp and sweet -- And breaks the heart. And that is high praise.

4
What is there that can be said about Braveheart that hasn』t been said before? It』s an epic movie that ought to be in the conversation about the best films of the past thirty years. And actually, 「epic」 might be too small of a word. Braveheart is as much about the inner drama of William Wallace as it is about the life-and-death drama of the war for Scotland』s independence in the late 13th, early 14th centuries. It』s a story told on a grand scale with a great deal craft – and flair (and humor). This is a movie that offers both style and substance. It』s a direct precursor to the success of the Lord of the Rings movies – indeed, one can argue that the success of Braveheart set the stage for those films. True, Braveheart may not have universal appeal in terms of genre, story, or its brutal portrayal of war. But there can be little doubt of the value of a film that is, simply, one of the best I have ever seen.

The success of the film rests on the balance with which the story unfolds. Put simply, there』s something here for everyone: romance, action, character, philosophy, conflict, cinematography, great lines, music, and so on … and it all fits together almost flawlessly. I』m sure if you looked hard enough you could find fault with some parts of the movie, but considering its nearly three-hour run time it manages to avoid pitfalls remarkably well.

This is William Wallace』s story. And through him, the audience is allowed a mirror with which to view itself. This is the true measure of a great story: its ability to not only provide commentary, but also to provoke introspection. And that happens here quite often. One of the film』s most quoted lines is 「Every man dies, not every man really lives.」 Within just those seven words there is a great deal of thought and sentiment. It encapsulates a philosophy, a raison d』être, that anyone can immediately identify with. And it』s a beautiful philosophy – like carpe diem. And it encourages us to find the purpose and meaning within our lives on a daily basis.

This is also a love story, between William Wallace and Murron – a childhood friend. Theirs is a story that flows effortlessly from childhood tragedy and bonding, to althood romance and marriage. Indeed, it is Murron』s murder that proves to be Wallace』s motivation to launch his personal war against England whose king, Edward 『the Longshanks』 is portrayed with a powerfully brutality in the film, making him a very compelling villain.

Wallace』s quest is joined by a cast that is quite adept in their roles. There are hardly any weak links in the acting of this movie, which means that the underlying themes and conflicts are portrayed to maximum effect from start to finish. Mel Gibson』s directing certainly has to be credited for some of that success.

This is, without question, Gibson』s film. And it』s not without a certain part of vanity from the lead actor and director. If you were looking for a critique, this would be the most fertile ground for it. But for the most part, whatever vanity Gibson may have been displaying is overshadowed by the craft of everything else. The action is riveting, the dialogue is crisp (and profound) and the music is deeply, deeply moving.

James Horner』s score successfully taps into the heritage of Scotland while displaying a full orchestral presentation. The instrumentation and arrangements are all very well done, from wavering flute to the bagpipes to the thunderous percussion ring battle sequences.

5
I used to think that the history of Scotland around the end of the thirteenth century was one of those really complicated and messy affairs that could send any historian into a fit of sobbing. So imagine my surprise as I discovered it's really all about a bunch of rowdy guys mooning each other across a battlefield and then playing dodgeball.

"Braveheart" is one of those audacious films that implies that war is "bad" by putting the violence at the forefront, slowing it down and tossing in lots of extra blood, piercings, stabbings, castrations, amputations and assorted mutilations with random insertions of Mel's butt -- just to make sure that the women get into it too. This is all topped off by a really long and protracted moment where the camera lovingly dotes on Mel Gibson as he is taken to a platform to be tortured. It's the kind of moment that makes preschoolers point to the screen and say, "Christ figure! Christ figure!" Either that or: "Look! He's shamelessly grooming himself for the Oscars!" (Oscar committees love Christ figures.)

After three delirious hours the message is clear: Buy an ax, kill a lot of people, wear a kilt, show your butt, screw a princess and (if you have some time left over) repeat this over and over and over and over and over... until you get caught. If ever a movie cried out for a halftime break, this was it.

『捌』 壯志凌雲英文觀後感

英文：

The film shows the technology aircraft and its flight ability.

In the past two hours, the pilots flew the fighter F-14 and the relatively old A4 and F5 in the blue sky and white clouds for an hour and a half.

Those glittering fighters chased and formed each other, sometimes roaring overhead.

sometimes floating smoothly at an altitude of 10000 meters, accompanied by lofty mountains and rivers and magnificent dawn and afterglow.

All kinds of scenes were very good, and the pilots in the cabin were nervous and sometimes playful dialogue, which made the audience feel immersive.

The film not only attracts many weapon fans, but also is very attractive to the general audience.

中文：

影片表現了科技航空器及其的飛行能力，近兩個小時中飛行員們駕駛戰斗機F-14和相對老舊的A4、F5急馳在藍天白雲中的鏡頭卻足足佔了一個半小時。

那些銀光閃閃的戰斗機相互追逐，相互編隊，時而從頭頂呼嘯而過，時而平穩地浮游在萬米高空，伴以崇高的山川和壯美的晨曦、余暉。

各種情景都很好，還有機艙中飛行員們那時而緊張時而俏皮的對話，使觀眾有以身臨其境之感，正是如此，該片不僅吸引了眾多兵器迷們，對一般觀眾而言，它也是極具誘惑力的。

劇情：

麥德林是一名美國海軍飛行員，以自己來飛行員父親為偶像，與同是海軍軍官的古斯一起被派到高炮訓練基地接受最嚴格的訓練。

在一次訓練中，因機器故障導致古斯離他而去，麥德林意志消沉甚至想離開軍隊，然而在教官的勸說下放棄這一念想並在最後的考核中終於奮起，駕駛銀鷹，縱橫藍天，最終成為一名優秀飛行員。

『玖』 5篇100字左右的英文電影的觀後感，要用英語啊

《阿甘正傳》觀後感：

To be honest, Ive never seen anyone like Forrest Gump in a movie before.Forrest Gump who is unfortunately to be born with a lower IQ and the muscle problem, usually, people always think this kind of person cant be successful in doing anything. But, instead, this unlucky man has achieved lots of incredible success, he is a football star, a war hero, and later a millionaire!

Forrest Gump not only shares his innocence and purity with others, ,he also manages to retain that innocence through some very difficult times. I love Forrest that he doesnt lose his purity through the movie, or maybe he just cant ,but either way, this shows us dont need to be evil or really intelligent to be recognised or successful.

It is just a movie, so maybe it doesnt work like that in reality.A simply means is that the acting and story of this film got a high level like the real . And in my definition thats what a good movie should be able to do.

譯文

老實說，我以前從未在電影中見過像阿甘那樣的人。阿甘不幸地天生智商較低，而且有肌肉問題，通常人們總是認為這種人做任何事情都不會成功。但是，相反，這個不幸的人取得了許多令人難以置信的成功，他是一個足球明星，一個戰爭英雄，後來成了百萬富翁！

阿甘不僅與他人分享他的純真和純潔，他還設法在一些非常困難的時期保持這種純真。我喜歡福勒斯特，因為他沒有在電影中失去他的純潔，或者也許他就是不能，但不管怎樣，這表明我們不需要邪惡或真正的智慧才能被認可或成功。

這只是一部電影，所以在現實中可能不是這樣的。一個簡單的方法是這部電影的表演和故事達到了真實的高度。根據我的定義，這就是一部好電影應該能做到的。

『拾』 英語電影觀後感(100字)

在我看過的所有影片中,《肖申克的救贖》是最能打動我的一部影片。特別是劇中的男主人公在一個風雨交加的黑夜，沖破監獄的圍牆越獄成功後，伸出雙臂擁抱自由的經典畫面，更是深深的震撼著我的心靈。這是對自由的渴望，更是對生命的致敬！
影片《肖申克的救贖》一般被認為是一部勵志片。但是，在我看來，它不僅僅是一部勵志片，更是一部探討生命，自由以及人處於逆境中所迸發出來的超乎想像的潛能的影片。
影片故事集中發生在一個叫肖申克的監獄中，四面都是高牆柵欄，只有抬頭仰望天空時，才會發現外面還有另一個世界。主人公因為法庭的的誤判而被監禁在這里。或許，許多觀眾都會認為主人公的後半生都會在這里度過了。對於監獄里的其他犯人來說，這里或許就是他們以後的歸宿。他們好像已經接受了命運的安排，整天就是打架，賭錢，絲毫不在意大牆內外的不同世界。在他們的內心深處，已經不存在監獄這堵牆了。他們已經放棄了對生命和自由的渴望，但是，對於主人公來說，他沒有放棄……
起初，主人公表現的與其他犯人沒有兩樣，只是一直比較沉默寡言。然而，不再沉默中爆發，就在沉默中滅亡。孰知這長久的沉默是為那最後瞬間的爆發而積蓄著巨大的能量。主人公憑借自己的聰明才智給監獄長洗錢而受到重用，而後又堅持每周給監獄上級寫信，要求撥款在監獄建圖書館。在堅持了幾年的每周寫信後，監獄上級終於同意撥款建圖書館。就這樣，主人公一步一步，悄無聲息的實施著自己的計劃，終於在一個雷雨交加的黑夜，主人公終於沖破了監禁他20年的監獄.。當監獄長看到那幅畫底下的那個大窟窿時，一切都真相大白了。觀眾無不為主人公的聰明智慧所折服，真是大快人心！
20年的時間足以摧毀一個人的意志，消磨一個人的耐心。但是，影片中主人公卻沒有被時間所摧毀，卻顯示出了更強的生命鬥志。當人處於逆境中時，人的潛能到底有多大，誰也不知道。但是，當你對生命和自由有強烈的渴望和追求時，積聚在你內心深處的巨大潛能就會迸發出來，這就是生命的力量，讓我們向生命致敬！
可能有點長，你再刪減一下！！