碟中谍4观后感600字

碟中谍四观后感400字以上~

我们电影协会正好也要交个观后感，哈哈，已经完成任务了，给你资源再利用一下，要记得小小修改一下哦，呵呵——
两个小时，在一种轻松无压力的状态下看完了MI4。首先在文章开头稍稍抱怨一下影院的音响设施实在不太给力，所以导致观影效果没有预想中的好。
　　现在来说说电影。
　　与前几作相比，故事剧情还是延续了MI系列的特点，没有太大的创新，不外乎就是潜入、潜入和潜入，还有那一大堆可以和007相媲美的让人眼花缭乱的间谍装备。我们的阿汤哥靠着这些装备上天入地，飞檐走壁，坚信“主角不死定律”，做着常人所不能的高难度行动。不得不说，这样的靓汤才是我们想看见的，这样的剧情才是迎合大众口味的。没有人想花40块钱，坐在影院里花两个小时看着一部像《锅匠》这样的蛋疼文艺片，他们需要的是感官上的刺激，而恰好靓汤就是干这行的。
　　从007到伯恩，从天花乱坠的高科技技术到拳拳到肉的真人格斗，间谍——又或者说是特工这个行业也越来越显得平民化，没有什么特别要求，只需要你有一位叫做M的上司，有一个叫做L的帮手，那就可以坐拥香车美女，笑傲间谍界。不管是可以用来刮胡子的吹风筒，还是用来吹头发的电须刀，反正它的用途就不是像你想象的这么简单。于是hollywood的导演们发明出各种各样奇形百怪的间谍道具，然后胡编乱造出它的用途，最后起一个很酷很炫的名字放到电影里，反正那些观众也不知道这是干嘛用的，我玩的就是你不懂的，这货高级！
　　回想一下，MI4里出现了一个现在应该可以被列为“间谍出门装”的道具，那就是靓汤在爬迪拜大楼的时候戴的那个爬墙手套。这玩意儿不得了——不用靓汤费劲地升到楼顶，再从上面放条绳子下来，然后再一层层地往下吊，只需要用手按住墙面，就可以轻轻松松在一百多层高的高度上飞檐走壁，如入无人之境。我们也不能说他抄袭spider man，毕竟小蜘蛛还会吐丝在大楼间荡来荡。于是在我们新任007——Daniel Craig已然老矣，即便再酷再帅的道具也不能玩得风生水起的年代，靓汤依然坚守着自己的“特工事业”，在荧幕前疲于奔命。
　　一部爆米花电影无论如何都要有自己可以拿的出手的东西——型男美女、大场面、明星效应、特效特技等等，有了这些作为条件，才可以得到票房的保证。所以，以MI和007为代表的特工动作电影，给观众们拿出来的就是各种形式的高科技。观众们乐于在电影院里看着那些高科技武器在他面前进行着匪夷所思的变形和运用，乐于看着主角用那些武器出生入死，脱离危险毫发无伤。每个人都有自己的英雄梦，希望自己有朝一天可以获得惊人的超能力，可以飞天，可以爬墙，可以救死扶伤，可以打击罪恶。既然这是不可能的，那么人们只好借助发明高科技的武器和道具，来做到这一点，但又不是每个人都能拥有成为阿汤这样的机会，可以将高科技玩得这么溜，所以电影就成为一个很好的载体——我玩不成，那就让电影里的人替我玩。
　　可想而知，如果没有了这些高科技武器在影片中的亮相，纵使靓汤可以在镜头前再怎么耍酷，再怎么玩高难度的动作，或许最后只能落得个“赢了口碑，输了票房”这样的票房借口，又或者“赢了票房，输了口碑”这样的负面影响。想想我们的凯奇叔，想想我们的罗汉们。
　　说实在的，我们进影院看片要求不高，无非图的就是一个爽字，别给我整什么深沉，那还不如在家蒙头大睡。于是，近几年观众的口味变得越来越重，越来越低，各大院线也被重口味的大片所占领（这里的重口味定义比较广）所以前不久给你“失恋33天”的小清新一下，又或者用“十三钗”这样假装高深，却略显粗糙的所谓“文艺大片”刺激一下，人们便趋之若鹜，通通涌进电影院看。并且纷纷发出“哎呀，我是文艺青年啦！”这样的呼声，然后继续往暗爽的制片商口袋里丢钱。市场的规律导致整个影片制造业的导向发生了改变，开始制造出大量单单迎合观众口味的电影，真正好的片子却没人看，最后导致好的作品被埋没，而大众片占据主导。我不知道MI会不会拍5，但是我知道阿汤哥会继续演下，否则空有一身铁打骨，再炫酷的装备我们都看不到了。

Falling Off Skyscrapers Sometimes Hurts a Bit By MANOHLA DARGIS Published: December 15, 2011 What makes Tom Cruise run — run harder and run faster, leaping from one building and dangling off another, the world’s tallest — as he does to exhausting, unnerving effect in “Mission: Impossible — Ghost Protocol,” his latest exercise in extreme performance? The fourth in the franchise, this “Mission” has a solid cast, including a notable new co-star in Jeremy Renner; a new director, Brad Bird; and a story that’s as nonsensical as any in the series. Mostly, though, it has Mr. Cruise hurtling through the movie as if his life depended on it, which, to judge by the hard line of his jaw, his punishingly fit body and the will etched into his every movement, may be what’s at stake. It’s fitting that Mr. Bird, the director of the Pixar movies “The Incredibles” and “Ratatouille,” has taken over the reins of the franchise for his live-action directing debut. The “Mission: Impossible” movies belong to that outlandish, sometimes cartoonish class of action adventures in which lesser, Bond-like heroes walk or race from fiery explosions in between locking and loading, kissing and killing, and killing some more. The films, spun off the 1960s television show, fondly remembered for its rubber masks and Lalo Schifrin’s brilliant, pulsating theme music, added Mr. Cruise, who in the 15 years since the first installment has tumbled from his top spot as the world’s biggest movie star to lag behind neo-action figures like Leonardo DiCaprio and Johnny Depp. Mr. Cruise may be somewhat down (certainly his smile has dimmed), yet he’s scarcely out. That’s partly because of Mr. Bird, who has given this movie a self-aware levity that’s intended to clear away the bummer blues of the last “Mission,” five years ago. Directed by J. J. Abrams, who is also a producer of this movie, the third film skewed the series too dark with a nihilistic baddie (chilled to shivering by Philip Seymour Hoffman) and a nightmarish torture scene. It also burdened Mr. Cruise’s character, Ethan Hunt, with a wife (Michelle Monaghan), an unwise move — American action heroes, latter-day fantasies of our native rugged individualism, walk alone, not down the aisle — which suggested that the soon-to-be-remarried Mr. Cruise was borrowing a chapter from his own life. The new movie, written by Josh Appelbaum and André Nemec, both alumni of Mr. Abrams’s television show “Alias” (mostly), ditches the wife and gets back to action basics with globe-trotting, nifty gadgets, high-flying stunts and less loquacious villainy (Michael Nyqvist). (It was also partly shot in Imax, which doesn’t really enhance anything.) Ethan, after being broken out of a Moscow prison, where he had been idling among hordes of bull-necked Ivans and Igors, sets off on another mission with an old teammate, the tech whiz Benji Dunn (Simon Pegg), and the obligatory pretty lady, Agent Jane Carter (Paula Patton). The mission goes bust and boom, as does a debriefing with Ethan’s boss (Tom Wilkinson, uncredited), whose murder finds Ethan and his team blackballed (if still sleuthing) and keeping company with an intelligence analyst, William Brandt (Mr. Renner). Mr. Renner, who played the main bomb specialist in “The Hurt Locker,” eases effortlessly into the blockbuster register, where star charisma and presence like Mr. Cruise’s matter more than emotionally selling a scene. Mr. Renner has to do some actual acting because of the role (surprise: there’s more to Brandt than a suit), and his low-key performance is a dividend in a movie in which almost all human interactions take exaggerated form, with more throttling than talking, or so it seems. Mr. Renner isn’t an obvious action type — he’s good-looking rather than roguish or boyishly pretty — but as soon as he rolls up his sleeves and picks up a gun, it’s obvious that he’s qualified for the job. For his part, Mr. Cruise seems comfortable resuming his franchise duties, though there’s a palpable difference in his affect, even from the last movie. He still radiates intensity bordering on mania, but without the familiar “what, me worry?” air of invincibility. Maybe it’s age: he turns 50 next year, or perhaps Mr. Bird’s approach doesn’t sit well with him, even if it also fits. The wolfish Cruise smile seems tighter, at times reluctant, despite Mr. Bird’s efforts to lighten the mood with banter (much of it supplied by a chattering Mr. Pegg). Over the years Mr. Cruise, a divinely superficial presence in pop fodder like “Top Gun,” has grown progressively heavier, weighted down by stardom, ambition and the misstep of turning his personal life into a public drama. At times he can feel leaden. Unexpectedly, though, his age and inescapable gravitas work for “Ghost Protocol,” partly because they invest the outrageous stunts with a real sense of risk. Mr. Cruise’s primary job in the “Mission” series is to embody a not-quite-ordinary man whose powers are at once extraordinary and completely believable, a no-sweat feat in the first few films. Here, however, when Ethan ziplines off a building onto a truck and then rolls hard onto the street, Mr. Bird — while borrowing more than a little from the “Roadrunner” cartoons — also makes you aware of the fragility of the body ricocheting on screen, absorbing every blow for your entertainment. And when Mr. Cruise hangs off the even taller building, what you see isn’t just a man doing a crazy stunt but also one poignantly denying his own mortality. “ Mission: Impossible — Ghost Protocol” is rated PG-13 (Parents strongly cautioned). Largely bloodless, if at times extreme, violence, including gunplay and a fatal push from a skyscraper. Those with acrophobia beware.

两个小时，在一种轻松无压力的状态下看完了MI4。首先在文章开头稍稍抱怨一下影院的音响设施实在不太给力，所以导致观影效果没有预想中的好。
　　 现在来说说电影。
　　 与前几作相比，故事剧情还是延续了MI系列的特点，没有太大的创新，不外乎就是潜入、潜入和潜入，还有那一大堆可以和007相媲美的让人眼花缭乱的间谍装备。我们的阿汤哥靠着这些装备上天入地，飞檐走壁，坚信“主角不死定律”，做着常人所不能的高难度行动。不得不说，这样的靓汤才是我们想看见的，这样的剧情才是迎合大众口味的。没有人想花40块钱，坐在影院里花两个小时看着一部像《锅匠》这样的蛋疼文艺片，他们需要的是感官上的刺激，而恰好靓汤就是干这行的。
　　 从007到伯恩，从天花乱坠的高科技技术到拳拳到肉的真人格斗，间谍——又或者说是特工这个行业也越来越显得平民化，没有什么特别要求，只需要你有一位叫做M的上司，有一个叫做L的帮手，那就可以坐拥香车美女，笑傲间谍界。不管是可以用来刮胡子的吹风筒，还是用来吹头发的电须刀，反正它的用途就不是像你想象的这么简单。于是hollywood的导演们发明出各种各样奇形百怪的间谍道具，然后胡编乱造出它的用途，最后起一个很酷很炫的名字放到电影里，反正那些观众也不知道这是干嘛用的，我玩的就是你不懂的，这货高级！
　　 回想一下，MI4里出现了一个现在应该可以被列为“间谍出门装”的道具，那就是靓汤在爬迪拜大楼的时候戴的那个爬墙手套。这玩意儿不得了——不用靓汤费劲地升到楼顶，再从上面放条绳子下来，然后再一层层地往下吊，只需要用手按住墙面，就可以轻轻松松在一百多层高的高度上飞檐走壁，如入无人之境。我们也不能说他抄袭spider man，毕竟小蜘蛛还会吐丝在大楼间荡来荡。于是在我们新任007——Daniel Craig已然老矣，即便再酷再帅的道具也不能玩得风生水起的年代，靓汤依然坚守着自己的“特工事业”，在荧幕前疲于奔命。
　　 一部爆米花电影无论如何都要有自己可以拿的出手的东西——型男美女、大场面、明星效应、特效特技等等，有了这些作为条件，才可以得到票房的保证。所以，以MI和007为代表的特工动作电影，给观众们拿出来的就是各种形式的高科技。观众们乐于在电影院里看着那些高科技武器在他面前进行着匪夷所思的变形和运用，乐于看着主角用那些武器出生入死，脱离危险毫发无伤。每个人都有自己的英雄梦，希望自己有朝一天可以获得惊人的超能力，可以飞天，可以爬墙，可以救死扶伤，可以打击罪恶。既然这是不可能的，那么人们只好借助发明高科技的武器和道具，来做到这一点，但又不是每个人都能拥有成为阿汤这样的机会，可以将高科技玩得这么溜，所以电影就成为一个很好的载体——我玩不成，那就让电影里的人替我玩。
　　 可想而知，如果没有了这些高科技武器在影片中的亮相，纵使靓汤可以在镜头前再怎么耍酷，再怎么玩高难度的动作，或许最后只能落得个“赢了口碑，输了票房”这样的票房借口，又或者“赢了票房，输了口碑”这样的负面影响。想想我们的凯奇叔，想想我们的罗汉们。
　　 说实在的，我们进影院看片要求不高，无非图的就是一个爽字，别给我整什么深沉，那还不如在家蒙头大睡。于是，近几年观众的口味变得越来越重，越来越低，各大院线也被重口味的大片所占领（这里的重口味定义比较广）所以前不久给你“失恋33天”的小清新一下，又或者用“十三钗”这样假装高深，却略显粗糙的所谓“文艺大片”刺激一下，人们便趋之若鹜，通通涌进电影院看。并且纷纷发出“哎呀，我是文艺青年啦！”这样的呼声，然后继续往暗爽的制片商口袋里丢钱。市场的规律导致整个影片制造业的导向发生了改变，开始制造出大量单单迎合观众口味的电影，真正好的片子却没人看，最后导致好的作品被埋没，而大众片占据主导。我不知道MI会不会拍5，但是我知道阿汤哥会继续演下，否则空有一身铁打骨，再炫酷的装备我们都看不到了。

自己去看呗

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碟中谍4观后感600字视频