搜狗做题网铁拳男人的英文观后感喜欢的人可以看看
来源：学生作业帮 编辑：搜狗做题网作业帮 分类：英语作业 时间：2024/05/28 14:20:22
铁拳男人的英文观后感
喜欢的人可以看看
喜欢的人可以看看
1
Ron Howard believes in America. His faith in the whole package of democratic ideals and family values smooths out the wrinkles in films (the Oscar-winning A Beautiful Mind, the immigrant saga Far and Away) that would be better off with their creases unpressed. Howard is fifty-one, but the image of the freckle-faced kid he was on TV as Opie and Richie still sticks to him as a gift and a curse. Darkness (Backdraft, The Missing) does not become him. His flair for comedy (Splash, Night Shift) can turn cornball (Parenthood) or crass (How the Grinch Stole Christmas). Yet at those times when Howard takes on a tough subject -- old age (Cocoon), a failed space mission (Apollo 13) -- and doesn't bland out, he can do wonders.
This is one of those times. Not only is Cinderella Man Howard's best movie, it is also his most personal and deeply felt. The true story of James J. Braddock, played with blazing brilliance by Russell Crowe, hits Howard where he lives. Irishman Braddock was a washed-up boxer from New Jersey who could barely support his wife and three kids during the Depression. But the powerful left hand he developed by working on the Hoboken waterfront helped him score a comeback that put the nation in his corner and prompted legendary sportswriter Damon Runyon to dub this two-legged pugilistic Seabiscuit the Cinderella Man.
The expertly crafted script by Cliff Hollingsworth and Akiva Goldsman takes its lead from a famous line in John Ford's 1962 western The Man Who Shot Liberty Valance: "When the legend becomes fact, print the legend." Howard gives the film the resonant power of myth. And Wynn Thomas' production design, lit with a poet's eye by camera whiz Salvatore Totino, evokes the period of bread lines with rare artistry.
Of course, a film with no gray on its palette can lack human dimension. Enter a cast of miracle workers. Crowe is jaw-droppingly good, a movie star with a true actor's subtlety and grace. He plays Braddock not as a gladiator but as a family man who boxes to feed his wife and kids. But he'd rather face an opponent's deadly blow than poverty: "At least I can see who I'm fighting," he says. Crowe finds the sadness in Braddock when he must rely on government assistance to support his family. But he also reveals a rugged resilience. Braddock is a simple man with complicated emotions, and Crowe lets us inside his secret heart.
As Joe Gould, Braddock's can-do manager and trainer, Paul Giamatti is a dynamite package of brash humor and scrappy tenderness. He delivers a tour de force. Bet on this consummate pro (Sideways, American Splendor) to win the Oscar race for Best Supporting Actor.
Renee Zellweger brings backbone to Mae, the long-suffering Mrs. Braddock. She shows that sexual attraction is a major bond in their marriage, providing welcome heat and heart in her scenes with Crowe. Mae has one rule: She will not watch her husband take hits in the ring.
It's hard to blame her. The fight scenes may lack the surreal grandeur of Raging Bull and the tragic underpinnings of Million Dollar Baby, but Howard -- working with editors Mike Hill and Dan Hanley -- creates fireworks in the ring, using real boxers such as Art Binkowski, Troy Amos-Ross and Mark Simmons to take on Crowe.
All of which leads to the main event. Time: June 13th, 1935. Place: New York's Madison Square Garden. It's Braddock against playboy, actor and clown Max Baer (Craig Bierko), the heavyweight champ who brags about having killed two opponents by dislocating their brains. Baer is the villain of the piece, but the remarkable Bierko adds a vulnerability not in the script. It's a seductive and scary performance that should put this versatile actor -- he sang his way to a Tony nod in Broadway's The Music Man -- on the movie map.
Watching Baer and Braddock go a punishing fifteen rounds ends Cinderella Man on a note of riveting suspense. But the film stays focused on the human drama. It's the classic American tale of the family man triumphant, and Howard makes sure that it hits you right in the heart.
2
Consider Cinderella Man to be a Depression era Rocky. While that may at first seem like a glib way to describe Ron Howard's rags-to-riches boxing drama, a careful examination of the storyline reveals numerous similarities between this drama and Sylvester Stallone's Oscar winner. Perhaps that's because the formula associated with boxing movies demands a sameness. Whatever the reason, the specter of Rocky hovers over Cinderella Man like a restless thing. During the concluding moments, if you close your eyes, you can almost hear Apollo Creed gasping, "No rematch!"
This is based on a true story, although, thankfully, Howard doesn't come right out and say it. The opening caption references a quote by Damon Runyon, but that's as close as the director comes to saying that the movie is a bio-pic. From the accounts of Jim J. Braddock's career I can find, Cinderella Man offers a reasonably accurate portrayal of what happened in the ring. I can't speak to how correct the depictions of Braddock's home life are. Although the movie is entertaining and succeeds in its goal as a feel-good experience, it does not rank in the top echelon of Howard's films. Overlong and unevenly paced, Cinderella Man hits stretches (especially between bouts) when it threatens to lose its audience.
The movie opens in November 1928. The "Bulldog of Bergen," Jim J. Braddock (Russell Crowe), is an up-and-coming light heavyweight fighter who is on his way to becoming a challenger for the championship. After every fight, his loving wife, Mae (Renée Zellweger), waits for him at the front door to their house, since she can't bear to watch him in the ring. Following this brief introductory section, Cinderella Man jumps ahead five years. The country is mired in the Great Depression, and Jim's fortunes haven't been better than those of the country in general. He is a has-been who only gets a few dollars a night for participating in second-rate bouts. When he breaks his hand, his career appears to be over, and he goes to work as a longshoreman. However, with day jobs being unreliable and low-paying, he and Mae soon lose the electricity in their apartment, a situation that endangers the health of their children. A chance at redemption occurs when his former manager, Joe Gould (Paul Giamatti), offers him $250 to fight on short notice with a heavyweight contender. Jim is expected to lose, and lose badly, but he confounds the experts, and his June victory over Corn Griffith propels him on the fast lane to a shot at the title against a ferocious and heavily-favored opponent, Max Baer (who has previously killed two inferior boxers).
Borrowing liberally from Martin Scorsese (Raging Bull), Howard creates boxing sequences that are as brutal as they are compelling. When Jim is in the ring, Cinderella Man is never boring. Unfortunately, the same cannot be said of all the connective material which is intended to form the movie's backbone. The scenes that show Jim as a loving husband and father, and depict him as a good friend to his equally down-on-his-luck pal, Mike (Paddy Considine), are trite. Instead of developing the main character into a fully three-dimensional individual, they serve only to drag out the running time. Cinderella Man is a decent 105-minute movie that has been stretched to fill nearly 2 1/2 hours.
One non-boxing scene stands out as being worth the celluloid it was printed on. When he reaches rock bottom, Jim faces the possibility of having to send his children to stay with relatives. Yet he has promised his oldest son, Jay (Connor Price), that he would not do this. So, in order to raise the money to re-connect the electricity, he goes to a club frequented by his old boxing confederates, many of whom are high-rollers. With hat in hand (literally), he asks for donations. It's a moving sequence that brings home some of the hard reality of life in the 1930s.
There's nothing wrong with the acting, although most of the participants have done more impressive work in the past. Russell Crowe, working with the director for the first time since A Beautiful Mind, is effective as Jim both inside and out of the ring. Renée Zellweger, who has already looked "frumpy" as Bridget Jones, tries on "mousy" for this role. A spark of energy comes from Paul Giamatti, who has a solid chance of being nominated for an Oscar for his portrayal of Joe Gould (if only because the Academy will feel that they owe him for 2004's Sideways snubbing).
The period details are impeccable. Howard goes to great pains to convince us that we're back in the Depression. From his re-creation of the old Madison Square Garden to the infamous "Hooverville," this feels like the 1930s. Unfortunately, the by-the-numbers script, which hits every boxing cliché with far less effectiveness than other contenders (such as the aforementioned Rocky), doesn't do the other aspects of the production justice. True story or not, Cinderella Man seems like the uncomplicated fairy tale its title hints at. This is 2005's Seabiscuit, an inspirational, "adult" drama thrown into theaters in the midst of the summer's blockbusters. As counter-programming, it may be successful, but as entertainment, it's on the bubble. To use a boxing metaphor, it lands a few solid punches, but never achieves anything close to a knock-out.
3
Russell Crowe reunited with Ron Howard and my first reaction is “Hmm, somebody’s definitely fishing for more awards.” After the success of A Beautiful Mind, who could blame them? When the early marketing focused too much on the past success of Howard and Crowe, my doubt about the Jim movie began to grow. Isn’t it nice when your doubts are unfounded? While possibly not on the same level of Mind in the critic world, Cinderella Man delivers another knockout hit for the Crowe/Howard tandem.
Despite being an unlikable fellow in reality, Russell Crowe keeps churning out outstanding roles that draw me to the theatre. Crowe’s portrayal of a sports legend continues his streak of powerful cinematic performances. Cinderella Man is the story of James J. Braddock, a rising star in the light heavyweight boxing ring during the late 1920s. His rise up the ranks is coldly halted as the stock market crash of 1929 cripples the American economy. With a string of losses, injuries, and the end of his big paydays, Braddock suffers the same fate that thousands of other Americans felt during the Great Depression.
After losing his personal fortune, Braddock struggles to provide for his wife (Zelweger) and children while never fully giving up his dream of returning to boxing. Due to a last minute cancellation and a recommendation by his old manager (Giamatti), Braddock gets one last chance at glory and cements his place in boxing history.
It is Crowe’s portrayal of Braddock that keeps Cinderella Man from slipping into the clichéd territory of Rocky. Braddock fights, not for glory, but to provide for his family. Along the way, Braddock becomes a hero and gives hope to other people struggling to survive the times.
Come on; hope being a central theme of a movie? Hasn’t that been done to death? Yet, I found myself falling for it completely. Crowe’s accent and look is a perfect capsule of the time and his boxing style is a perfect copy of Braddock’s. Did it take me this long to finally mention the boxing matches? Don’t think this is some boring historical crap starring Brendan Gleeson (Seriously, that guy is in all of em). The boxing matches in Cinderella Man are hands down the best ever replicated on the big screen. The Braddock fights are for folks who grew up with Rocky but now require realistic boxing and not to mention better acting in their films. The film's stunning cinematography draws you into the ring, and leaves you feeling like you're sitting there in person. I’m not even a boxing fan, but I found myself completely thrilled by the action.
Besides Crowe and the boxing scenes, the other bright spot in this film is Paul Giamatti’s portrayal of manager Joe Gould. Some will question Giamatti playing the comedic wise ass in yet another movie, but it’s a good move for him. Fresh off critical praise for Sideways, Giamatti can cash in with a blockbuster that will be seen by a much larger audience. Unlike other roles he’s had in, Giamatti’s character is more than just punch lines; he does an outstanding job of showing the heart of Joe Gould. Zellweger is adequate enough as Braddock’s wife, I can think of dozens of actresses who I’d prefer to see in a movie, but at least she isn’t as annoying as normal. That’s high praise from me considering the sight of those cheeks usually causes me to suffer an uncontrollable eye twitch. Oh come on, you were thinking it!
Director Ron Howard has a knack for heartwarming tales that while sometimes dangerously close to falling into the “sappy” territory, always manage to build a bond between the viewer and the characters. A great example of this is his other “based on a true story” epic, Apollo 13. I cheered for the astronauts when the came back home and my heart raced as Braddock battled in the ring. If history bores you, see this for the fights. If you aren’t a boxing fan, you’ll be fascinated by the story and the acting. Cinderella Man, while it appeals to a wide audience, doesn’t compromise; a quality Mr. Braddock would be proud of.
Ron Howard believes in America. His faith in the whole package of democratic ideals and family values smooths out the wrinkles in films (the Oscar-winning A Beautiful Mind, the immigrant saga Far and Away) that would be better off with their creases unpressed. Howard is fifty-one, but the image of the freckle-faced kid he was on TV as Opie and Richie still sticks to him as a gift and a curse. Darkness (Backdraft, The Missing) does not become him. His flair for comedy (Splash, Night Shift) can turn cornball (Parenthood) or crass (How the Grinch Stole Christmas). Yet at those times when Howard takes on a tough subject -- old age (Cocoon), a failed space mission (Apollo 13) -- and doesn't bland out, he can do wonders.
This is one of those times. Not only is Cinderella Man Howard's best movie, it is also his most personal and deeply felt. The true story of James J. Braddock, played with blazing brilliance by Russell Crowe, hits Howard where he lives. Irishman Braddock was a washed-up boxer from New Jersey who could barely support his wife and three kids during the Depression. But the powerful left hand he developed by working on the Hoboken waterfront helped him score a comeback that put the nation in his corner and prompted legendary sportswriter Damon Runyon to dub this two-legged pugilistic Seabiscuit the Cinderella Man.
The expertly crafted script by Cliff Hollingsworth and Akiva Goldsman takes its lead from a famous line in John Ford's 1962 western The Man Who Shot Liberty Valance: "When the legend becomes fact, print the legend." Howard gives the film the resonant power of myth. And Wynn Thomas' production design, lit with a poet's eye by camera whiz Salvatore Totino, evokes the period of bread lines with rare artistry.
Of course, a film with no gray on its palette can lack human dimension. Enter a cast of miracle workers. Crowe is jaw-droppingly good, a movie star with a true actor's subtlety and grace. He plays Braddock not as a gladiator but as a family man who boxes to feed his wife and kids. But he'd rather face an opponent's deadly blow than poverty: "At least I can see who I'm fighting," he says. Crowe finds the sadness in Braddock when he must rely on government assistance to support his family. But he also reveals a rugged resilience. Braddock is a simple man with complicated emotions, and Crowe lets us inside his secret heart.
As Joe Gould, Braddock's can-do manager and trainer, Paul Giamatti is a dynamite package of brash humor and scrappy tenderness. He delivers a tour de force. Bet on this consummate pro (Sideways, American Splendor) to win the Oscar race for Best Supporting Actor.
Renee Zellweger brings backbone to Mae, the long-suffering Mrs. Braddock. She shows that sexual attraction is a major bond in their marriage, providing welcome heat and heart in her scenes with Crowe. Mae has one rule: She will not watch her husband take hits in the ring.
It's hard to blame her. The fight scenes may lack the surreal grandeur of Raging Bull and the tragic underpinnings of Million Dollar Baby, but Howard -- working with editors Mike Hill and Dan Hanley -- creates fireworks in the ring, using real boxers such as Art Binkowski, Troy Amos-Ross and Mark Simmons to take on Crowe.
All of which leads to the main event. Time: June 13th, 1935. Place: New York's Madison Square Garden. It's Braddock against playboy, actor and clown Max Baer (Craig Bierko), the heavyweight champ who brags about having killed two opponents by dislocating their brains. Baer is the villain of the piece, but the remarkable Bierko adds a vulnerability not in the script. It's a seductive and scary performance that should put this versatile actor -- he sang his way to a Tony nod in Broadway's The Music Man -- on the movie map.
Watching Baer and Braddock go a punishing fifteen rounds ends Cinderella Man on a note of riveting suspense. But the film stays focused on the human drama. It's the classic American tale of the family man triumphant, and Howard makes sure that it hits you right in the heart.
2
Consider Cinderella Man to be a Depression era Rocky. While that may at first seem like a glib way to describe Ron Howard's rags-to-riches boxing drama, a careful examination of the storyline reveals numerous similarities between this drama and Sylvester Stallone's Oscar winner. Perhaps that's because the formula associated with boxing movies demands a sameness. Whatever the reason, the specter of Rocky hovers over Cinderella Man like a restless thing. During the concluding moments, if you close your eyes, you can almost hear Apollo Creed gasping, "No rematch!"
This is based on a true story, although, thankfully, Howard doesn't come right out and say it. The opening caption references a quote by Damon Runyon, but that's as close as the director comes to saying that the movie is a bio-pic. From the accounts of Jim J. Braddock's career I can find, Cinderella Man offers a reasonably accurate portrayal of what happened in the ring. I can't speak to how correct the depictions of Braddock's home life are. Although the movie is entertaining and succeeds in its goal as a feel-good experience, it does not rank in the top echelon of Howard's films. Overlong and unevenly paced, Cinderella Man hits stretches (especially between bouts) when it threatens to lose its audience.
The movie opens in November 1928. The "Bulldog of Bergen," Jim J. Braddock (Russell Crowe), is an up-and-coming light heavyweight fighter who is on his way to becoming a challenger for the championship. After every fight, his loving wife, Mae (Renée Zellweger), waits for him at the front door to their house, since she can't bear to watch him in the ring. Following this brief introductory section, Cinderella Man jumps ahead five years. The country is mired in the Great Depression, and Jim's fortunes haven't been better than those of the country in general. He is a has-been who only gets a few dollars a night for participating in second-rate bouts. When he breaks his hand, his career appears to be over, and he goes to work as a longshoreman. However, with day jobs being unreliable and low-paying, he and Mae soon lose the electricity in their apartment, a situation that endangers the health of their children. A chance at redemption occurs when his former manager, Joe Gould (Paul Giamatti), offers him $250 to fight on short notice with a heavyweight contender. Jim is expected to lose, and lose badly, but he confounds the experts, and his June victory over Corn Griffith propels him on the fast lane to a shot at the title against a ferocious and heavily-favored opponent, Max Baer (who has previously killed two inferior boxers).
Borrowing liberally from Martin Scorsese (Raging Bull), Howard creates boxing sequences that are as brutal as they are compelling. When Jim is in the ring, Cinderella Man is never boring. Unfortunately, the same cannot be said of all the connective material which is intended to form the movie's backbone. The scenes that show Jim as a loving husband and father, and depict him as a good friend to his equally down-on-his-luck pal, Mike (Paddy Considine), are trite. Instead of developing the main character into a fully three-dimensional individual, they serve only to drag out the running time. Cinderella Man is a decent 105-minute movie that has been stretched to fill nearly 2 1/2 hours.
One non-boxing scene stands out as being worth the celluloid it was printed on. When he reaches rock bottom, Jim faces the possibility of having to send his children to stay with relatives. Yet he has promised his oldest son, Jay (Connor Price), that he would not do this. So, in order to raise the money to re-connect the electricity, he goes to a club frequented by his old boxing confederates, many of whom are high-rollers. With hat in hand (literally), he asks for donations. It's a moving sequence that brings home some of the hard reality of life in the 1930s.
There's nothing wrong with the acting, although most of the participants have done more impressive work in the past. Russell Crowe, working with the director for the first time since A Beautiful Mind, is effective as Jim both inside and out of the ring. Renée Zellweger, who has already looked "frumpy" as Bridget Jones, tries on "mousy" for this role. A spark of energy comes from Paul Giamatti, who has a solid chance of being nominated for an Oscar for his portrayal of Joe Gould (if only because the Academy will feel that they owe him for 2004's Sideways snubbing).
The period details are impeccable. Howard goes to great pains to convince us that we're back in the Depression. From his re-creation of the old Madison Square Garden to the infamous "Hooverville," this feels like the 1930s. Unfortunately, the by-the-numbers script, which hits every boxing cliché with far less effectiveness than other contenders (such as the aforementioned Rocky), doesn't do the other aspects of the production justice. True story or not, Cinderella Man seems like the uncomplicated fairy tale its title hints at. This is 2005's Seabiscuit, an inspirational, "adult" drama thrown into theaters in the midst of the summer's blockbusters. As counter-programming, it may be successful, but as entertainment, it's on the bubble. To use a boxing metaphor, it lands a few solid punches, but never achieves anything close to a knock-out.
3
Russell Crowe reunited with Ron Howard and my first reaction is “Hmm, somebody’s definitely fishing for more awards.” After the success of A Beautiful Mind, who could blame them? When the early marketing focused too much on the past success of Howard and Crowe, my doubt about the Jim movie began to grow. Isn’t it nice when your doubts are unfounded? While possibly not on the same level of Mind in the critic world, Cinderella Man delivers another knockout hit for the Crowe/Howard tandem.
Despite being an unlikable fellow in reality, Russell Crowe keeps churning out outstanding roles that draw me to the theatre. Crowe’s portrayal of a sports legend continues his streak of powerful cinematic performances. Cinderella Man is the story of James J. Braddock, a rising star in the light heavyweight boxing ring during the late 1920s. His rise up the ranks is coldly halted as the stock market crash of 1929 cripples the American economy. With a string of losses, injuries, and the end of his big paydays, Braddock suffers the same fate that thousands of other Americans felt during the Great Depression.
After losing his personal fortune, Braddock struggles to provide for his wife (Zelweger) and children while never fully giving up his dream of returning to boxing. Due to a last minute cancellation and a recommendation by his old manager (Giamatti), Braddock gets one last chance at glory and cements his place in boxing history.
It is Crowe’s portrayal of Braddock that keeps Cinderella Man from slipping into the clichéd territory of Rocky. Braddock fights, not for glory, but to provide for his family. Along the way, Braddock becomes a hero and gives hope to other people struggling to survive the times.
Come on; hope being a central theme of a movie? Hasn’t that been done to death? Yet, I found myself falling for it completely. Crowe’s accent and look is a perfect capsule of the time and his boxing style is a perfect copy of Braddock’s. Did it take me this long to finally mention the boxing matches? Don’t think this is some boring historical crap starring Brendan Gleeson (Seriously, that guy is in all of em). The boxing matches in Cinderella Man are hands down the best ever replicated on the big screen. The Braddock fights are for folks who grew up with Rocky but now require realistic boxing and not to mention better acting in their films. The film's stunning cinematography draws you into the ring, and leaves you feeling like you're sitting there in person. I’m not even a boxing fan, but I found myself completely thrilled by the action.
Besides Crowe and the boxing scenes, the other bright spot in this film is Paul Giamatti’s portrayal of manager Joe Gould. Some will question Giamatti playing the comedic wise ass in yet another movie, but it’s a good move for him. Fresh off critical praise for Sideways, Giamatti can cash in with a blockbuster that will be seen by a much larger audience. Unlike other roles he’s had in, Giamatti’s character is more than just punch lines; he does an outstanding job of showing the heart of Joe Gould. Zellweger is adequate enough as Braddock’s wife, I can think of dozens of actresses who I’d prefer to see in a movie, but at least she isn’t as annoying as normal. That’s high praise from me considering the sight of those cheeks usually causes me to suffer an uncontrollable eye twitch. Oh come on, you were thinking it!
Director Ron Howard has a knack for heartwarming tales that while sometimes dangerously close to falling into the “sappy” territory, always manage to build a bond between the viewer and the characters. A great example of this is his other “based on a true story” epic, Apollo 13. I cheered for the astronauts when the came back home and my heart raced as Braddock battled in the ring. If history bores you, see this for the fights. If you aren’t a boxing fan, you’ll be fascinated by the story and the acting. Cinderella Man, while it appeals to a wide audience, doesn’t compromise; a quality Mr. Braddock would be proud of.