1、PAGE 此資料由網(wǎng)絡(luò)收集而來，如有侵權(quán)請告知上傳者立即刪除。資料共分享，我們負(fù)責(zé)傳遞知識。終極標(biāo)靶經(jīng)典觀后感10篇終極標(biāo)靶是一部由吳宇森執(zhí)導(dǎo)，尚格云頓 / 查克費(fèi)爾 / Robert Apisa主演的一部動作 / 驚悚類型的電影，特精心從網(wǎng)絡(luò)上整理的一些觀眾的觀后感，希望對大家能有幫助。終極標(biāo)靶觀后感(一)：best of john woo拾遺吳宇森闖蕩好萊塢時(shí)期的經(jīng)典作品，“終極標(biāo)靶”雖沒有“斷劍”、“變臉”等知曉度高，但觀賞性尤佳。 就憑尚格云頓的踢腿、吳宇森標(biāo)志性的飛車爆炸和倉庫內(nèi)徐徐飛出的白鴿就已經(jīng)注定這是一部經(jīng)典。 不久前在媒體上剛看到吳宇森在新作“赤壁”中還將祭出“白鴿”，不知三

2、國時(shí)的鴿子會將諸葛亮襯得那么瀟灑不？終極標(biāo)靶觀后感(二)：取其糟粕吳宇森，這部電影的精華沒什么。糟粕確實(shí)很值得研究。 首先，美國也像香港那樣有政府管不了的窮街陋巷。 其次，殺人早就是商業(yè)活動了，這部電影的編劇略顯陳舊 第三，動作場面太多，多的沖淡了整部影片的意義 第四，要想不死人，還是要有警界精英。所以警察不能罷工終極標(biāo)靶觀后感(三)：有視覺，無“心靈”這是吳宇森進(jìn)軍好來塢的第一片.跟他導(dǎo)演的英雄本色等相比，動作的幅度大了，手段先進(jìn)了，場面更好看了，但是人物卻暗淡了。只追求視覺上的沖擊，卻忽視了心靈的震撼。 人可能有一種”惡“，那就是想獲得殺人的快感，于是就產(chǎn)生了一種獵殺游戲。為了追求刺激，并

3、避免麻煩，專找那些無親無故的退伍軍人充當(dāng)靶子。影片的孤膽英雄是個(gè)流浪漢，他的扮演者是比利時(shí)的世界功夫冠軍。終極標(biāo)靶觀后感(四)：John Woo的第一部好萊塢片因爲(wèi)沒有看過,所以看到網(wǎng)上有就下載下來看.一是這部片子是John woo的,主角還是賞格 雲(yún)瑞 沒想到的是這部片子讓我失望了,簡單的劇情,人物性格也沒有亮點(diǎn),只有一個(gè)肌肉男對付大幫的以殺人爲(wèi)游戲的不法商人和爲(wèi)了證明生活意義的有錢人,也只有一眼就看得出是Woo電影風(fēng)格的暴力美學(xué)(鴿子,有藝術(shù)細(xì)胞的大反派.) 電影裏面bug太多,反正賞格 雲(yún)瑞 就是不會挨到槍仔兒,反正就算是挨到了也照樣身手敏捷.情節(jié)也是有點(diǎn)拖沓 只是just so so吧

4、終極標(biāo)靶觀后感(五)：Hunting to the Death When the Prey Is Human很少看動作片，即便是John Woo的。 瘋狂的熬夜和顛倒日月的作息，讓我開始對動作片產(chǎn)生了如對咖啡和香煙般的癮，除了欲罷不能的尚格云頓和被他解救的美女之外，最讓我癡迷還是影片中既通俗又好聽的九十年代電影配樂，把云頓大叔“西部牛仔”式的硬漢的形象雕刻得完美無暇。到imdb看了一眼，沒有soundtrack listing，索性也就不再費(fèi)力找了1，看完電影了事。 值得一提的是Cinematography和Editing，前者是羅素卡朋特(Russell Carpenter)后來給泰坦尼克也

5、是他攝像的，后者是前幾年蜘蛛俠系列的Editing,Bob Murawski(代表作品還有 The Evil Dead)。 編劇 Chuck Pfarrer曾經(jīng)是美國海軍特種部隊(duì)海豹特遣隊(duì)(Navy SEAL)隊(duì)員。 : 男主人公 Chance Boudreaux的姓氏來源不明，并不像William,Bush,Washington這樣有歷史淵源，可能是編劇自己造的，或者是從“錯(cuò)誤的發(fā)音”中借過來的，但是我注意到我們的中文字幕給這部電影里的云頓先生一個(gè)很有意思的名字 - 包意外；比利時(shí)人Jean-Claude Van Damme，綽號The Muscles from Brussels。 以下是紐

6、約時(shí)報(bào)影評：Hunting to the Death When the Prey Is Human wishing, whooshing, lovingly photographed weaponry. Nasty gurgles from the wounded. The clonking sound of a head hitting wrought iron. A bullet in the eye. These are the cornerstones of “Hard Target,” one of this summers few super-bloodthirsty action

7、 films, and the one that actually stood a chance of rising above its genre. quot;Hard Target” was an opportunity for both John Woo, the Hong Kong-born action-film director with an ardent cult following, and Jean-Claude Van Damme, the self-appointed Muscles From Brussels, to reach a mainstream audien

8、ce. “Hard Target” had a hard time getting past the Motion Picture Association of Americas rating board without an NC-17 rating. But even in this somewhat adulterated form, Mr. Woos film remains overwhelmingly violent and not always stylish enough to give its excesses the appearance of wit. Not even

9、when its star bites the tail off a rattlesnake and then slugs the snake for good measure. Mr. Woos obvious gusto and his taste for myth making are readily apparent. But so is his fondness for the slow, lingering death scene coupled with sickening sound effects. Presenting Mr. Van Damme as reverentia

10、lly as Sergio Leone did the young Clint Eastwood, Mr. Woo displays a real aptitude for malignant mischief, which is this storys stock in trade. Derived from the 1932 film “The Most Dangerous Game,” from a story by Richard Connell, “Hard Target” tells of wealthy thrill-seekers who pay large sums of m

11、oney to stalk human prey. Right after it opens vividly with one such hunt-to-the-death, the film presents a perfect B-movie conversation. “Its like a drug, isnt it - to bring a man down？” observes the entrepreneur who arranges this blood sport. “Was it worth it？” he asks his client. “Every nickel,”

12、the client solemnly replies. The screenplay by Chuck Pfarrer (who appears in this sequence as the ill-fated victim) concentrates most of its creativity on the characters names, which include Pik Van Cleaf (Arnold Vosloo), Emil Fouchon (Lance Henriksen) and Chance Boudreaux (Mr. Van Damme). The film

13、does have one first-rate rejoinder, when Mr. Henriksens rich, jaded entrepreneur asks Chance why he insists on spoiling all the fun. “Poor people get bored, too,” Chance replies. eaking of bored, Mr. Van Damme has still not broken the habit of his own blank-faced posturing, although Mr. Woo films hi

14、m in the most aggrandizing style imaginable. From the first tight close-up of the stars brooding eyes to the loving images of his feet kicking various faces, “Hard Target” does what it can to present Mr. Van Damme in a bold new light. Curiously, the films neo-Peckinpah taste for slow motion gives Mr

15、. Van Dammes stunts a balletic quality that diminishes their spontaneity. Its necessary for Mr. Woo to place his star standing on the seat of a moving motorcycle, for instance, and send him catapulting over the hood of an oncoming van to create the requisite high excitement. Mr. Van Dammes Chance (w

16、ho is said to have been “raised in the bayous,” in this latest on-screen effort to explain his accent) is supposed to be a derelict, which allows Mr. Woo the opportunity for occasional flashes of social commentary. The films glimpses of the homeless are sharp and unexpectedly substantial, which make

17、s its frivolous ugliness that much more unfortunate. The plot involves Chances being recruited by long-haired, wide-eyed Natasha Binder (Yancy Butler) to find her father, who is of course well past finding. quot;Hard Target,” which is set in New Orleans, also includes a warehouse full of Mardi Gras

18、floats and Wilford Brimley, who rides a horse and tries out a conspicuous Louisiana accent. Clearly, Mr. Woos sense of humor is as perverse as his other talents. quot;Hard Target” is rated R (Under 17 requires accompanying parent or adult guardian). It is extremely violent. Hard Target Directed by J

19、ohn Woo; screenplay by Chuck Pfarrer; director of photography, Russell Carpenter; edited by Bob Murawski; music by Graeme Revell; production designer, Phil Dagort; produced by James Jacks, Sean Daniel, Mr. Pfarrer and Terence Chang; released by Universal Pictures. Running time: 92 minutes. This film is rated R. OLIC