Ⅰ 英文电影观后感200词
英文电影观后感200词【1】
This is a story in modern London of a modern sherlork. This TV drama is based on the famouse detective novel of the british novelist Arthur Conan Doyle.It took the background from the 19C to the 21 centry .And the fashion and talent detective sherlock holmes with his fantastic assistant John watson are facing a series of danderous and unusual events in London.
There is quite a lot of differences between this fashion sherlock and the classical one.He is fashion,he use blackberry,sent masagers.He takes taxi instead of gharry.He writes blog,he even became a hit on twitter.But the same thing is that he is thing and tall,sagacious and shouws quick first response all the time.He is also good at biology and his incredible outsight shocks the audience all the time.The change of the new sherlock dosen't make us fell uncomfortable,but the quick plot and the mixture of many stories of the novel in every episode makes an impression to holmes fans.All of the changes show that this Holmes belongs to our times.
英文电影观后感200词【2】
Peter Parker is a high school student. By accident, he is bitted by a genetically-altered spider and after that, he found that he gains the strange power of spider. Therefore, he uses his power to fight crime. However, Norman Osborn with the new source of energy has become an enemy of Spider-man, Green Goblin. Spider-man needs to fight with Green Goblin, but he confuses as Norman Osborn is the father of his best friend. On the other hand, Peter Parker struggles to fall in love with Mary Jane.
My opinions:
I like this film because its fight scenes are great and the animation in Spider-man is impressive, especially the part of Spider-man flying in the sky, it looks realistic. The music in Spider-man made me feel excited. However, the part about the love between Peter Parker and Mary Jane is quite boring. Besides, I like the story of the film, it is outstanding and teaches me “With great power comes great responsibility.” We have our own responsibilities in our life and now, my responsibility is to work hard.
英文电影观后感200词【3】
My personal favorite "101D" medium is Disney's "101 Dalmatians: the Series". It combines many themes of the existing material (Dodie Smith book, 1961 and 1996 movies). But still does its own things, too.
Our main pups include brave Lucky, who gets a strong personality mirroring his character in the book, lovable Rolly, the gourmand of the pups, and sweet little Cadpig, who is the true runt of the litter. Also there is Spot the chicken, who longs to be a dog. I find them all extremely amiable and enjoyable to watch. They are usually foiling Cruella's schemes for their land, or outwitting Lt. Pug (I'll get to him later), or sneaking into Grutely, or...just having fun, making a very likable show.
Ⅱ 求勇敢的心观后感一篇，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.
Ⅲ 一个英语电影的读后感 要300字 读后感是中文 电影随便什么
一、《功夫熊猫》
今天下午我们小记者班的同学一起观看《功夫熊猫》。
这部电影的主人公是一只普普通通的熊猫。主要演义着这只熊猫通过自己的信心，浣熊师傅的信任，勤劳、刻苦的练习功夫，遇到困难不轻易放弃，最终练出一身好功夫打败了太郎。影片赞扬了这只熊猫相信自我，不轻易放弃，勤劳刻苦的奋斗精神。
在这部影片中给我印象最深的画面还是浣熊师傅在厨房发现熊猫只要有了食物，就会实现它原本不可能实现的事。浣熊师傅就利用食物了引导它学功夫。这一画面，给我的印象特别深。我深深的体会到浣熊师傅的用心良苦。师傅它以引食学功夫的方法来刺激熊猫学功夫的兴趣，熊猫也知道这是激起它学功夫的兴趣，但它没有放弃，而是更加勤奋和刻苦的坚持学下去。熊猫的这种不屈不挠的奋斗精神永远留在我的心中。同时我也从熊猫这种精神中想到自己的亲身经历的一件事。
那是一年寒假，妈妈认为我写日记方面很欠缺，便让我每天写一篇日记。我听后十分不情愿，每次三言两语就没了下文，最后彻底放弃了写日记，现在想起来都有些惭愧，与功夫熊猫中的主人公不能相比。
通过观看功夫熊猫，我明白了这些道理，世上没有不可能的事，凡事都要相信自己，遇到困难不要轻易放弃机会，在以后的学习上，时时牢记《功夫熊猫》这部电影，以影片中的主人公为榜样，认认真真的走好每一步，争取成为一名对社会有用的人。
二、《蓝精灵》
前天，我怀着兴奋的心情去观看3D版电影-——《蓝精灵》。戴好3D眼睛，我迫不及待地坐到了位子上。
故事是这样开头的。在一个很远很远的地方，有一座高山，山上有一个美丽的村子，村子里无忧无虑地生活着九十九个精灵男孩和一个精灵女孩，对了，还有一个精灵爸爸。突然有一天，祸从天降，坏蛋巫师格格巫为了收取蓝色精华，要抓精灵孩子们。而我们的主人公笨笨，因为走错了路，掉下了悬崖，幸亏，他的朋友们一个接一个，像猴子捞月似地拉住了笨笨。本来精灵、格格巫与笨笨之间没有什么关系，却因为一个漩涡，把他们都吸进去，卷到了纽约，一个个精彩的、让人捧腹大笑的故事就此展开……看着看着，我仿佛成了蓝精灵中的一员，和笨笨他们一起想办法，一起进攻，用鸡蛋、刺球、乒乓球打倒格格巫，平安回到精灵村。直到影片结束，我还沉浸在故事当中。
看完影片后，我从心底里佩服笨笨。他虽然很顽皮，做下许多错事，但他知错能改，为了弥补自已的过错，鼓起勇气，和强大的格格巫作斗争，设法偷取格格巫的魔法戒指，让他失去法力，为最后战胜格格巫出了一份力。另外，我也看到，一切的邪恶，貌似强大无比、不可战胜，但只要我们不屈不饶、团结一心、坚持战斗，终将被我们征服。因为，正义必将战胜邪恶。
三、《国王的演讲》
和影片的片名一样，《国王的演讲》一开始给人的感觉是波澜不惊，和好莱坞大片的气质相去甚远，与去年奥斯卡最佳影片《拆弹部队》对现代战争背景下的人性思考也十分不同。但波澜不惊决不是清汤寡水，《国王的演讲》仿佛一出内敛而精致的戏剧，在低调中酝酿出深厚，在深厚中铺展出令人动容的力量。
影片的故事情节非常简单，取材于真实的历史事件。英国国王乔治六世从小患有严重的口吃，最后，在莱昂纳尔的治疗下，终于克服口齿，发表了振奋人心的演讲。这个简单朴实的故事之所以会产生那么大的戏剧张力，首先就是因为细小的事情发生在了重大的历史人物和历史事件身上。时值二战，作为一国之象征的国王，需要发表演讲来凝聚人心。在这样的背景下，口吃治疗就变得尤为重要，细小的事情变得兹事体大。
国王能否被治好口吃，成为整部影片最大的戏剧张力，一直到最后，在莱昂纳尔的"指挥"下，乔治六世终于完整进行了战前演讲，观众才会舒一口气。影片的张力还来自于国王和治疗师本身，这是两个身份差距很大的人，一个是国王，一个只是普通的治疗师，国王的性格不仅内向，还容易愤怒，总有居高临下的气势。这种因为身份差异带来的个性碰撞也成为影片的亮点。（励志一生 www.lz13.cn）治疗师莱昂纳尔的角色在这个碰撞过程中显得尤为出彩，他并没有因为治疗对象是国王而卑躬屈膝，他要求国王打破常规，到自己简陋的治疗室来接受治疗，一副"我的地盘听我的"的架势，他用自己不卑不亢的耐心和诚恳，最终打开了国王坚固的心扉，找到了国王幼年的心理阴影。他甚至故意激怒国王，让国王流利地说出骂人的话。而正是这种不卑不亢的真诚交流，让莱昂纳尔获得了尊重，国王也把他当成了一生的好友。
Ⅳ 求一篇阿甘正传的300词左右的英文观后感要求有中文解释
《阿甘正传》观后感（英文）
To be honest, this is the first time I ever write a review of a movie. And this beginning is a tough one—with an Oscar winner as its subject, surrounding which there is considerably controversy over the values it has questioned, the thoughts it tried to implicitly convey, and the art of the movie itself.
Forrest Gump mould incarnation of virtue is honest keeping one’s word , conscientiously , brave paying attention to motioning among film. In the film, Forrest Gump is a very pure image, but Jenny has become the degenerate symbol . And write the great discrepancy originally in this. To all that narrated, since beginning all behave with a kind of tender feeling and well-meaning attitude after all for the film, having even joined poesy composition, this makes the film seem soft and have no injury. The film advocates to traditional moral concept and embodiment. Make film apt to accept by people, director superb lay out skill and film application of language make the film very attractive too. Success with commercial for film content of the film has given security, and the treatment on director’s art makes the film more excellent, this is reason that the film succeeds. It was the box-office hits the most in that year to become U.S.A. in < Forrest Gump>.
《阿甘正传》影评
阿甘是一个出生很不幸的人，通常人们总是认为这种人不能成功， 在做任何事情过程中。 但是，相反，这个不幸的人已经取得许多难以置信的成功，他是一个足球明星，一名战争英雄和一个百万富翁！
阿甘在影片中被塑造成了美德的化身，诚实、守信、认真、勇敢而重视感情。在影片中，阿甘是十分纯洁的形象，而珍妮则成了堕落的象征。这与原著有着极大的出入。对于所叙述的一切，影片自始自终都是以一种温情和善意的态度来表现的，甚至还加入了诗意化的成分，这使得影片显得柔和而无伤害性。影片对传统道德观念的宣扬和体现。使影片变得易为人们所接受，导演高超的编排技巧和电影语言的运用也使影片十分吸引人。影片的内容为影片商业上的成功提供了保证，而导演艺术上的处理也使得影片更加精彩，这就是影片成功的原因所在。《阿甘正传》成了美国当年最为卖座的电影之一。
Ⅳ 《阿甘正传》英文读后感，300字，不要太难
There are so many amazing incidents in my life which can’t be happen if I have the power to forecast the future.
To Forrest Gump, who was born with intellectual disturbance and muscle problem in his leg, he never imagined that he could become a famous American football player, a war hero and even a millionaire. Forrest won dignity and respect though his strive and perseverance.
I believe I can make a better life for those I love though my own effort. Have a little faith for your life. Let’s enjoy our life everyday with dignity, honesty, braveness and love just like Forrest Gump!
整部电影最让我感触最深的一句话就是“生命就像一盒巧克力，结果往往出乎你的意料。”
是的，生活充满了不确定性和难题。对一些人来说，他们希望自己拥有预测未来的能力。因为他们可以为迎接机遇和挑战做足充分准备，甚至可以提前知道彩票的幸运数字。
但对于我来说，我实在不希望拥有这样的“能力”。生活本就神秘莫测，每个人都有他自己的道路。生日时收到同学送来的礼物或是在另外一个城市遇到老朋友时的惊喜都让我十分地享受。在我的生活中有许多令人惊喜的小插曲，假如我有预测未来的能力，它们就都不会发生了。
对阿甘来说，他出生时有智力障碍和腿部的肌肉问题，他从没想到过自己竟然能够成为橄榄球运动员、战争英雄和百万富翁。他通过自己的努力奋斗和不屈不挠赢得了尊严和别人的尊重。
我相信我能通过自己的努力让我爱的人们过上更好的生活。让我们对自己的生活有一些信心，让我们就像阿甘一样，在尊严、诚实、勇气和爱中，享受每一天的生活！
Ⅵ 英文电影观后感中文300字
鲜艳明亮的色彩运用，仿若一本童话书的打开方式，使这部动画在第一时间便足以吸引孩子的瞩目，电影讲述了不开心的博啃族只有吃了乐天的精灵族才能开心，因此每年都会举行吃精灵的美食节，而精灵族国王为了改变这样的命运，带着所有族民逃离了精灵树，开始了新的生活，但随着时间的推移，精灵族也放松了警惕，肆无忌惮的狂欢终于又引来了博啃族，为了营救被抓走的精良族，公主波比和另类不喜欢乐的布兰开始了这段拯救同伴的旅程。
当故事伊始，过于低幼的展开，令我错以着这是一部如斯皮尔伯格《圆梦巨人》般只是献给孩子的作品，但随着剧情的推进，老歌新唱的方式使电影所洋溢的快乐逐渐的开始也能感染着大人，而极具现实的隐喻，更能为人心生共鸣，这根本不是一个浅显的童话故事那么简单，电影在令人收获快乐的同时，更在授人以渔的启迪着每一个大人如何面对生活的态度。
孩子是最不缺乏快乐的，真正失去快乐的是已经长大的成人，从这一点来说《魔发精灵》的出发实则也是一部献给大人的童话寓言，我们在面对生活种种问题压力的同时，其实很多时候早已遗忘了快乐这项最为基本的能力，还自以为这是一种心智的成熟，实则电影所塑造的博啃族并不是什么丑陋的怪物，而就是我们自己，必须食用精灵才能快乐的错位认知，包括不断压抑自我的布兰，又何尝不是很多人现实中自身的写照。
正如电影中那句令我映像深刻的歌词“真实的色彩如此美丽”，笑对生活，回归真实其实并不困难，我们或许无法改变这个世界必然存在的阴暗，但却可以决定自己是活在阴暗中郁郁寡欢的博啃族，还是生活在阳光下美丽乐天的魔发精灵。