007電影英語簡介
『壹』 誰能給個007系列電影的英文介紹
007好像是全能的吧？赫赫
『貳』 007是什麼
007是風靡全球的一系列諜戰電影，007不僅是影片的名稱，更是主人公特工詹姆斯·邦德的代號。詹姆斯·邦德（英語：James Bond）是一套小說和系列電影的主角名遲數稱。小說原作者是英國作家、前MI6特工伊恩·弗萊明。 第一部007電影於1962年10月5日公映後，007電影系列風靡全球，直到今天歷經五十餘年常盛不衰。
007的評價：
007的成功可謂是天時地利人和畢旦升，磁場、堅持和運氣缺一不可。除了故事情節本身，觀眾不斷看到和期待的是一種前所未有的體驗：飛天手老遁地、環游世界的場景，火箭背包、水陸兩棲潛水艇和隱形汽車等高科技產品，還有往往只有巨星才有資格演繹的007電影主題曲，以及一個比一個更性感迷人卻紛紛傾心於007的「邦女郎」們，都成為家喻戶曉的「007品牌元素」。
『叄』 《007》是哪個國家的
美國的。
中文名：007，外文名：Spectre，出品公司：哥倫比亞影片公司（美國），製片地區：美國、英國。
《007》簡介：
1、《007：幽靈黨》是《007》系列第24部電影，是由美國哥倫比亞影片公司出品的動作驚悚片，由薩姆·門德斯執導，丹尼爾·克雷格、克里斯托弗·瓦爾茲、蕾雅·賽杜聯袂主演。
2、該片講述了因為一條來自過去的加密信息，邦德逐步揭開了一個邪惡組織的神秘面紗。為了保全安全機構的正常運轉，邦德的上司M與政治勢力展開一番爭斗，與此同時，隨著邦德撥開一層層的謊言，隱藏在幽靈黨背後的恐怖真相終於浮出水面。
3、該片於2015年10月26日在英國上映，11月6日在美國上映，11月13日在中國內地上映。
《007》劇情簡介
1、詹姆斯·邦德（丹尼爾·克雷格飾）是在蘇格蘭長大的孤兒，天幕庄園承載著他童年的記憶。天幕庄園炸毀之際，唯有一張倖存的老照片令邦德難以釋懷。照片上邦德父親站在邦德和另一個孩子中間，那個孩子的身份令人生疑。
2、在已逝去的M夫人（朱迪·丹奇飾）的指引下，邦德開始了一次神秘任務，從墨西哥城到最終的羅馬他邂逅了美艷的露西亞·斯琪拉（莫妮卡·貝魯奇飾），而她則是一名臭名昭著的義大利黑手黨寡婦，在那裡邦德潛入到了一個密會中，揭開了一個名叫幽靈黨的邪惡組織背後的秘密。
3、然而，遠在倫敦的國家安全中心的新任負責人馬克思·登彼懷疑邦德這次行動的目的，並挑戰M先生掌權的軍情六處的地位。然而邦德暗中召集了錢班霓和Q博士，協助他尋找他宿敵的女兒瑪德琳·斯旺（蕾雅·賽杜飾）的下落，瑪德琳·斯旺手裡握有解開幽靈黨秘密的線索。
4、作為一名殺手的女兒，斯旺比絕大多數人更了解邦德，正當邦德冒險潛入幽靈黨中心時，他得知自己與他尋找的敵人弗蘭茲·奧博豪斯（克里斯托弗·沃爾茲飾）之間有著駭人的聯系。
『肆』 詹姆斯邦德電影為什麼叫007
影片主人公詹姆斯·邦德的代號是007，所以大家把詹姆斯邦德電影也叫作007.
007是風靡全球的一系列諜戰電影，007不僅是影片的名稱，更是主人公特工詹姆斯·邦德的代號。詹姆斯·邦德（英語：James Bond）是一套小說和系列電影的主角名稱。
小說原作者是英國作家、前MI6特工伊恩·弗萊明。在故事裡，邦德是英國情報機構軍情六處的間諜，代號007，被授予可以除去任何妨礙行動的人的權力。此外，詹姆斯·邦德總是有美女相伴，那些女士被稱為「邦女郎」。
(4)007電影英語簡介擴展閱讀：
劇情介紹
英國中央情報局布置在牙買加的秘密間謀史席威中校和他的秘書突然被神秘殺害，為了弄清原因， 007號情報員詹姆斯·邦德奉命去牙買加察清真相。
史席威中校生前正因一項導彈試驗計劃與美國中情局在合作，因此邦德到了牙買加首先聯繫上了美國方面的黎特中尉。經過調查，邦德發現史席威是因發覺了有諾博士的一些秘密而被殺滅口的。
諾博士是中國人，他買下了一個叫蟹礁的島，在島上從事某種神秘活動。邦德發現在政府工作的秘書正是諾博士的人，他將計就計，利用她殺死了諾博士派來的殺手。
在漁民庫洛的幫助下，邦德潛入了蟹礁。在島上遇到了一位漂亮迷人的海洋生物學專家哈妮。在與島上守衛的激戰中，庫洛被殺死，邦德與哈妮被抓關了起來。原來諾博士是魔鬼黨的成員，他在島上建造了一個原子能基地，試圖通過這里破壞一次導彈試驗，並利用它進行恐怖活動。
『伍』 007電影簡介
In the late 1950s, EON Proctions guaranteed the film adaptation rights for every 007 novel except for Casino Royale. In 1962, the first adaptation was made with Dr. No, which starred Sean Connery as 007. Connery starred in 6 more films after his initial portrayal. George Lazenby replaced Connery before the latter's last EON film, after which the part was played by Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig. As of 2008, there have been 22 films in the EON series. The 21st film, Casino Royale, with Daniel Craig as James Bond, premiered on 14 November 2006, with the film going on general release in Asia and the Middle East the following day. Notably, it is the first Bond film to be released in China. The second James Bond film to feature Daniel Craig is Quantum of Solace, which gets its title from a short story of the same name by Ian Fleming, but shares no similarities with the plot. Daniel Craig is expected to return as James Bond for a third movie in the as yet unnamed "Bond 23."
『陸』 007英語介紹
When we last spied James Bond, at the end of the forceful if oddly-structured Casino Royale, he announced his name while pointing a submachine gun into the sky above Lake Como. The image said: he's back, and nothing if not well-endowed.
Quantum of Solace begins minutes later, with the elusive killer Mr White (Jesper Christensen) now in the boot of Bond's Aston Martin, and a breakneck pursuit in progress which makes claims of a different kind for this new Bond and his supersized franchise.
This film catches Ian Fleming's hero on the run, keeps him running, and zips along with a jolting, almost offensive velocity, catching its ragged breath in the rare opportunity for dialogue. Fans of the series who like to slow down and savour the scenery, enjoying a drip-feed of dodgy innuendo, may consider this a rude awakening - it's the shortest Bond movie to date, and easily the most terse.
But consider how many of the pictures, to include Casino Royale, run out of steam as they drag themselves across the two hour mark, if not long before. Quantum of Solace may hurtle through its own (sketchy) plot as if it's not quite the point - there have been more satisfying narrative pay-offs than we get here - but its best sequences bring you up short in the best way, adding up to the giddiest straight ride since The Living Daylights.
In a career filled with diligent but pedestrian Oscar-t (Monster's Ball, Finding Neverland), it's a true surprise that director Marc Forster has come up with the goods as often as he does. Working with many of the action crew, among them editor Richard Pearson, who made the Bourne series so snappy and exhilarating, he closes in on the set pieces with refreshingly creative skill.
The starting point can be nonsense - when Mr White, murderer of Eva Green's Vesper Lynd, is sprung from captivity in a ngeon beneath Siena, it's too, too Bond that it happens to be on the day, hour and very minute of the Palio horse race.
The gambit of cross-cutting from bolting nags to scarpering baddies starts out strident and doesn't seem necessary. But Forster is biding his time with this skittish prelude: we emerge into the crowd for a chase on foot, across rooftops, and down some scaffolding in a church, and the ensuing scramble with ropes, swinging girders, and out-of-reach revolvers leaves you gasping with its constricted tension and vertigo.
It's briefly to London for some Paul Haggis-scripted soundbites about our changing planet, and then to Haiti, where we meet pouting Bolivian agent Camille (Olga Kurylenko) and villain jour Dominic Greene (Mathieu Amalric), a petulant eco-criminal busily finessing the oil and water reserves of South America for his own gain. Amalric, who with every goggle-eyed smirk cements his credentials to star in a Roman Polanski biopic, brings a wickedly childish spite to this role, certainly proving a more interesting foil to Bond than his latest foxy-but-cross female sidekick.
James, of course, is still hung up over the betrayal and demise of Vesper in the last instalment, motivating a morose six-martini binge while he's flying across the Atlantic, as well as his avoidance here of any serious entanglements, save those in stray lengths of rope dangling from the roofs of Tuscan churches. He isn't alone: Camille, having had her family raped and burnt alive by a deposed Bolivian dictator, also has her mind on other things. Instead, there's a just-for-fun fling with MI6 emissary Gemma Arterton, who pitches up looking like a John le Carré strippogram in a trenchcoat, and exits in a homage to Shirley Goldfinger Eaton which had me reaching for bad oil puns. Crude? Unrefined? It's not exactly slick.
What's clever, and slick, and even a little ingenious about the movie, though, is how it postpones Bond's Vesper vendetta by submerging it beneath his present tasks - he gets an angry kick out of scuttling this international cabal of utility profiteers, who in the barmiest conceit get to negotiate through earpieces while seated for a state-of-the-art proction of Tosca.
If there was any remaining doubt that the world is bartered and sold by people who can afford opera tickets, it's roundly dispelled, though how Amalric persuades his backers that Haiti, of all places, is some kind of model example for neocapitalist progress leaves us just a little foxed. "I don't give a s--- about the CIA," announces Judi Dench, inimitably, but it's not the best line in the movie: those are all the ones on Daniel Craig's face, particularly the deep vertical groove between his eyebrows when he's found yet another score to settle.
Quantum of Solace offers next to no solace, if we mean respite, but in plunging its hero into a revenge-displacement grudge mission, it has the compensation of a rock-solid dramatic idea, and the intelligence to run and run with it.
2
Pleasurable and Satisfying
Be prepared for a few changes in this new entry of the Bond canon. James Bond is back, and this time it』s extremely personal. The rugged, harsh, and rough agent picks up exactly where he left off in another striking thriller that leaves you feeling exhausted, if not exhilarated.
Up to this time, the Bond canon entries have been a series, but Quantum of Solace is actually a sequel. Still raged by the death of Vesper Lynd in Siena, bereaved and blooded James Bond (Daniel Craig), goes after the shady international organization he holds responsible, even when M (Judi Dench) orders him to stand down. As promised at the end of Casino Royale, the film opens with a spectacular car chase before the revelation that Quantum, with agents in Her Majesty』s Government and the CIA, the organization that blackmailed Vesper, is far more labyrinthine and intricate, let alone momentous and far-ranging than anyone had imagined.
Forensic evidence of an MI6 traitor leads him to Haiti, where he meets Camille (Olga Kurylenko), who then helps him find ruthless businessman Dominic Greene (Mathieu Amalric) who is the chairman of Greene Planet, the legitimate cover for Quantum. His intention is to use his government contacts to help overthrow the current regime in Bolivia, and place the exiled General Medrano (Joaquin Cosio) as the head of state. In exchange, The General will give him a barren piece of land, which will actually give them total control of the nation』s water supply. Hazardously mixing revenge and ty, Bond promptly gets involved with Greene』s mistress, the beautiful yet mysterious Camille, when he saves her from an attempt on her life. However, Camille has a her own mission of vengeance so they team up to take down Greene and General Medrano while keeping one step ahead of both the CIA and MI6, which involves the action ripping across Austria, Italy, and South America. Meanwhile, Bond must try to keep his desire for retribution over Vesper Lynd』s death in check.
There』s still a sense at the end that Bond』s mission has scarcely begun and he』ll need a few more Bond canon entries to work his way up to annihilating the obviously indestructible Quantum organization. What makes Quantum of Solace captivating, compelling, and appealing is that this is the first of the 22 Bond movies where the plot flows in a natural and structural manner from the last installment, and this sequel looks a far stronger picture for this rare connected whole.
By far, there』s no better actor at bottling rage than Craig. He continues to be his own man as Bond, not just because he is a darker and more bare-knuckle Bond than any of previous Bonds. Having finally settled into the role of Bond, does Craig not only make it completely his own, but also brings a slightly softer side that his elegant predecessors have been deficient in. Never before have we seen him tenderly hugging a dying male comrade before disposing of his corpse in a mpster. Bond in this sequel is also human enough to start worrying about how regularly his girlfriends get killed. Moreover, viewers get to question his motives for pursuing a crusade. Is he being ultimately altruistic to helping drought-deteriorated Bolivian peasants? Or is he totally selfish to get his own back on the one directly accountable for Vesper』s predicament? Keep in mind that this is Bond at the beginning of his journey. Predictably, Craig will become the most popular 007 with the younger generation.
Stealthy and sensuous Kurylenko is superb as stunning Camille and her inexorable and determined quest for vendetta leads to one of the best scenes where Bond advises her on professionally assassinating the extremely unpleasant would-be dictator who slaughtered her family. She wants to bring to a bloody conclusion, with or without the hero』s help. She is in fact so fixed on murdering her enemy that she practically should not be counted as a Bond girl. Though given awfully little screen time, Arterton is equally good as effortlessly foxy Agent Fields who appeals to the better side of the wounded anti-romantic. There』s also decisively excellent work from Dench as witheringly unimpressed boss M and strong support from Wright and Giannini. All memorable Bond adversaries are amply endowed with unconventional and peculiar behaviors and Greene is no exception. As Greene, he is a suitably repulsive character and Amalric exemplifies a wonderfully humble conceitedness as the hypocritically earnest environmentalist.
In spite of its minor flaws, Quantum of Solace, a visually imaginative follow-up to the series relaunch, to much the same level of quality as Casino Royale, remains overall pleasurable and satisfying with strong performances, a realistically uncompromising script, and intense Bourne-modeled action sequences. It continues Craig』s authentic and conceivable reinvention of the character and throws him into an all scenario of concrete plausibility against an indistinct, deeply secret organization that bypasses politics and democracy to control economies, governments and necessary resources. And, as usual, no one but 007 can stop them.
3
Starring Daniel Craig, Eva Green, Mads Mikkelsen, Judi Dench, Giancarlo Giannini and Jeffrey Wright. Directed by Martin Campbell. 144 minutes. At major theatres. PG
You have to wait for it. And that's hardly surprising because so much of the glorious Casino Royale is a departure from past 007 movies.
But when newcomer Daniel Craig finally identifies himself as "Bond. James Bond" late in the picture, you might well find yourself sharing his satisfied smile.
By this point he's more than proven himself worthy of the name, vanquishing not just innumerable foes but also doubts about his suitability for the role. In the Internet age, everybody's spitball has a global reach.
It is one of the curiosities of moviedom that even though we know James Bond to be a fictional character, the most storied of British spies, we have grown to think of him as a real person. We act as if the reassigning of 007's licence to kill should require Parliament's approval, or a least a wave from the Queen.
And yet each age gets the James Bond it needs, regardless of welcome. Sean Connery launched the series in 1962 and defined the Swinging Sixties style of heroism and hedonism. Roger Moore went for the tongue-in-cheek swagger that typified the 1970s and early 1980s. Pierce Brosnan sought to bring a serious actor's gravity to more recent times — at least until the sex puns got the better of him. (Let's leave aside the brief interregnums of George Lazenby and Timothy Dalton, which matter not.)
Now comes Craig, the first real 007 of the post-9/11 era. The debate will continue as to who constitutes the best Bond, but there's no question that he is the right Bond for these times.
It's a world where shadowy terrorists no longer live elsewhere, where wars are fought for murky reasons and where even a humble pop bottle represents potential airborne disaster, doomsday visions are no longer confined to the movie screen and nationhood, and patriotism, seek new definitions.
This is something author Ian Fleming realized with uncanny prescience back in 1953 when he launched the legacy with the publication of Casino Royale, introcing Bond as a man of strength and style, but also possessed of self-awareness. A man astute enough to observe that, "History is moving pretty quickly these days and the heroes and villains keep on changing parts."
The rough-hewn Craig is the most credible incarnation to date of Fleming's flawed sleuth. His Bond stalks and kills like the "blunt instrument," as Judi Dench's spy boss M describes him, yet he is human enough to bleed from both the body and the heart. Craig isn't pretty — he "impersonates the ugly," as was once said of rocker Rod Stewart — but intelligence and depth reside behind those cold, blue eyes.
He meshes beautifully with the other players and elements of Casino Royale, which returning director Martin Campbell (GoldenEye) directs with a maximum of intensity and a minimum of pretense, aided by an uncommonly smart screenplay by Neal Purvis, Robert Wade and Paul Haggis, who pay e tribute to Fleming.
Gone or reshaped are most of the conceits that have made Bond movies seem like an exercise in parody and nostalgia.
There is no kitten-stroking villain in an island lair, plotting to blow up the world or to claim the sun, the moon and the stars as his own. Instead we get Mads Mikkelsen's suavely chilling Le Chiffre, an obsessive gambler who brokers financial deals with terrorists to fund his adventures at the poker table. Le Chiffre's main quirk, apart from a penchant for torture, is a tear ct that involuntarily bleeds. "Nothing sinister," he assures us.
The femmes are not quite as fatale as in Bonds past. Eva Green's spy accountant Vesper Lynd and Caterina Murino's flirtatious foil Solange are every bit as beautiful as Bond girls go, but they aren't out to prove their own killer instincts. Yet they are more intriguing and alluring than ever before.
And, for the most part, they have to keep those bikinis unfilled and those bedroom eyes wide open, because this Bond isn't wasting time making idle love. Craig's 007 is undeniably virile, but he's paradoxically the least sex-crazed of Bonds since David Niven's satirical elder incarnation was embarrassing the franchise with the rogue Casino Royale movie romp of 1967. (Freudian analysts will have a field day parsing a torture scene where 007's manhood is more than just shaken and stirred.)
Craig's Bond sprints faster — gasp at an early chase scene with parkour (free running) champ Sébastien Foucan as a fleet-footed bomb-maker — and fights harder than any of his predecessors. He loves harder, too, being the first Bond since Lazenby's cerebral spy of On Her Majesty's Secret Service to make a serious commitment to a woman.
The gadgets this time are modest and realistic, just enough to fill the glove compartment of Bond's trusty Aston Martin, which is nowhere near as tricked-out as usual. There is no hapless Q (farewell, John Cleese) to admonish Bond for being reckless with government property.
There is still M, played by Judi Dench as she has since GoldenEye, and finally given a script worthy of her talents. She is much more involved in Bond's training and development, having promoted him to "00" status despite misgivings about his judgment and his apparent inability to rein in his ego.
The above may make Casino Royale sound like serious dramatic fare. It is indeed, and all the better for it.
But director Campbell retains the exotic locales, zipping from Madagascar to Miami to Montenegro, to relieve the potential claustrophobia of the gaming tables that consume much of the story.
There is also humour to savour, although none of the sniggering sex talk that for too long has made Bond seem like a Playboy cartoon character. The wit is often visual: check out the age of the man in M's bed, when she is rudely roused from her slumber, and watch the reaction of the rich oaf who arrogantly mistakes Bond for a parking valet.
Follow the raised eyebrows of Jeffrey Wright's CIA mole Felix Leiter and Giancarlo Giannini's MI6 undercover man Mathis, as they try to figure out exactly what Bond is up to. They are standouts amongst an excellent supporting cast.
『柒』 007系列電影介紹
片名：Dr. No
譯名：諾博士/第七號情報員/鐵金剛勇破神秘島
導演：泰倫斯·楊Terence Young
主演：肖恩·康納利Sean Connery
烏蘇拉·安德絲Ursula Andress
約瑟夫·維斯曼Joseph Wiseman(反派諾博士)
伯納德·李Bernard Lee(M)
片長：110分鍾
發行：米高梅/聯美電影公司United Artists
1962年 英國出品
[影片簡介]
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這是第一部007電影，於1962年10月首映，影片通過聯美公司(United Artists)由Albert R. Broccoli和Harry Saltzman製作，預算大約為100萬美元，飾演詹姆斯·邦德的是出生於蘇格蘭的演員肖恩·康納利，烏蘇拉·安德絲飾演Honey Rider(她可是第一代邦德女郎，在電影後半段以當時認為性感尺度的泳裝現身，從此奠定了邦德女郎性感花瓶的地位)，約瑟夫·維斯曼飾演片中的大反派諾博士(Dr. No)，此外，伯納德·李和路易絲·麥克斯維爾(Lois Maxwell)分別飾演英國情報局局長M先生和其秘書Moneypenny小姐(這兩人在大多數UA的007續集電影里持續飾演這兩個角色)。
《第七號情報員》忠於伊恩·弗萊明的原著，是一部製作嚴謹的神秘驚悚片。這是007系列電影中最低調的一部，然而它的劇情已比當時大部分的偵探或諜報片更具想像空間。這部片由泰倫斯·楊執導，故事描述邦德在調查牙買加裔英國情報員的謀殺案後，發現阻止美國登陸太空的陰謀正在暗中進行。
[主要情節]
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007奉命前往加勒比海調查情報員史金城的神秘死亡原因，與此同時,美方懷疑其發射的飛彈遭到當地發出的電波干擾，以至於無法順利發射。007到達後，與當地漁民庫洛及CIA情報員萊特合作調查，得知屬於一名中國人所有的卡基島上的礦石含有輻射，島主諾博士原來是個想統治世界的野心科學家，007深入虎穴，摧毀該基地，帶著島上結識的少女順利逃離卡基島。
反派角色：諾博士
特色：本片是第一部，有人說也是最好的一部邦德電影。
音樂：「The James Bond Theme」
噱頭：肖恩·康納利當年又帥還沒禿頭咧！
[關於配樂]
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聯美音樂部門主管尼爾·羅傑斯(Noel Rodgers)在某個周五晚上打電話給約翰·巴瑞(John Barry)，邀請他為《第七號情報員》的電影原聲帶中，詹姆斯·邦德這個角色的主題曲做管弦樂編曲，2分鍾的原曲作者為Monty Norman。巴瑞當時以John Barry Seven爵士樂團在英國走紅，他只在倫敦報紙的連載漫畫中看過詹姆斯·邦德這個角色，他在被臨時通知的情況下為這首歌編曲，酬勞不到1千美元，也沒得到先看過電影的機會。但他的成績斐然，這首曲子在英國榜獲得第13名，巴瑞在以後的30年間，再度被邀請為11部007電影作配樂。