急需电影《人工智能》和《勇敢的心》的英文剧情介绍
发布网友
发布时间：2022-05-01 13:04
共1个回答
热心网友
时间：2023-10-14 00:32
资料一：
Unfortunately, I have yet to find a film of quite this caliber again. Braveheart contains elements of Romance (several heart- wrenching and warming instances), Epic/Action (spectacular scenes), Mystery (can take a few viewings to put it all together), History (albeit romanticised) and of course Drama (perfectly unravelled). This level of uncompromised multi-tasking allows the film to move you to laugh and cry, love and hate or even to think and be taught. I'm trying to avoid the clichés of glowing reviews (almost as bad as entirely negative ones) - but this is one of the few movies that I feel deserves one.
The witty banter between friends/foes/lovers/relatives is, in my opinion, flawless and aids the film's claim as a true classic. The soundtrack is similarly top-notch and encapsulates and refracts the patriotic theme ring several key moments. The political sub-plot and gorgeous scenery also serve as refreshers ring otherwise heavy areas of the story. Perhaps Braveheart's only flaw (but if you share my sentiments it's actually a bonus) is its length so you'll want to prepare a comfy seat and maybe even two pots of tea (complete with cosies!).
I suppose it's also relevant to touch on the historic inaccuracies as I expect this is what people might dislike most about this film. However, "History is written by those who have hanged heroes"; also, the overall sketchiness of such periods coupled with the right of artistic license are enough for me to personally dismiss such thoughts. On that note, I hope you also enjoy what, to me, is the greatest film created (so far).
资料二：
The movie begins in the small town of Elerslie, Scotland. William lives with his father, who is not named in the film, and his older brother Malcolm. William's father and older brother are called to a meeting a few miles from their home where they find the entire nobility of Scotland hanging. Malcolm and his father then go to a battle between the British and their clan, both die tragically. At the funeral William meets his uncle Argyle who fought in the battle with Malcolm and his father. He takes him away to live with him. The scene then cuts to an alt William on his horse. William later runs into a girl he knew before he went to live with Argyle, her name, Murron, we discover that Lords have the right to sleep with brides on their wedding night, so William marries Murron in secret. Murron is the assaulted by a British guard, the guard is killed by William, a fight ensues, and eventually Murron is killed by the lord. This enrages Wallace who then build himself a fine army entering city's and killing all Englishman within. Wallace prepares to move on to Sterling where he prepared for his greatest battle yet, in the forest he realises that he must find a way to beat the heavy cavalry from the ground, he decided to create spears twice as long as men. These were used in the battle to kill the entire heavy cavalry raised at the last minute to kill the on coming horses. Eventually Wallace reaches York, the most important military city he gains control. Williams final battle at Falkirk ends in his betrayal by two nobles, whom he later kills. William is betrayed by the leper father of Robert the Bruce, is captured and refuses to bow down as a loyal subject of the king Edward I, Longshanks. Therefore, instead of mere beheading William Wallace is subject to being Hung, hung within an inch of death. Drawn, being stretched by his ankles and wrists and then having his insides shown to him before he died. Then Quartered, he was beheaded and his head was put on the London Bridge his body was torn into for pieces one sent to each corner of Britain as a warning to the citizens. After Wallace's death we see Robert the Bruce led the battle of Bannockburn the last battle for Scotland's freedom.
资料三：
In 14th Century Scotland, William Wallace leads his people in a rebellion against the tyranny of the English King, who has given English nobility the 'Prima Nocta'.. a right to take all new brides for the first night. The Scots are none too pleased with the brutal English invaders, but they lack leadership to fight back. Wallace creates a legend of himself, with his courageous defence of his people and attacks on the English.
——————————————————————
人工智能 artificial intelligence A.I
资料一：
In the not-so-far future the polar ice caps have melted and the resulting raise of the ocean waters has drowned all the coastal cities of the world. Withdrawn to the interior of the continents, the human race keeps advancing, reaching to the point of creating realistic robots (called mechas) to serve him. One of the mecha-procing companies builds David, an artificial kid which is the first to have real feelings, especially a never-ending love for his "mother", Monica. Monica is the woman who adopted him as a substitute for her real son, who remains in cryo-stasis, stricken by an incurable disease. David is living happily with Monica and her husband, but when their real son returns home after a cure is discovered, his life changes dramatically. A futuristic adaptation of the tale of Pinocchio, with David being the "fake" boy who desperately wants to become "real".
资料二：
The "literalists" are clearly not happy with A.I. So now is a good time to recall that "2001: A Space Odyssey" was greeted upon release with derision, confusion, dismissive reviews, public consternation, and, oh yeah, some thought it was an absolute masterpiece. Beyond the monolithic influence of that film (think of Han Solo's jump to lightspeed, etc.), the symbols of "2001" -- TO THIS VERY DAY -- cannot be decoded using anything but the most personal, interpretive language. The obelisks, the message of the obelisks, the Star Child, Cosmonaut Dave's "room", HAL-9000's true motivation – all these things remain in our collective subconscious as indelible images that refuse to be concretely defined between or among viewers. WHAT CAUSES THIS CONFLICT OF PERCEPTION? IS IT INTENTIONAL? Again and again, Kubrick's films take us to a No-Man's Land of narrative and moral ambiguity, stranding us, forcing us to make decisions, demanding interpretation (or we can judge the surface, walk away, hate the film). To my perception, Kubrick is the only, true "Brechtian" film director. The device Brecht proposed is "Alienation Effect", or put simply, Leading the audience down two, divergent paths at once. My favorite example is "Barry Lyndon". Being the adventures of a young man, handsome, virtuous, well-meaning, ambitious, full of promise. Yet in every scene, the camera "pulls-back" revealing Barry (but never to himself) to be womanizing, self-absorbed, criminally inclined, socially inept, not very bright, morally bankrupt, and at last, a broken shell of a man. Or let's consider "Strangelove": Did Kubrick really create a headbanger, slapstick comedy about nuclear proliferation, mass destruction, and military/political incompetence? The real question is "Who else could have?" Well, that's my take on Kubrick's artistic sensibility, and, without daring to presume Spielberg's motivation, it's what drew them both to "A.I." Pinocchio, the Blue Fairy, cuddly Teddy Bears on one hand, but on the other hand – social institutions are faltering forever -- parenthood, childhood, science, instry, sexuality -- all distorted beyond repair. And Humans, the ultimate A.I. protagonist, seem blissed-out, in denial, more interested in creating "Davids", "Darlenes" and "Gigolo Joes" than in rising water levels and the imminent threat of extinction. Therefore, I believe A.I. is getting precisely the response all Kubrick films "INITIALLY" get. Spielberg's reputation and career can withstand anything that public perception might bring to his films, but I keep thinking that A.I. is the riskiest moment of his artistic life.
热心网友
时间：2023-10-14 00:32
资料一：
Unfortunately, I have yet to find a film of quite this caliber again. Braveheart contains elements of Romance (several heart- wrenching and warming instances), Epic/Action (spectacular scenes), Mystery (can take a few viewings to put it all together), History (albeit romanticised) and of course Drama (perfectly unravelled). This level of uncompromised multi-tasking allows the film to move you to laugh and cry, love and hate or even to think and be taught. I'm trying to avoid the clichés of glowing reviews (almost as bad as entirely negative ones) - but this is one of the few movies that I feel deserves one.
The witty banter between friends/foes/lovers/relatives is, in my opinion, flawless and aids the film's claim as a true classic. The soundtrack is similarly top-notch and encapsulates and refracts the patriotic theme ring several key moments. The political sub-plot and gorgeous scenery also serve as refreshers ring otherwise heavy areas of the story. Perhaps Braveheart's only flaw (but if you share my sentiments it's actually a bonus) is its length so you'll want to prepare a comfy seat and maybe even two pots of tea (complete with cosies!).
I suppose it's also relevant to touch on the historic inaccuracies as I expect this is what people might dislike most about this film. However, "History is written by those who have hanged heroes"; also, the overall sketchiness of such periods coupled with the right of artistic license are enough for me to personally dismiss such thoughts. On that note, I hope you also enjoy what, to me, is the greatest film created (so far).
资料二：
The movie begins in the small town of Elerslie, Scotland. William lives with his father, who is not named in the film, and his older brother Malcolm. William's father and older brother are called to a meeting a few miles from their home where they find the entire nobility of Scotland hanging. Malcolm and his father then go to a battle between the British and their clan, both die tragically. At the funeral William meets his uncle Argyle who fought in the battle with Malcolm and his father. He takes him away to live with him. The scene then cuts to an alt William on his horse. William later runs into a girl he knew before he went to live with Argyle, her name, Murron, we discover that Lords have the right to sleep with brides on their wedding night, so William marries Murron in secret. Murron is the assaulted by a British guard, the guard is killed by William, a fight ensues, and eventually Murron is killed by the lord. This enrages Wallace who then build himself a fine army entering city's and killing all Englishman within. Wallace prepares to move on to Sterling where he prepared for his greatest battle yet, in the forest he realises that he must find a way to beat the heavy cavalry from the ground, he decided to create spears twice as long as men. These were used in the battle to kill the entire heavy cavalry raised at the last minute to kill the on coming horses. Eventually Wallace reaches York, the most important military city he gains control. Williams final battle at Falkirk ends in his betrayal by two nobles, whom he later kills. William is betrayed by the leper father of Robert the Bruce, is captured and refuses to bow down as a loyal subject of the king Edward I, Longshanks. Therefore, instead of mere beheading William Wallace is subject to being Hung, hung within an inch of death. Drawn, being stretched by his ankles and wrists and then having his insides shown to him before he died. Then Quartered, he was beheaded and his head was put on the London Bridge his body was torn into for pieces one sent to each corner of Britain as a warning to the citizens. After Wallace's death we see Robert the Bruce led the battle of Bannockburn the last battle for Scotland's freedom.
资料三：
In 14th Century Scotland, William Wallace leads his people in a rebellion against the tyranny of the English King, who has given English nobility the 'Prima Nocta'.. a right to take all new brides for the first night. The Scots are none too pleased with the brutal English invaders, but they lack leadership to fight back. Wallace creates a legend of himself, with his courageous defence of his people and attacks on the English.
——————————————————————
人工智能 artificial intelligence A.I
资料一：
In the not-so-far future the polar ice caps have melted and the resulting raise of the ocean waters has drowned all the coastal cities of the world. Withdrawn to the interior of the continents, the human race keeps advancing, reaching to the point of creating realistic robots (called mechas) to serve him. One of the mecha-procing companies builds David, an artificial kid which is the first to have real feelings, especially a never-ending love for his "mother", Monica. Monica is the woman who adopted him as a substitute for her real son, who remains in cryo-stasis, stricken by an incurable disease. David is living happily with Monica and her husband, but when their real son returns home after a cure is discovered, his life changes dramatically. A futuristic adaptation of the tale of Pinocchio, with David being the "fake" boy who desperately wants to become "real".
资料二：
The "literalists" are clearly not happy with A.I. So now is a good time to recall that "2001: A Space Odyssey" was greeted upon release with derision, confusion, dismissive reviews, public consternation, and, oh yeah, some thought it was an absolute masterpiece. Beyond the monolithic influence of that film (think of Han Solo's jump to lightspeed, etc.), the symbols of "2001" -- TO THIS VERY DAY -- cannot be decoded using anything but the most personal, interpretive language. The obelisks, the message of the obelisks, the Star Child, Cosmonaut Dave's "room", HAL-9000's true motivation – all these things remain in our collective subconscious as indelible images that refuse to be concretely defined between or among viewers. WHAT CAUSES THIS CONFLICT OF PERCEPTION? IS IT INTENTIONAL? Again and again, Kubrick's films take us to a No-Man's Land of narrative and moral ambiguity, stranding us, forcing us to make decisions, demanding interpretation (or we can judge the surface, walk away, hate the film). To my perception, Kubrick is the only, true "Brechtian" film director. The device Brecht proposed is "Alienation Effect", or put simply, Leading the audience down two, divergent paths at once. My favorite example is "Barry Lyndon". Being the adventures of a young man, handsome, virtuous, well-meaning, ambitious, full of promise. Yet in every scene, the camera "pulls-back" revealing Barry (but never to himself) to be womanizing, self-absorbed, criminally inclined, socially inept, not very bright, morally bankrupt, and at last, a broken shell of a man. Or let's consider "Strangelove": Did Kubrick really create a headbanger, slapstick comedy about nuclear proliferation, mass destruction, and military/political incompetence? The real question is "Who else could have?" Well, that's my take on Kubrick's artistic sensibility, and, without daring to presume Spielberg's motivation, it's what drew them both to "A.I." Pinocchio, the Blue Fairy, cuddly Teddy Bears on one hand, but on the other hand – social institutions are faltering forever -- parenthood, childhood, science, instry, sexuality -- all distorted beyond repair. And Humans, the ultimate A.I. protagonist, seem blissed-out, in denial, more interested in creating "Davids", "Darlenes" and "Gigolo Joes" than in rising water levels and the imminent threat of extinction. Therefore, I believe A.I. is getting precisely the response all Kubrick films "INITIALLY" get. Spielberg's reputation and career can withstand anything that public perception might bring to his films, but I keep thinking that A.I. is the riskiest moment of his artistic life.
热心网友
时间：2023-10-14 00:32
资料一：
Unfortunately, I have yet to find a film of quite this caliber again. Braveheart contains elements of Romance (several heart- wrenching and warming instances), Epic/Action (spectacular scenes), Mystery (can take a few viewings to put it all together), History (albeit romanticised) and of course Drama (perfectly unravelled). This level of uncompromised multi-tasking allows the film to move you to laugh and cry, love and hate or even to think and be taught. I'm trying to avoid the clichés of glowing reviews (almost as bad as entirely negative ones) - but this is one of the few movies that I feel deserves one.
The witty banter between friends/foes/lovers/relatives is, in my opinion, flawless and aids the film's claim as a true classic. The soundtrack is similarly top-notch and encapsulates and refracts the patriotic theme ring several key moments. The political sub-plot and gorgeous scenery also serve as refreshers ring otherwise heavy areas of the story. Perhaps Braveheart's only flaw (but if you share my sentiments it's actually a bonus) is its length so you'll want to prepare a comfy seat and maybe even two pots of tea (complete with cosies!).
I suppose it's also relevant to touch on the historic inaccuracies as I expect this is what people might dislike most about this film. However, "History is written by those who have hanged heroes"; also, the overall sketchiness of such periods coupled with the right of artistic license are enough for me to personally dismiss such thoughts. On that note, I hope you also enjoy what, to me, is the greatest film created (so far).
资料二：
The movie begins in the small town of Elerslie, Scotland. William lives with his father, who is not named in the film, and his older brother Malcolm. William's father and older brother are called to a meeting a few miles from their home where they find the entire nobility of Scotland hanging. Malcolm and his father then go to a battle between the British and their clan, both die tragically. At the funeral William meets his uncle Argyle who fought in the battle with Malcolm and his father. He takes him away to live with him. The scene then cuts to an alt William on his horse. William later runs into a girl he knew before he went to live with Argyle, her name, Murron, we discover that Lords have the right to sleep with brides on their wedding night, so William marries Murron in secret. Murron is the assaulted by a British guard, the guard is killed by William, a fight ensues, and eventually Murron is killed by the lord. This enrages Wallace who then build himself a fine army entering city's and killing all Englishman within. Wallace prepares to move on to Sterling where he prepared for his greatest battle yet, in the forest he realises that he must find a way to beat the heavy cavalry from the ground, he decided to create spears twice as long as men. These were used in the battle to kill the entire heavy cavalry raised at the last minute to kill the on coming horses. Eventually Wallace reaches York, the most important military city he gains control. Williams final battle at Falkirk ends in his betrayal by two nobles, whom he later kills. William is betrayed by the leper father of Robert the Bruce, is captured and refuses to bow down as a loyal subject of the king Edward I, Longshanks. Therefore, instead of mere beheading William Wallace is subject to being Hung, hung within an inch of death. Drawn, being stretched by his ankles and wrists and then having his insides shown to him before he died. Then Quartered, he was beheaded and his head was put on the London Bridge his body was torn into for pieces one sent to each corner of Britain as a warning to the citizens. After Wallace's death we see Robert the Bruce led the battle of Bannockburn the last battle for Scotland's freedom.
资料三：
In 14th Century Scotland, William Wallace leads his people in a rebellion against the tyranny of the English King, who has given English nobility the 'Prima Nocta'.. a right to take all new brides for the first night. The Scots are none too pleased with the brutal English invaders, but they lack leadership to fight back. Wallace creates a legend of himself, with his courageous defence of his people and attacks on the English.
——————————————————————
人工智能 artificial intelligence A.I
资料一：
In the not-so-far future the polar ice caps have melted and the resulting raise of the ocean waters has drowned all the coastal cities of the world. Withdrawn to the interior of the continents, the human race keeps advancing, reaching to the point of creating realistic robots (called mechas) to serve him. One of the mecha-procing companies builds David, an artificial kid which is the first to have real feelings, especially a never-ending love for his "mother", Monica. Monica is the woman who adopted him as a substitute for her real son, who remains in cryo-stasis, stricken by an incurable disease. David is living happily with Monica and her husband, but when their real son returns home after a cure is discovered, his life changes dramatically. A futuristic adaptation of the tale of Pinocchio, with David being the "fake" boy who desperately wants to become "real".
资料二：
The "literalists" are clearly not happy with A.I. So now is a good time to recall that "2001: A Space Odyssey" was greeted upon release with derision, confusion, dismissive reviews, public consternation, and, oh yeah, some thought it was an absolute masterpiece. Beyond the monolithic influence of that film (think of Han Solo's jump to lightspeed, etc.), the symbols of "2001" -- TO THIS VERY DAY -- cannot be decoded using anything but the most personal, interpretive language. The obelisks, the message of the obelisks, the Star Child, Cosmonaut Dave's "room", HAL-9000's true motivation – all these things remain in our collective subconscious as indelible images that refuse to be concretely defined between or among viewers. WHAT CAUSES THIS CONFLICT OF PERCEPTION? IS IT INTENTIONAL? Again and again, Kubrick's films take us to a No-Man's Land of narrative and moral ambiguity, stranding us, forcing us to make decisions, demanding interpretation (or we can judge the surface, walk away, hate the film). To my perception, Kubrick is the only, true "Brechtian" film director. The device Brecht proposed is "Alienation Effect", or put simply, Leading the audience down two, divergent paths at once. My favorite example is "Barry Lyndon". Being the adventures of a young man, handsome, virtuous, well-meaning, ambitious, full of promise. Yet in every scene, the camera "pulls-back" revealing Barry (but never to himself) to be womanizing, self-absorbed, criminally inclined, socially inept, not very bright, morally bankrupt, and at last, a broken shell of a man. Or let's consider "Strangelove": Did Kubrick really create a headbanger, slapstick comedy about nuclear proliferation, mass destruction, and military/political incompetence? The real question is "Who else could have?" Well, that's my take on Kubrick's artistic sensibility, and, without daring to presume Spielberg's motivation, it's what drew them both to "A.I." Pinocchio, the Blue Fairy, cuddly Teddy Bears on one hand, but on the other hand – social institutions are faltering forever -- parenthood, childhood, science, instry, sexuality -- all distorted beyond repair. And Humans, the ultimate A.I. protagonist, seem blissed-out, in denial, more interested in creating "Davids", "Darlenes" and "Gigolo Joes" than in rising water levels and the imminent threat of extinction. Therefore, I believe A.I. is getting precisely the response all Kubrick films "INITIALLY" get. Spielberg's reputation and career can withstand anything that public perception might bring to his films, but I keep thinking that A.I. is the riskiest moment of his artistic life.
