迪士尼给了很多人幻想，每一个人都可以是自己的公主，也能够遇见属于自己的王子。
我们看到的这些女性，更多的是一种独立，是一种坚强。
贝儿喜欢读书，即便被别人说成古怪也没有放弃过知识的摄取。
不因为自己身处的环境就放弃对于自己的要求。
在遇到野兽的时候，在遇到超乎自己理解范围的事情的时候，更多的是一种接受，一种坦然。
在面对自己的感情的时候，所体现出来的是一种理智，是一种坚定，不会因为世俗的原因轻易舍弃，也不会在别人的威胁下放弃自己。
在受到别人不公平的对待时，仍然能够满怀善意的，对待这个世界。
脸上不缺少的是天真的笑容，心中不曾缺少的，是对于明天的渴望。
这样的她，值得那样的一份偏爱，值得那样的一份喜爱。
我们能够得到的，是在自己的命运中不去抱怨，不去沮丧，认真对待每一份生活，对待生活有着属于自己的判断。
按照自己的理解，去过属于自己的生活，按照自己心愿，去对待每一份的遇见。
之后的愿望，可及，必可往。
Last night, I went to the movie _Eight_ together, I wanted to write a little bit of this movie today. The background of the movie is in the case of the Japanese army invaded Shanghai. During the 1937 War of Shanghai, the history of the _eight hundred strong men_ is a strengthening of the 88th National Revolutionary Army of the Chinese National Revolutionary Army, a strengthening of Suzhou The riverside warehouse, the story of the Japanese army.
The entire movie content is still very hot, the river's red wine green and a wolf and ruins of the river have formed a distinct contrast. The psychological state of different class people should also enter the wood three points, and the story is very much, and each role is _small people_ grow up. From the only one of the only Ino, I want to escape the soldiers, step by step in the tenacious war of the team, the desperate struggle is infected, and the growth becomes a soldier who has blocked the Japanese with the body. The entire war scene is the deepest place I impress, and it feels like a real scene.
The disparity of weapons and equipment is particularly highlighted in this aspect of the Quality of China and Japan. It does not need to use the third person to say the narrator's manifestation technique. The war is too cruel, the national army is particularly tenacious, and the section of defending the national party flag is very burning. The machine gun is connected to the bomb to jump into this part of the Japanese army iron barrel. It is very good.
Directly poke my tears, can't help but tears. As mentioned in the movie, if all Chinese people are holding this must-have belief to the enemy, he has a foreign enemy. (The original words should not be what I said, means this means to talk about this, I think the history will always feel something. Why did the army at that time a hundred million army fame only one tenth of the Japanese army, this is really worth thinking.
The Chinese people have to unite, we are a big country with 5,000 years of heritage. If all the Chinese are screwed into a rope, he is doing the country to bully us. Recently, the United States often has difficult China in diplomatic media, as every Chinese company, every Chinese, we should stand up. The country behind us is very powerful, but the country is strong, we need our people to enrich it, build it. Not only in military, it should be step by step by step by technology, technology, culture, etc.
This morning, my parents and I went to another city of the Five Angle Square to see a movie _Panda Road Home_.
In the film, the little panda is fat and honest, falling down the mountains to escape the human chase. Luwa in the mountains found it, took it home and hid it, took care of it and regarded it as her good partner. In order to avoid the city to hunt, she bravely sent the little panda back to her mother who was looking for it!
If only I were Luva, I could take care of the little panda just like him. Play with it! Whats more, the panda is a national treasure of our country. It is a first-class protected animal. Everyone of us should protect it.
也许是黑白片的缘故，我感觉是压抑的，虽然剧本出自一个童话故事。电影中的摄影机角度常常是有外向内，形成某种意义上的窥探效应，这样的摄影手法贯穿了整部电影，让人产生一种对故事情节的疏离感。
来谈谈该片的导演和编剧让.谷克多，他是法国著名诗人和画家，他曾经是_的好友兼助理。这个故事的原著是博蒙夫人在19世纪中叶写的童话故事，谷克多将这个故事进行改造，让它有了现代气息。他把这个故事背景放到了17世纪，在人物服装和电影背景布局中运用了他自己的绘画才能。这是很明显的把浪漫主义糅杂到现代电影艺术的表现里。使幻想成为真正的形式主义。
谷克多是个业余的电影人，他是想用自己擅长的艺术手法把“电影的诗性美”融入到了这部电影里，这是他作为诗人的外在观点表现，并且将这部电影作为了他传达诗意的媒介。他把诗歌幻想的非叙事传统密切地运用到该部电影中，使之成为混合了多重元素先锋电影，也算成就了法国电影的一座先锋里程碑。
在周二例会上，我们看了一部电影叫《永不放弃》，里面讲了一个橄榄球队队员布洛克爬_死亡爬行_的故事，感触良多!
看过这部电影的人，都认为鼓励、认同和坚持是完成整个训练的动力，但我认为，更重要的是教练把球员的眼睛蒙上这一环节。鼓励、认同和坚持是球员走下去的动力，但现实中我们往往不是因为缺乏这些因素，而没有得到成功，而是把在前进的路上太多的困难和艰辛看的太清楚，这些历历在目的困难和艰辛，是使我们放弃的元凶。我们在日常中，遇到困难，都会有人在旁边鼓励，或者自己鼓励自己，但是为什么我们离成功还那么远呢?因为我们把困难和艰辛看得太清楚了，这些障碍就像一座座不可逾越的大山那样，让我们望而却步。那么，干脆把眼睛蒙上，全神贯注地走我们要走的路，不去理会周边的险阻与困扰，睁开眼时，往往已经超越了应该达成的预期目标!
没有人喜欢输，我们每个人都应该要有永不放弃的拼搏精神，而这种精神的重点是：蒙上你_聪明_的眼睛，顽强地走下去!
今天，老师让我们看了一个短片，片名叫《永不放弃》，看完之后我的心情久久不能平静，也受到很大的启发，我知道了，一个人只要对自己有信心，坚持不懈地朝着自己的目标去努力，就一定能完成梦想。
俗话说的好，“一个人不成功是因为没目标，没梦想，没自信，没导师。”你永远不知道自己的潜能有多大。就像《永不放弃》中的橄榄球队长布洛克一样，他原本以为自己只能爬30码，教练又给他定了50码的目标。爬行中，布洛克感觉越来越吃力了，背上的重量越来越沉，“加油，加油。”教练在边上鼓励着。布洛克叫着：“我的手臂像火一样在燃烧。”尽管如此，他还是以惊人的毅力在坚持着。“别放弃。”教练的声音又远远地传来了。“继续，继续，就快到了，不要停。”终于布洛克以他坚韧不拔，自强不息的努力爬完了全场110码。
在布洛克的爬行中，教练一共喊了13次“对了，就是这样”15次“加油”48次“继续，继续”23次“别放弃”3次“不要停”教练的鼓励给了布洛克继续的勇气。
看了这个短片让我明白了，坚持就是胜利。以前我不会跳绳，后来在妈妈的鼓励下，我坚持每天练习，现在也达到了优的水平了。
只要经过不懈的努力最后一定会成功的。
_Old South of the City_ this movie, like a magnet to attract me, and like a bell hammer like percussion my heart.
In the 1920s, in a courtyard house in Beijing, there lived the warm and happy family of yingzi. She seven years old began to go to the house with Song Ma to buy food, buy food often see the door of the house standing maniacs - Xiu Zhen, her forehead with bangs, red silk son with plaits, often standing there to think of her daughter - laurel. But Yingzi and Xiu Zhen formed a deep friendship.
Tonight, I read the _Mermaid Princess_, the story of the mermaid princess bravely in the clam giant mouth to retrieve the pearl; Kind princess worried about the fish hurt, let the small fish do not touch the moon flower, but also protect the magic moon flower; Clever princess in the fishing water monster is catching the small fish, in time to find the inkjet fish help, rescued them.
Mermaid princess is kind, clever, brave, love to help others character, let everyone like her. I also like the beautiful mermaid princess!
The crown jewel of 1995's summer blockbusters appears to have arrived early. It's hard to imagine any motion picture released between now and August matching Mel Gibson's Braveheart for spectacle. With its clashing armies, heartstopping action, and grand sense of romance, this is the sort of film it's a pleasure to see and review.
Let me state my preferences up front. I'm a big fan of the epic adventure, a category in which Braveheart, like cream, rises to the top. There's a lot in this film that's praiseworthy not the least of which is its ambition. Those viewing this picture may be easily reminded of Gettysburg, The Last of the Mohicans, Glory, and such classics as Lawrence of Arabia, El Cid, and Spartacus. The grandeur is certainly present; nevertheless, Gibson gives us not only memorable battles, but characters of real substance.
Borrowing from masters like Sam Peckinpah and David Lean, the actor/director has crafted an exceptional cinematic tapestry in only his sophomore effort. Most of the time, three hour movies have a few flat spots, but Braveheart is constantly on the move riveting from start to finish. When the end credits began to roll, I was hard pressed to accept that nearly 170 minutes had elapsed.
The title character is William Wallace (Gibson),a hero of Scottish history whose legend has surely outstripped fact (in its own unique way, the film acknowledges this). Wallace fought for Scotland's freedom in the late 13th century, wielding his broadsword and influence to defeat the forces of King Edward I (Patrick McGoohan),the British monarch who had declared himself king of Scotland upon the former ruler's demise.
Braveheart builds slowly to its first gritty climax. Much of the early film concentrates on Wallace's love for Murron (Catherine McCormack).Their courtship is unhurried, yet this is all preparation. The real meat of the story, which includes political mechanations, betrayal, and dramatic battles, is yet to come. Patrick Henry once said, _Give me liberty, or give me death!_ That might well be Wallace's motto. _It's all for nothing if you don't have freedom!_ The nobles of Scotland fight for land and riches, but Wallace stands for the individual, and earns respect with words and deeds.
Bulked up and wearing a long haired wig, Gibson brings his usual wealth of charisma to the title role. Patrick McGoohan, best known from TV's Secret Agent Man and The Prisoner, is almost unrecognizable beneath a snowy beard. His Edward the Longshanks exudes an aura of cold menace. He's a worthy foe for Wallace because his intelligence matches his ruthlessness. Sophie Marceau, the French actress who plays Princess Isabelle, and Catherine McCormack are both immensely appealing.
When word of the famed Eisenheim's (Ed Norton) illusions reaches Crown Prince Leopold (Rufus Sewell), the ruler attends one of the magician's shows in order to debunk the performance. But when the prince's intended, Sophie von Teschen (Jessica Biel), assists the magician onstage, Eisenheim and Sophie recognize each other from their childhoods, and pretty soon they're totally hot for each other. As the clandestine romance continues, the prince's best cop (Paul Giamatti) is charged with exposing Eisenheim, even while the magician gains a devoted and vocal public following. Before long, Sophie turns up dead, and the logical suspect is Eisenheim himself.
一线声机_Cellular_ has the setup for a solid straight-ahead thriller: A kidnap victim who does not know where she is being held phones a total stranger who must then stay connected on his cell phone to find her before she is killed. Joel Schumacher scored earlier with a similarly phone-themed Larry Cohen story, _Phone Booth._ As executed by tone-deaf director David R. Ellis, however, _Cellular_ becomes an unintentionally hilarious cousin to Brian de Palma's _Raising Cain_ and _Snake Eyes._
Ellis seems to have unwittingly spliced together two different films with
mismatched tones: Kim Basinger as the kidnapee and Jason Statham as the kidnapper occupy the deadly-serious, straight-to-video thriller half, while Chris Evans as the rescuer and William H. Macy as a police officer seem to be in a _Saturday Night Live_-alum action comedy. Nowhere else is the disjointedness in tone more apparent than when Basinger and Evans's performances are placed side-by-side during their conversations: The scenes keep cutting between an overwrought Basinger wringing out every drop of melodrama, while a blissfully inept Evans seems to be channeling a cross between Chris Kattan/Jimmy Fallon and Ben Affleck/Keanu Reeves.
Meanwhile, Ellis pulls out tricks intended to generate thrills and surprises. He throws in out-of-nowhere _shocks,_ a la _Final Destination_; he throws in
flashbacks; he throws in a gun-blazing Macy in Jerry Bruckheimer action-hero slo-mo; and yet, Ellis has no handle on staging any of them competently. Case in point: _Cellular_ is the proud owner of one of the most ineptly scored chase sequences ever, as if Ellis simply heard a snippet of the song's lyrics (_...where you gonna run to?_) literally and paid no attention to the inappropriateness of the accompanying music (which just bop, bop, bops along). (The song is even reprised during the closing credits, which itself is misbegotten in conception.)
And yet, for all of its failures as art, _Cellular_ is always entertaining for those very same faults
