禁闭岛影评
知识点：《禁闭岛影评》 收集：褚蠢忌 编辑：桃花姐
本知识点包括：1、禁闭岛到底讲什么 2、禁闭岛到底想表达什么？ 3、禁闭岛的影片评价 4、禁闭岛的剧情 5、求一篇原创 禁闭岛 的观后感 。
Shutter Island.A film that will divide the film community.A film that will leave many upset,and hating it.A film that has already completely split the critics.A movie that messes with you.And no one likes to be messed with.And that is exactly where it exceeds.Think I'm contradicting myself?
Shutter Island is one of the most well crafted psychological thrillers to come by since Silence Of The Lambs.And it is no coincidence both were brilliantly written novels.Shutter Island is adapted by a book written by Dennis Lehane (wrote gone baby,gone and mystic river).It is a book filled with twists and turns,that will leave the reader dizzy.And,that is what it's film counterpart does to the fullest.Martin Scorsese helms the director chair,in a movie where he is more free than any before.This is Scorsese at his most unrestrained.
Marty takes what he has learned from the great films of the past and puts it into his.The master of suspense Alfred Hitchcock's influence is everywhere you look in this film.And it is no wonder,considering Scorsese even showed one of his greatest works to the crew:Vertigo.And many of those ideas are present in Shutter Island; the cliff scenes scream Hitchcock.This is a film that creeps and crawls,and is filled with dark corners.And it is all heightened by the coming storm that looms over the island.This is classic film noir.
The story follows Teddy,a federal Marshall,and his partner Chuck (Played by DiCaprio and Ruffulo).They go to this mysterious island enveloped in fog to investigate an escape.From these opening scenes,Marty has set up a dark and creepy premise.
Almost the whole movie incorporates this story as Teddy desperately tries to find the truths he seeks.Teddy is shown as a scared man; a man of war and violence as portrayed in various flashbacks.These will go on to be increasingly important as the story progresses.We follow Teddy on his quest,through every dark corridor and perilous confrontations.Slowly,we are given pieces to the puzzle,but the audience does not even realize it.For we,like Teddy,are blind.For the moment at least.It is because of this that the thrilling conclusion will leave many blindsided.But,you see,that is where this thriller becomes something more.We as the audience are put in Teddy's shoes,and we feel all the things he feels.It is a complete assault on the senses,and it works beautifully.
This is a film you must watch carefully.That is another thing that sets this apart,it is a horror film that makes you actually think.In this day and age,I'm not surprised some found it terrible esp.after their brains have been turned to mush by these new gore filled horror films.Scorsese's ultimate goal here is to wake you up.And trust me,you probably wont like it.
This is also a film I would recommend seeing a second time.In fact,it is even better the second time.All those pieces of that puzzle you didn't catch the first time,you will the second.You see,we as the audience are first put in the shoes of Teddy.The second?Well,without giving too much away,lets just say you are put in someones else's shoes entirely during the second viewing.
Shutter Island.A film that will make you question your own sanity.A film that will leave you breathless.A film that has re-ignited the thriller genre.A film that will leave you,and the main character,searching for answers.
已发送~FIGHT FOR HEALTH.
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Initially, I wasn't a fan... but then I realised, 14 October 2006
Author: mattrochman from Australia
This is a masterpiece. A timeless masterpiece. Initially, I didn't like this film all that much - I found it rather over-hyped and boring. This was until the advent of DVD, which gave me the feature I needed for this sort of film: subtitles. Once I switched them on and heard (read) every last word of Brando's ramblings and other characters ramblings, I grew a true appreciation for this epic.
To make a true epic, you need all of three following ingredients working in near perfect harmony. For screenwriters who come across this, take the following pointers on board: 1) Contrasting Characters: Good films have some character distinction, but most fall rather flat because the core of each character is the same.
Of course, there are exceptions to rule (ie... where you want mono-tonal characters... aka matrix; or where you want outlandish contrasts... aka The Fifth Element), but ultimately, this is what makes films deep, meaningful and grand. Consider the contrasts between the Don's children. Michael is rather cool, rational and collected, whereas Sonny is more hot-headed, spontaneous and simple minded. But simply having these contrasts is not nearly enough. What you really need to do is to develop these characters - place them in situations - and then dwell on how their character impacts on the situation they're put in. The Godfather is a terrific example of how to pull this off. While many try to do this in screenplays, most lose the plot and create character obscurities that stretch credibility.
2) Transformation: The central character(s) must undergo a transformation, resulting in them being almost unrecognizable by the end of the film. By putting them into situations, the character's character must not only influence the outcome of the situation; it must also have a lasting impact on the character. Consider Michael at the wedding and compare that to the Michael we see at the end of the film. Again, many films try, but most fail because they come up with unreal (literally, not praisingly) or simply moronic transformations (eg, Wall Street).
3) Patience: Men in Black 2 was an astounding film for one simple reason - it was an entire film squashed into about 70 minutes. It was not much longer than an episode of ER or Buffy. I certainly hope the new goal of Hollywood isn't to make films as short as possible.
All the great ones spend time - time developing characters, family life, growth, patience with the story telling in general. This is the key (provided that the story isn't mind-numbingly boring). Dances with Wolves, Heat.. and so on are very patient but top-class films. While studios may be lukewarm on the idea of longer films, they are worth it if you have a ripper story to base it on.
I feel that this film has not dated all that much and has tremendous re-watch-ability.
Pearl Harbor consists of three incongruous acts, mashed together into an ungainly whole. It appears to be more interested in reproducing the success of Titanic, which also set a fictional love story amidst a tragic historical event, than it is in telling the story of the men and women who fought and died in the attack on Pearl Harbor. Titanic worked because the central characters were interesting, the story was cohesive, the historical events were handled respectfully and with the proper dramatic tone, and underneath it all was an intelligent reflection on the human failings that permitted such a tragedy in the first place. We learn this to emphasize the brutality of the attack, as if such emphasis were needed. Then the film forgets this point entirely, providing the fates of those men in a narrated line just before the closing credits. Why wasn't the third act of the film about those men, instead of a rushed covering of the Doolittle raid on Tokyo, complete with overblown crash landings and an improbable engagement with Japanese soldiers? Writing off the historical aspects of the film, I am left with the love triangle that makes up the entire first act and pervades the rest of it. It is wholly uninteresting. This same story has been told better, countless times before. Not one of the three characters is fleshed out into an individual: they are bland stereotypes, dolled up to look pretty and given trite lines that they recite to convey the illusion of genuine emotion. It's telling that it doesn't much matter to us how the love triangle is resolved. Unless they both die, she'll get one of them, and who cares which? Neither of the men are personable, and we surely suspect early on that her decision will be based more on fate than her own volition anyway. (In plots like this, it's survival of the survivors.) And so, alas, we are denied even the most basic of all elements of storytelling, namely, characters making actual decisions.
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