女王電影觀後感英語300詞

Ⅰ 穿普拉達的女王英文影評，和中文翻譯

1、The film is intelligent and to the point.

影片充滿智慧而且切中要害。

2、Gorgeous clothes and excellent fashion leading lady complete this attractive comedy.

華麗的衣著和出色的時尚女主角讓這出吸引人的喜劇更加完美。

3、Instead of imitating fashion magazine editor Anna Wintour, the fictional archetype, Streep is clever enough to create her own compelling personality.

聰明的斯特里普沒有選擇模仿時尚雜志的編輯安娜·溫圖爾，小說中的人物原型，反而創造出屬於她自己的讓人信服的個性。

4、With her silvery hair and pale skin, Streep's whispering manner is as good as her posture. Streep's version of Miranda can be daunting.

斯特里普銀色的頭發和蒼白的皮膚，低語式的說話方法跟她的姿勢一樣出色。斯特里普版的米蘭達足以讓人望而生畏。

5、Film for 2006 the best level of first-rate comedy.

影片為2006年度最佳水平的一流喜劇。

Ⅱ 《蘇格蘭瑪麗女王》英文讀後感

從1542年12月14日至1567年7月24日，蘇格蘭女王瑪麗（1542年12月8日 - 1587年2月8日）是蘇格蘭女王。
她是唯一倖存的合法國王詹姆斯五世時，她的父親去世，她的蘇格蘭女王，她是6天之久的孩子。吉斯的瑪麗，她的母親，擔任攝政，9個月後，她的女兒被加冕。

在1558年，她嫁給了弗朗西斯，法國皇太子，弗朗西斯二世在1559年登上了法國王位。然而，瑪麗女王的法國長;，她寡居在1560年12月5日。

她的丈夫去世後，瑪麗回到蘇格蘭，於1561年8月19日抵達位於Leith。 4年後，她嫁給她的堂兄，達恩利勛爵亨利·斯圖亞特。他們的工會就不高興了，並在1567年2月，達恩利被發現死在花園里在柯克o'Field，在家裡後，巨大的爆炸聲。

她馬上就要結婚了詹姆斯·赫本的第4伯爵博思韋爾，被普遍認為是達恩利的兇手。起義對夫婦後，瑪麗被監禁在利文湖城堡在6月15日被迫退位，她一歲的兒子，詹姆斯六世贊成。不成功的企圖奪回王位後，瑪麗逃往英格蘭，從她父親的表弟，女王伊麗莎白一世，她希望能繼承他的國尋求保護。然而，伊麗莎白下令將她逮捕，因為瑪麗，誰被認為是合法的統治者，英國許多英格蘭的天主教教徒的威脅。

經過長時間羈押在英國，她試圖和叛國罪處死她涉嫌參與暗殺伊麗莎白的三幅地塊，並把自己對英語的寶座後，

Ⅲ 《穿Prada的女王》影評

有點長
The Devil & the Gray Lady
All about vogue.

By Mark Goldblatt

ruman Capote, who had a stake in saying so, once famously declared, "All literature is gossip." He was wrong, of course, but it's the kind of declaration that bamboozles literary types by its very implausibility; something so obviously false must be profound, so it gets repeated at cocktail parties and invoked in book reviews (like this one) until it becomes an inside-out cliché, a false truism, a knowing nod towards nothing whatsoever.
Still, an interesting question emerges if you reverse Capote's dictum and ask whether all gossip is literature. It's a question that surrounds the most gossipy novel in recent years, The Devil Wears Prada by Lauren Weisberger, and percolates within the critical jihad the book ignited at the New York Times. The fact that the paper twice reviewed a literary debut by a previously unknown author would be noteworthy in itself; what's unprecedented is the fact that its reviewers twice ripped the book to shreds — arguing not simply that it fails as literature, but that it should never have been published in the first place.

Why all the fuss?

Weisberger, it seems, once worked as a personal assistant to Vogue editor Anna Wintour, and the novel is thinly veiled account of her nightmarish experiences at the magazine. That this should matter to reviewers at the Times is slightly bizarre — even if, unlike me, you care about Anna Wintour, or you think Vogue has made a significant contribution to Western Civilization. It's not as though Weisberger is sailing into morally uncharted waters. Saul Bellow's latest work, Ravelstein, is a thinly veiled account of his friendship with the critic Allan Bloom, and arguably Bellow's greatest work, Humboldt's Gift, is a thinly veiled account of his friendship with the poet Delmore Schwartz. Both of Bellow's books are warts-and-all portraits, and the same can be said, in spades, for Weisberger's portrait of Wintour. The fact that Wintour is still alive, whereas Bloom and Schwartz were deceased when Bellow immortalized them, cuts both ways. Wintour may be psychically injured by the appearance of her fictional counterpart, Miranda Priestly, but at least she has the chance to distance herself from the ogre Weisberger gives us. With a nod to Capote, then, if at least some gossip is literature, why should Weisberger be pilloried for engaging in it?

None of which is to suggest that The Devil Wear Prada is great art. It is, rather, a wildly uneven book, by turns clumsily self-righteous and wickedly funny. The wafer-thin plot recounts the struggles of the narrator, Andrea Sachs, to maintain both her integrity and her sanity after she lands a "dream job" as personal assistant to Miranda Priestly at Runway. The detail that Andrea's real ambition is to write for The New Yorker would be a perfect ironic touch — she must enre the slickness of fashion in order to achieve fashionable slickness — except that the author seems to regard this as a altogether commendable goal. She is reminded to keep her eyes on the prize by her devoted boyfriend, Alex, who (gag me) teaches underprivileged children; also keeping Andrea grounded is her roommate Lily, whose hard drinking and promiscuity derive from the fact that "she loved anyone and anything that didn't love her back, so long as it made her feel alive."

The chapters with Alex and Lily are at times almost unbearable. Fortunately, they are offset by chapters in which Miranda Priestly takes center stage. Miranda is one of the great comic monsters of recent literature; Cruella de Ville is an obvious antecedent, but Miranda more closely resembles a Hermes-scarf wearing Ahab in pursuit of the great white whale of immediate, absolute inlgence. In Miranda's universe, two pre-publication copies of the latest Harry Potter book must be flown by private jet to Paris so that her twin daughters can read them before their friends; it's up to Andrea to make the arrangements on a moment's notice. Tough, but do-able. More finesse is required when Miranda asks Andrea to hunt down the address of "that antique store in the seventies, the one where I saw the vintage dresser." Of course, Andrea wasn't with Miranda when she saw the dresser, so she winds up trekking to every antique store — and, just to be safe, every furniture store — between 70th and 80th Street in Manhattan, grilling clerks to find out whether the famous Miranda Priestly had stopped by recently. Three days later, Andrea admits defeat . . . only to have Miranda inform her, impatiently, that she's just located the store's business card, the one she thought she'd lost. The address is on East 68th Street.

Miranda requires up to five breakfasts per morning so that whenever she arrives at the office, a hot meal will be waiting; reheating isn't an option. The other four must be thrown out because her assistants aren't permitted to eat in her presence. Nor are they permitted to hang their coats next to hers. Nor to request clarifications if her demands are indecipherable: "Cassidy wants one of those nylon bags all the little girls are carrying. Order her one in the medium size and a color she'd like."

There's a kind of grotesque heroism in this, an obliviousness to the feelings of others that is larger than life — and thus mesmerizing. When Weisberger's novel succeeds, it succeeds on these terms. No one who reads the book will forget Miranda Priestly.

Towards the end of The Devil Wears Prada, Andrea's novelist friend informs her, "What you don't seem to realize is that the writing world is a small one. Whether you write mysteries or feature stories or newspaper articles, everyone knows everyone." Indeed, it's hard for an outsider to grasp just how incestuous, how inbred, the New York publishing scene is nowadays. The odds of finding a non-conflicted reviewer for a gossipy roman a clef about the scene itself are therefore remote. In theory, this isn't a problem — as long as the reviewer approaches the task in good faith. (In good faith, for example, I should note that Weisberger's former writing teacher is a close friend and co-author of mine; on the other hand, her editor at Doubleday once turned down a book I wrote . . . and keep in mind that I'm really an academic, so I'm kind of bivouacked on the outskirts of the milieu Weisberger describes.) To say that the Times lacked good faith in reviewing The Devil Wears Prada understates the utterly unconscionable, and downright vindictive, way the paper went after the thing.

The onslaught began with a full-page review in its Sunday edition by former Harper's Bazaar editor Kate Betts. Betts herself was once Anna Wintour's protégé, a point Betts mentions in her final paragraph — not as a disclaimer but rather as an excuse to lecture Weisberger on the ethics of having written her novel: "I have to say Weisberger could have learned a few things in the year she sold her soul to the devil of fashion for $32,500. She had a ringside seat at one of the great editorial franchises in a business that exerts an enormous influence over women, but she seems to have understood almost nothing about the isolation and pressure of the job her boss was doing...."

This may or may not be true, but it has nothing whatsoever to do with what's between the covers of Weisberger's book. That, however, is the least of Bett's concerns in a review which alternates between sniping at the author and sucking up to former Vogue cronies. "Nobody would be interested in this book," Betts declares, "if Weisberger were spilling the beans about life under the tyrant of the New Yorker." (Tell that to Brendan Gill whose memoir Here at the New Yorker was a bestseller in 1975.) Betts refers to one of Weisberger's characters as "a pale imitation of the incomparable André Leon Talley" (For the record, I know more than a few people in the fashion instry, and they're all remarkably comparable.) and to another as "a cheap shot at the food writer Jeffrey Steingarten, whom she [Weisberger] should have been studying for lessons in how to write." This is nasty stuff. And it's of a piece with the rest of Betts's review — which displays all the emotional maturity and intellectual balance of Leo Gorcey in the old Bowery Boys films. Betts is not critiquing a work of fiction; she's putting up her kes to defend her home turf.

You'd think Betts's outburst would suffice, from the Times's point of view, would stand as an awkward lapse in editorial judgment but nothing more. You'd be wrong. The newspaper, it turns out, was not through with Weisberger by a long shot. One day later, Janet Maslin weighed in for the daily edition — and matched Betts's spitefulness point by point. Maslin's review begins: "If Cinderella were alive today, she would not be waiting patiently for Prince Charming. She would be writing a tell-all book about her ugly stepsisters and wicked stepmother . . . dishing the dirt, wreaking vengeance and complaining all the way. Cinderella may have been too nice for that, but Lauren Weisberger is not."

Again, what's actually between the covers of The Devil Wears Prada is mere background noise; first and foremost, Maslin is reviewing not the novel itself but the idea of the novel. She refers to it as "a mean-spirited 'Gotcha!' of a book, one that offers little indication that the author could interestingly sustain a gossip-free narrative." With an indignant nod towards Weisberger's recent publicity tour, Maslin speculates that the author "can devote a second career to insisting that [the novel] is not exactly, precisely, entirely one long swat at the editor of Vogue." And again: "The book's way of dropping names, labels and price tags while feigning disregard for these things is another of its unattractive qualities. It's fair to assume that nobody oblivious to names like Prada will be reading this story anyway."

Curiously, Maslin neglects to mention the name Anna Wintour even once in her review. "That was very deliberate on my part," she later explained to the Daily News. "I think that when a tell-all author takes a cheap shot at a well-known person — in a book that would have little reason to attract attention without that cheap shot — then reviewers need not compound the insult (or help promote a mediocre book) by reiterating the identity of the target."

Fair enough, but then why review the book in the first place? Given how many books are published each year, and how few the Times actually reviews, why would the paper twice in two days go out of its way to hammer a first novel by a hitherto unpublished writer? (Another point of disclosure: The Times did not review my first novel last year.) The answer cannot be that The Devil Wears Prada was heavily promoted . . . since even a cursory glance at its own bestseller lists will reveal many mega-hyped books the Times wouldn't touch with a ten-foot highlighter.

Of course, the Times has bigger problems these days — Jayson Blair's tendentious, fabricated reporting and subsequent resignation, Howell Raines's white-man's-burden agonizing and subsequent resignation, and Maureen Dowd's sneaky doctoring of a presidential quote — than the integrity of its book-reviewing process. In another sense, however, the treatment of Weisberger's novel is consistent with, for lack of a better phrase, an absence of alt supervision on 43rd Street.

Ⅳ 女王電影 英文觀後感 在線等

This rates as high as it does for me because of the cinematography. It is dazzling and Blanchett can't be denied, but "Elizabeth: The Golden Age" is like a chick-flick with explosions plus costumes, super hair, and loud, intrusive music. The result is faux epic.

My wife summed it up well as we left the theater: "I feel like I've just flipped through a coffee table picture book for two hours and somebody turned up the stereo." History wrote this plot but Nicholson and Hirst thought they could do better. They couldn't, or certainly didn't. Freshmen composition classes come up with better stuff. Trite, forced, predictable. Did they even run this by an expert in English history? You gotta wonder. The script is oozing with 21st century mores and clichés. It made me think (ring the movie, mind you) of the way Dutch painters depicted Homer and Aristotle in the garb of 17th century Holland. Are we that mb? Sir Walter Raleigh is a caricature and Sir Francis Drake, never properly introced, was a throwaway. Geoffrey Rush is wasted as Walsingham. Come to think of it, nearly everybody is wasted. Every single character is underdeveloped, with the possible exception of the title character—possible exception.

"Golden Age" set the target high and then turned and fired in the opposite direction. Realizing the script had missed, Director tried to make up for it with window dressing. Substance would have served this queen better. With the colon in the title, I almost expected to see Bruce Willis saving the day.

You can see why "Golden Age" came out in October because it's not going to compete for Oscars in categories that anybody cares about. With all the budget they had for this movie, you'd Universal could have found better writers.

Ⅳ 求《年輕的維多利亞女王》英語觀後感，120到200單詞之間，急用

Britain's queen Victoria very fame, from real emotional accept her,Or because "the young Victoria" this movie.Albert in danger without hesitation in her block front,And this two days they just because diverge and the cold war.The injured Albert lying in bed, Victoria cry to blame him.
Albert said, I have two reasons must do so,My majesty, one is my position can be replaced, and your position no.Victoria cry to say, your position no one can replace.Albert kiss Victoria, then says,Another reason is that your majesty, you are my only love wife, your position in my heart no one can replace.Just because this words, not only Victoria and Albert reconciliation,And in the next life, they are all the same to stay together,And when Albert premature death because of typhoid,Victoria no longer even wear the queen's clothing, all dressed in a widow take isolated,That British prime minister processing government unable to contact her,Prime minister power is more and more big,Finally laid now the politics of a constitutional monarchy.
Just because this words, I also from the heart deeply admire her,Like Victoria and Albert,
She has been in my opinion is not only a great king.It was a young couple of envy.
Victoria childhood is a pawn, even if it is and Albert meeting is arranged,Albert was love at first sight.He will have been praised for Victoria letter from her prime minister and angry,Desperate to run to Britain, and she see each other again.Newly married they like ordinary couples that laughter in the rain,Totally ignored the look in the eyes of the attendants worry.In the life he thoughtful, even if be a such a small thing--
Die for many years ago king, the palace but every night he arranged to great dinner,
But because this is the old routine, your majesty, squire said,Victoria in no longer, Albert know that,In his own adhere to reshape the regulation of the British royal family.
In government affairs,Albert to will give him the opinions of the prime minister said,Please remember, your honor, I am your boss's husband, I don't need your advice.
Originally the heart has concerns of the prime minister,Also because Albert this not hesitate to move, but to Victoria says,Your majesty, I am to you congratulate, prince Albert, not only very talented,And his loyal to you, you can trust him, my majesty.
Unexpectedly, the imperial a husband and wife can be so happy, it is to let a person envy.
錯誤之處還請原諒。

Ⅵ 冰雪女王的英語觀後感

你要多少字的啊，提供一篇吧
Ice and snow queen, "about a boy named kay e to the mirror shards of eyes in the head is changed and lost good nature, and the queen to the snow and ice castle.Kay's friend gozo to find kay, overcome the difficulties, with the help of many strangers, with faith and love and the strength of the recovery kay story.
The plot twists and turns, rich in content, has a strong ecation significance.
這篇更長
Hans Christian Andersen was Denmark in the 19th century, the famous writer of fairy tales he wrote a total of one hundred and sixty-eight fairy tale. His superhuman imagination the bring children from all over the world into a beautiful, mysterious fairy tale world.
Since the childhood, mother will tell me Hans Christian Andersen fairy tale story, over and over again...A dream, I often and meaning of "little flower" dance together;With the "wild swans" fly to the sky;"Ariel," take me to visit sea palace;With "strike a light box" realize our beautiful dream. And that of "roses and broken glass" of the story, every time reading will always bring me a new experience and feelings.

Little boy kai's eyes have a piece of broken glass represents evil, that is the fragments of the broken mirror, the debris fell into the who's eyes, again good man also can become callous, and he will be a slave to the snow queen. Kai get snow queen with the cold of snow and ice castle. A good friend of kai gerda, in order to rescue kai, holding the goodness and eternal red roses, over mountains, through the dark forest of terror, came to the snow castle, the tears of the roses with full of love and kindness to melt the hard ice and brought kai home full of roses.

Watching them back to the sun, kai trials have a kind heart. I can't help but deep sigh of relief. I seem to be together, and gerda goes back to the castle from cold happiness warmth of the world, where the grass green and the flowers bright, spring is more and more cute. People in this world have noble quality and ideal, the spirit of courage and self-sacrifice, in people's heart, quietly blooming that beautiful roses.

I love this world full of roses. I also want to put the rose firmly planted in my heart, never let it die. I want to, protect it must be the secret of smile. Smile in the face every day, smile to face everyone. See my smile It's my rose in my heart in nod.

Ⅶ 求電影《的士女王》的英文影評或者是觀後感，《浪漫的老鼠》也行。。。

為啥都要英文的呢？》

Ⅷ 伊麗莎白觀後感

她，是一個一個不平凡的女人，因為她是一位不平凡的女王。她是一個開明的君主，她是一位具有雄才大略的君主，她是一個了不起的君主。在她的帶領下，英格蘭和愛爾蘭逐漸走向強大，逐漸邁向現代工業。她為英格蘭和愛爾蘭這個小島國稱霸世界一時的輝煌奠定了堅實的基礎。

她，就是伊麗莎白一世。

伊麗莎白一世，於1558年11月17日至1603年3月24日任英格蘭和愛爾蘭女王，是都鐸王朝的第五位也是最後一位君主。

不平凡的經歷造就了一個不平凡的女王。生於王室的伊麗莎白一世雖然看起來很風光，但是她確被新教會認為是私生女。不平凡的童年經歷使她不平凡。在良好的教育下，童年的伊麗莎白學到很多，使她成長起來。

伊麗莎白一世是一個聰明很具有政治頭腦的女王。在她統治初期，她既鼓勵英格蘭人在海上進行貿易，搶奪當時海上霸主西班牙的海上生意，但有不得罪西班牙國王。這是非產明智的舉措。這是兩面派做法，但對當時的英格蘭是很有利的舉措，所以她是一個聰明、具有很強政治頭腦的女王。

伊麗莎白一世是一個領導能力非常強的女王。1588年，西班牙國王忍受不了英格蘭人搶奪自己海上貿易而派出超強無敵艦隊攻擊英格蘭，想一舉盪平英格蘭。但是伊麗莎白一世能領導全國海軍抗戰成功，殲滅浩浩盪盪的西班牙無敵艦隊。這不單一場軍事較量，也是領導人的領導能力較量，若伊麗莎白一世沒有超強的領導能力，根本無法號召、領導英格蘭人，從而抗戰成功。

伊麗莎白一世是一個具有雄才大略、胸襟廣闊的女王。她希望能使英格蘭強大起來，所以即使有人跟她唱反歌，她也不在意。

因此，伊麗莎白時期是英國文化發展的一個重要時期。文學，尤其是詩歌和話劇進入了一個黃金時代。即使舞台上有人辱罵她，她也照樣在台下觀看喜劇表演。這樣的女王，怎能不具有雄才大略、怎能不具有領導能力？

伊麗莎白一世是一個了不起的女人，也是一個可怕的女人。因為她能為了國內政治穩定，為了不帶來政治斗爭，她終生未嫁！這樣的女人是不是很了不起，也是不是很可怕？

她聰明、具有很強的政治頭腦、胸襟廣闊，為英格蘭的穩定發展做出了巨大貢獻。她也不是神，她也有失策的時候。比如她在英格蘭的非洲奴隸貿易和她在愛爾蘭的失策，就影響了英格蘭和愛爾蘭的發展。

後世的歷史學家對她的評價褒貶不一，眾說紛紜。但她在她統治時期竭盡一生為英格蘭和愛爾蘭的發展做出了巨大貢獻，使得英國率先踏上工業革命的步伐。

這是一個讓我非常佩服的女人！

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講述俄羅斯帝國的伊麗莎白女皇的故事，她是彼得一世的女兒。

Ⅸ 冰雪奇緣觀後感英文及翻譯是什麼

寫作思路：首先描述自己觀後感作為開頭，描述從這個電影中明白了什麼道理，之後描述主人公是一個怎麼樣的人，在故事中發生了什麼，正文：

During the winter vacation, the English teacher introced this Frozen movie. After watching it, I understood a profound truth, which also benefited me deeply: only true love can solve everything! Only with true love can a happy life begin. If there is no love in your heart, your life will be very boring!

放寒假英語老師介紹了這部也冰雪奇緣電影，觀看了之後，我明白了一個深刻的道理，而這個道理也讓我受益很深：只有真愛才能化解一切!也只有心存真愛，幸福的生活才能夠由此開始，如果心中不存有愛，那麼你的一生也就十分乏味！

There lived a pair of sisters in a beautiful castle. The elder sister's name was Aisha and the younger sister's name was Anna. One night, they made a snowman in the hall. Aisha used magic to make snow. They made a snowman with snow, whose name was Xuebao. Aisha accidentally froze her sister's head, and the king and queen took Anna to see a doctor. Since then, Aisha has stopped using magic and kept wearing gloves.

在一個美麗的城堡里住著一對姐妹，姐姐叫艾莎，妹妹叫安娜，一天晚上，她們在大廳里堆雪人，艾莎用魔法變出了雪，她們用雪堆了個雪人，名字叫雪寶。艾莎不小心冰凍了妹妹的頭，國王和皇後帶安娜去看病，從那以後艾莎就不用魔法了，一直帶著手套。

Ten years later, Aisha became queen, Anna wanted to marry a prince, but the queen didn't agree, so Anna turned the queen's hand away. With a wave of her hand, the queen turned the world into eternal winter, and the queen became an ice castle in Beishan, so the princess went to find the queen. A year later, Princess Anna met another person, and they were going to find the Queen together.

十年以後，艾莎當上了女王，安娜要嫁給一個王子，女王不同意，安娜就把女王的手逃轉了下來，女王把手一揮就把世界變成了永恆的冬天，女王又在北山變了個冰城堡，公主就去找女王了。又過了一年，安娜公主又認識了一個人，她們要一起去找女王。

They finally found the queen, and the queen froze the princess's heart, and the queen became a heavy snow man. The queen threw them into the big snowdrift at the foot of the mountain. Finally, the queen was put in prison, and the queen escaped again. The prince wanted to kill the queen. Then the princess came running and was frozen when she ran to the queen, but she was finally unfrozen by her sister's love.

她們終於找到了女王，女王又冰住了公主的心，女王又變了個大雪人。女王把她們扔到了山下的大雪堆里，最後女王被關進了監獄，女王又逃了出來，王子要殺了女王，這時公主跑了過來，跑到女王面前時被凍住了，但最後又被姐姐的愛給解凍了。

Since then, they have lived a happy and beautiful life. It turns out that a loving heart can dissolve everything.

從此她們過著幸福美好的生活，原來一個充滿愛的心可以化解一切。

Ⅹ 《蘇格蘭瑪麗女王》英文讀後感

範文：From December 14, 1542 to July 24, 1567, Queen Mary of Scotland (December 8, 1542 - February 8, 1587) was the queen of Scotland.

She was the only surviving legitimate King James V when her father died, her queen of Scotland, and she was a six-day child. Mary of Keith, her mother, served as regent. Nine months later, her daughter was crowned.

In 1558, she married Francis, the crown prince of France, and Francis II ascended the French throne in 1559. However, Queen Mary's French long;, She was widowed on December 5, 1560.

我感覺比較悲傷，從1542年12月14日至1567年7月24日，蘇格蘭女王瑪麗（1542年12月8日 - 1587年2月8日）是蘇格蘭女王。她是唯一倖存的合法國王詹姆斯五世時，她的父親去世，她的蘇格蘭女王，她是6天之久的孩子。吉斯的瑪麗，她的母親，擔任攝政，9個月後，她的女兒被加冕。

在1558年，她嫁給了弗朗西斯，法國皇太子，弗朗西斯二世在1559年登上了法國王位。然而，瑪麗女王的法國長;，她寡居在1560年12月5日。