007电影英语简介
‘壹’ 谁能给个007系列电影的英文介绍
007好像是全能的吧？赫赫
‘贰’ 007是什么
007是风靡全球的一系列谍战电影，007不仅是影片的名称，更是主人公特工詹姆斯·邦德的代号。詹姆斯·邦德（英语：James Bond）是一套小说和系列电影的主角名迟数称。小说原作者是英国作家、前MI6特工伊恩·弗莱明。 第一部007电影于1962年10月5日公映后，007电影系列风靡全球，直到今天历经五十余年常盛不衰。
007的评价：
007的成功可谓是天时地利人和毕旦升，磁场、坚持和运气缺一不可。除了故事情节本身，观众不断看到和期待的是一种前所未有的体验：飞天手老遁地、环游世界的场景，火箭背包、水陆两栖潜水艇和隐形汽车等高科技产品，还有往往只有巨星才有资格演绎的007电影主题曲，以及一个比一个更性感迷人却纷纷倾心于007的“邦女郎”们，都成为家喻户晓的“007品牌元素”。
‘叁’ 《007》是哪个国家的
美国的。
中文名：007，外文名：Spectre，出品公司：哥伦比亚影片公司（美国），制片地区：美国、英国。
《007》简介：
1、《007：幽灵党》是《007》系列第24部电影，是由美国哥伦比亚影片公司出品的动作惊悚片，由萨姆·门德斯执导，丹尼尔·克雷格、克里斯托弗·瓦尔兹、蕾雅·赛杜联袂主演。
2、该片讲述了因为一条来自过去的加密信息，邦德逐步揭开了一个邪恶组织的神秘面纱。为了保全安全机构的正常运转，邦德的上司M与政治势力展开一番争斗，与此同时，随着邦德拨开一层层的谎言，隐藏在幽灵党背后的恐怖真相终于浮出水面。
3、该片于2015年10月26日在英国上映，11月6日在美国上映，11月13日在中国内地上映。
《007》剧情简介
1、詹姆斯·邦德（丹尼尔·克雷格饰）是在苏格兰长大的孤儿，天幕庄园承载着他童年的记忆。天幕庄园炸毁之际，唯有一张幸存的老照片令邦德难以释怀。照片上邦德父亲站在邦德和另一个孩子中间，那个孩子的身份令人生疑。
2、在已逝去的M夫人（朱迪·丹奇饰）的指引下，邦德开始了一次神秘任务，从墨西哥城到最终的罗马他邂逅了美艳的露西亚·斯琪拉（莫妮卡·贝鲁奇饰），而她则是一名臭名昭着的意大利黑手党寡妇，在那里邦德潜入到了一个密会中，揭开了一个名叫幽灵党的邪恶组织背后的秘密。
3、然而，远在伦敦的国家安全中心的新任负责人马克思·登彼怀疑邦德这次行动的目的，并挑战M先生掌权的军情六处的地位。然而邦德暗中召集了钱班霓和Q博士，协助他寻找他宿敌的女儿玛德琳·斯旺（蕾雅·赛杜饰）的下落，玛德琳·斯旺手里握有解开幽灵党秘密的线索。
4、作为一名杀手的女儿，斯旺比绝大多数人更了解邦德，正当邦德冒险潜入幽灵党中心时，他得知自己与他寻找的敌人弗兰兹·奥博豪斯（克里斯托弗·沃尔兹饰）之间有着骇人的联系。
‘肆’ 詹姆斯邦德电影为什么叫007
影片主人公詹姆斯·邦德的代号是007，所以大家把詹姆斯邦德电影也叫作007.
007是风靡全球的一系列谍战电影，007不仅是影片的名称，更是主人公特工詹姆斯·邦德的代号。詹姆斯·邦德（英语：James Bond）是一套小说和系列电影的主角名称。
小说原作者是英国作家、前MI6特工伊恩·弗莱明。在故事里，邦德是英国情报机构军情六处的间谍，代号007，被授予可以除去任何妨碍行动的人的权力。此外，詹姆斯·邦德总是有美女相伴，那些女士被称为“邦女郎”。
(4)007电影英语简介扩展阅读：
剧情介绍
英国中央情报局布置在牙买加的秘密间谋史席威中校和他的秘书突然被神秘杀害，为了弄清原因， 007号情报员詹姆斯·邦德奉命去牙买加察清真相。
史席威中校生前正因一项导弹试验计划与美国中情局在合作，因此邦德到了牙买加首先联系上了美国方面的黎特中尉。经过调查，邦德发现史席威是因发觉了有诺博士的一些秘密而被杀灭口的。
诺博士是中国人，他买下了一个叫蟹礁的岛，在岛上从事某种神秘活动。邦德发现在政府工作的秘书正是诺博士的人，他将计就计，利用她杀死了诺博士派来的杀手。
在渔民库洛的帮助下，邦德潜入了蟹礁。在岛上遇到了一位漂亮迷人的海洋生物学专家哈妮。在与岛上守卫的激战中，库洛被杀死，邦德与哈妮被抓关了起来。原来诺博士是魔鬼党的成员，他在岛上建造了一个原子能基地，试图通过这里破坏一次导弹试验，并利用它进行恐怖活动。
‘伍’ 007电影简介
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."
‘陆’ 007英语介绍
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系列电影介绍
片名：Dr. No
译名：诺博士/第七号情报员/铁金刚勇破神秘岛
导演：泰伦斯·杨Terence Young
主演：肖恩·康纳利Sean Connery
乌苏拉·安德丝Ursula Andress
约瑟夫·维斯曼Joseph Wiseman(反派诺博士)
伯纳德·李Bernard Lee(M)
片长：110分钟
发行：米高梅/联美电影公司United Artists
1962年 英国出品
[影片简介]
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这是第一部007电影，于1962年10月首映，影片通过联美公司(United Artists)由Albert R. Broccoli和Harry Saltzman制作，预算大约为100万美元，饰演詹姆斯·邦德的是出生于苏格兰的演员肖恩·康纳利，乌苏拉·安德丝饰演Honey Rider(她可是第一代邦德女郎，在电影后半段以当时认为性感尺度的泳装现身，从此奠定了邦德女郎性感花瓶的地位)，约瑟夫·维斯曼饰演片中的大反派诺博士(Dr. No)，此外，伯纳德·李和路易丝·麦克斯维尔(Lois Maxwell)分别饰演英国情报局局长M先生和其秘书Moneypenny小姐(这两人在大多数UA的007续集电影里持续饰演这两个角色)。
《第七号情报员》忠于伊恩·弗莱明的原着，是一部制作严谨的神秘惊悚片。这是007系列电影中最低调的一部，然而它的剧情已比当时大部分的侦探或谍报片更具想象空间。这部片由泰伦斯·杨执导，故事描述邦德在调查牙买加裔英国情报员的谋杀案后，发现阻止美国登陆太空的阴谋正在暗中进行。
[主要情节]
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007奉命前往加勒比海调查情报员史金城的神秘死亡原因，与此同时,美方怀疑其发射的飞弹遭到当地发出的电波干扰，以至于无法顺利发射。007到达后，与当地渔民库洛及CIA情报员莱特合作调查，得知属于一名中国人所有的卡基岛上的矿石含有辐射，岛主诺博士原来是个想统治世界的野心科学家，007深入虎穴，摧毁该基地，带着岛上结识的少女顺利逃离卡基岛。
反派角色：诺博士
特色：本片是第一部，有人说也是最好的一部邦德电影。
音乐：“The James Bond Theme”
噱头：肖恩·康纳利当年又帅还没秃头咧！
[关于配乐]
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联美音乐部门主管尼尔·罗杰斯(Noel Rodgers)在某个周五晚上打电话给约翰·巴瑞(John Barry)，邀请他为《第七号情报员》的电影原声带中，詹姆斯·邦德这个角色的主题曲做管弦乐编曲，2分钟的原曲作者为Monty Norman。巴瑞当时以John Barry Seven爵士乐团在英国走红，他只在伦敦报纸的连载漫画中看过詹姆斯·邦德这个角色，他在被临时通知的情况下为这首歌编曲，酬劳不到1千美元，也没得到先看过电影的机会。但他的成绩斐然，这首曲子在英国榜获得第13名，巴瑞在以后的30年间，再度被邀请为11部007电影作配乐。