2023年《终极标靶》经典观后感10篇.docx

终极标靶经典观后感10篇 终极标靶是一部由吴宇森执导，尚格·云顿 / 查克·费尔 / Robert Apisa主演的一部动作 / 惊悚类型的电影，特精心从网络上整理的一些观众的观后感，希望对大家能有帮助。 　　终极标靶观后感(一)：best of john woo 　　拾遗吴宇森闯荡好莱坞时期的经典作品，“终极标靶〞虽没有“断剑〞、“变脸〞等知晓度高，但欣赏性尤佳。 　　就凭尚格云顿的踢腿、吴宇森标志性的飞车爆炸和仓库内徐徐飞出的白鸽就已经注定这是一部经典。 　　不久前在媒体上刚看到吴宇森在新作“赤壁〞中还将祭出“白鸽〞，不知三国时的鸽子会将诸葛亮衬得那么潇洒不？ 　　终极标靶观后感(二)：取其糟粕 　　吴宇森，这部电影的精华没什么。糟粕确实很值得研究。 　　首先，美国也像香港那样有政府管不了的穷街陋巷。 　　其次，杀人早就是商业活动了，这部电影的编剧略显陈旧 　　第三，动作场面太多，多的冲淡了整部影片的意义 　　第四，要想不死人，还是要有警界精英。所以警察不能罢工 　　终极标靶观后感(三)：有视觉，无“心灵〞 　　这是吴宇森进军好来坞的第一片.跟他导演的英雄本色等相比，动作的幅度大了，手段先进了，场面更好看了，但是人物却暗淡了。只追求视觉上的冲击，却无视了心灵的震撼。 　　人可能有一种〞恶“，那就是想获得杀人的快感，于是就产生了一种猎杀游戏。为了追求刺激，并防止麻烦，专找那些无亲无故的退伍军人充当靶子。影片的孤胆英雄是个流浪汉，他的扮演者是比利时的世界功夫冠军。 　　终极标靶观后感(四)：John Woo的第一部好萊塢片 　　因爲沒有看過,所以看到網上有就下載下來看.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,只有一個肌肉男對付大幫的以殺人爲游戲的不法商人和爲了證明生活意義的有錢人,也只有一眼就看得出是Woo電影風格的暴力美學(鴿子,有藝術細胞的大反派...) 　　電影裏面bug太多,反正賞格 雲瑞 就是不會挨到槍仔儿,反正就算是挨到了也照樣身手敏捷.情節也是有點拖沓 　　只是just so so吧 　　终极标靶观后感(五)：Hunting to the Death When the Prey Is Human 　　很少看动作片，即便是John Woo的。 　　疯狂的熬夜和颠倒日月的作息，让我开始对动作片产生了如对咖啡和香烟般的瘾，除了欲罢不能的尚格·云顿和被他解救的美女之外，最让我痴迷还是影片中既通俗又好听的九十年代电影配乐，把云顿大叔“西部牛仔〞式的硬汉的形象雕刻得完美无暇。到imdb看了一眼，没有soundtrack listing，索性也就不再费力找了[1]，看完电影了事。 　　值得一提的是Cinematography和Editing，前者是罗素·卡朋特(Russell Carpenter)后来给泰坦尼克也是他摄像的，后者是前几年蜘蛛侠系列的Editing,Bob Murawski(代表作品还有 The Evil Dead)。 　　编剧 Chuck Pfarrer曾经是美国海军特种部队海豹特遣队(Navy SEAL)队员。 　　: 男主人公 Chance Boudreaux的姓氏来源不明，并不像William,Bush,Washington这样有历史渊源，可能是编剧自己造的，或者是从“错误的发音〞中借过来的，但是我注意到我们的中文字幕给这部电影里的云顿先生一个很有意思的名字 -- 包意外；比利时人Jean-Claude Van Damme，绰号The Muscles from Brussels。 　　以下是纽约时报影评：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 summer’s few super-bloodthirsty action films, and the one that actually stood a chance of rising above its genre. 　　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 audience. “Hard Target〞 had a hard time getting past the Motion Picture Association of America’s rating board without an NC-17 rating. But even in this somewhat adulterated form, Mr. Woo’s film remains overwhelmingly violent and not always stylish enough to give its excesses the appearance of wit. Not even when its star bites the tail off a rattlesnake and then slugs the snake for good measure. 　　Mr. Woo’s 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 reverentially as Sergio Leone did the young Clint Eastwood, Mr. Woo displays a real aptitude for malignant mischief, which is this story’s 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 money to stalk human prey. Right after it opens vividly with one such hunt-to-the-death, the film presents a perfect B-movie conversation. “It’s like a drug, isn’t it -- to bring a man down？〞 observes the entrepreneur who arranges this blood sport. “Was it worth it？〞 he asks his client. “Every nickel,〞 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 does have one first-rate rejoinder, when Mr. Henriksen’s 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 him in the most aggrandizing style imaginable. From the first tight close-up of the star’s 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 film’s neo-Peckinpah taste for slow motion gives Mr. Van Damme’s stunts a balletic quality that diminishes their spontaneity. It’s 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 Damme’s Chance (who 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 film’s glimpses of the homeless are sharp and unexpectedly substantial, which makes its frivolous ugliness that much more unfortunate. The plot involves Chance’s being recruited by long-haired, wide-eyed Natasha Binder (Yancy Butle