侏罗纪公园英文影评
答案:1 悬赏:40 手机版
解决时间 2021-01-29 16:44
- 提问者网友：遮云壑
- 2021-01-28 16:05
要符合初二水平的，不要把影评放到翻译器里一翻译就行了，句子根本读不通，不需要太长，中等就好，谢谢!
最佳答案
- 五星知识达人网友：佘樂
- 2021-01-28 17:17
Amazingly, the digital effects that were so new in 1993 still look fresh and
convincing in 2013, perhaps even moreso than many of today’s films because
Spielberg uses them sparingly and thoughtfully, rather than just throwing pixels
at the screen in mass quantity. He also knows to mix the CGI (most of which was
pioneered by Industrial Light & Magic maestro Dennis Muren) with practical
effects, including life-size animatronic dinosaurs created by Stan Winston
(The Terminator). The result is a film that still works like gangbusters
in terms of inducing spontaneous chair-arm gripping and breath holding, while
time has allowed us to even better appreciate the nuances of Spielberg’s
storytelling and the thematic undercurrents about the dangers of scientific and
technological hubris. Note, for example, the way Hammond, who is so genial and
jovial and grandfatherly in the opening passages, watches the others’ faces with
a subtle look of gleeful perversity as a cow is lowered down into the
Velociraptor pen—he’s enjoying his power to an unnerving degree. Notice also the
mix of melancholy and catharsis in the film’s final moments, as Hammond looks
down at the mosquito-in-amber headpiece on his cane, realizing silently that his
dream is over, while Tim and Lex cuddle up next to Dr. Grant, the reluctant
surrogate father figure who saw them through the horrors. John Williams’
signature music may start soaring on cue, but there is still a twinge of pain
and regret, as we realize that the helicopter flying off into the sunset is not
a moment of triumph, but one of mere survival in the face of nature unleashed.
convincing in 2013, perhaps even moreso than many of today’s films because
Spielberg uses them sparingly and thoughtfully, rather than just throwing pixels
at the screen in mass quantity. He also knows to mix the CGI (most of which was
pioneered by Industrial Light & Magic maestro Dennis Muren) with practical
effects, including life-size animatronic dinosaurs created by Stan Winston
(The Terminator). The result is a film that still works like gangbusters
in terms of inducing spontaneous chair-arm gripping and breath holding, while
time has allowed us to even better appreciate the nuances of Spielberg’s
storytelling and the thematic undercurrents about the dangers of scientific and
technological hubris. Note, for example, the way Hammond, who is so genial and
jovial and grandfatherly in the opening passages, watches the others’ faces with
a subtle look of gleeful perversity as a cow is lowered down into the
Velociraptor pen—he’s enjoying his power to an unnerving degree. Notice also the
mix of melancholy and catharsis in the film’s final moments, as Hammond looks
down at the mosquito-in-amber headpiece on his cane, realizing silently that his
dream is over, while Tim and Lex cuddle up next to Dr. Grant, the reluctant
surrogate father figure who saw them through the horrors. John Williams’
signature music may start soaring on cue, but there is still a twinge of pain
and regret, as we realize that the helicopter flying off into the sunset is not
a moment of triumph, but one of mere survival in the face of nature unleashed.
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