99翻吧—实用的英语学习网站

这篇文章，英语学习网站要跟大家分享的英文电影影评是《诺丁山》。
《诺丁山》（英语：Notting Hill）是一部1999年的英国电影，由罗杰·米契（en:Roger Michell）执导，茱莉亚·罗伯茨及休·格兰特主演，其他演员包括亚历克·鲍德温（en:Alec Baldwin）等。首映在1999年7月。
影片是个童话，编剧理查德·柯蒂斯知道观众有多么喜爱童话。
相信喜欢《四个婚礼和一个葬礼》的影迷一定喜欢这部同样由罗杰·米歇尔(ROGER MICHELL)执导的现代版《罗马假日》——《诺丁山》。本片是一部英国式的轻喜剧,同样由英国首席浪漫喜剧小生休·格兰特（曾主演《四个婚礼和一个葬礼》）和好莱坞片酬最高的女影星茱莉亚·罗伯茨（曾主演《风月俏佳人》）主演。
本片与《罗马假日》在情节的安排上有着惊人的相似：《罗马假日》中高贵优雅的安妮公主邂逅了小报记者乔治，从而引出了一段浪漫动人的爱情故事；而《诺丁山》中同样美貌的明星安娜也遇到了落魄的书店老板……两片主角都经历着身份的差异、地位的悬殊和环境的压力，但它们也有着不同之处：现代版的《罗马假日》中有着更多的现代因素——现代的喜剧模式、现代的思维方式，以及由此而可能导致的现代的不同结局。但恰恰就是这不同的结局使我更欣赏《罗马假日》（纯属个人观点）——欣赏奥黛丽·赫本的清纯脱俗、欣赏导演情节安排的独具匠心、欣赏片尾安妮离去时留给我的挥之不去的惆怅与遗憾。
First, a disclaimer: I didn’t much care for Four Weddings And A Funeral, a cute and self-satisfied film whose minor characters – Kristin Scott Thomas and Simon Callow stand out – were its most interesting. But it was a masterpiece compared to this laboured romantic comedy which is billed as a follow-up, as distinct from a sequel.
Written by Weddings’ Richard Curtis, the creator of Blackadder, it’s a companion piece in theme, again featuring Grant as a tongue-tied twerpish Englishman who catches the eye of a ravishing American woman.
Quite why this happens is anyone’s guess – as William Thacker, the divorced and heartsore owner of an unsuccessful travel bookshop in the Portobello Rd, Grant is so wet you feel like chucking him a lifejacket. But he proves irresistible to Anna Scott (Roberts), a Hollywood star in London to promote her new film. She shows up in his bookshop and later he literally bumps into her again, showering her with orange juice and inviting her back to his nearby house to change.
It’s an improbable start to an even more improbable odd-couple romance, an uneasy blend of knockabout farce and love story which never works, not just because there is not a microgram of chemistry between the stars (there isn’t) or because the storyline’s so flabby (it is) but because Grant is so grievously miscast.
The film’s tagline asks whether a megastar can “fall for the man in the street,” but it’s hard to think of anyone less like the man in the street than Grant, the famously errant consort to Liz Hurley whose first film appearance (playing a gay man) prompted Madonna to ask him out on a date.
Roberts does her brave best with a role of gobsmacking banality. She’s not as irritating as the vacant and capricious Andie MacDowell in Weddings, though her mile-wide lips occupy almost as much screen space as her predecessor’s hair. But in the end she earns points for courage because she’s saddled with leaden lines (the worst, which is actually used twice, asks us to remember that she’s “just a girl, standing in front of a boy and asking him to love her”).
Meanwhile, supporting roles – Rhys Ifans as Thacker’s slobbish flatmate and Emma Chambers as his starstruck sister – are overwritten and overplayed distractions.
The London borough of the title is ill-used too, as has been widely remarked – ethnically cleansed for the occasion. It looks like Parnell Rd only not as scruffy, and its few non-white faces are an acceptably unobtrusive latte colour, which wouldn’t be so offensive if the writer hadn’t billed the setting as “an extraordinary mix of cultures.”
Director Roger Michell told the Observer that Notting Hill and Portobello are changing rapidly since the film was made. “Shops that were downmarket hardware stores have turned into Seattle Coffee shops,” he said with no apparent sense of regret. “I think we caught the last of it. And no doubt our film will go some way towards ruining what it values most.”
It’s hard to imagine how better to express the smug cynicism of this entire project.
PS: The best bit is when it ends: over the credits comes the aching voice of the great Elvis Costello, reworking a Charles Aznavour standard into an instant 90s classic. She it’s called and it’s a knockout, dripping with the sincerity and passion that is so conspicuously absent from the movie.
Notting Hill proves one thing — jokes lie in the oddest places. This film is an excellent vehicle for Julia Roberts to put her own life as an actress under the microscope. While Roberts’ “Anna Scott” character isn’t an autobiographical figure, the Scott character allows for some biting satire at the life of Roberts herself. Need I mention some excellent one liners in the film like the sister of Hugh Grant… “I feel like we are sisters”, an excellent throw-back to “My Best Friend’s Wedding”… or my favourite, a discussion about nude body doubles just before a nude Julia Roberts (or a Julia Roberts body double) crosses the screen.
Apart from the small bit of satire, Grant’s character plays on the emotions of every guy who has ever unexplainably fell in to, threw orange juice-on, lost out on, and fell back in to love. Roberts character can only help us understand how such a relationship as the one her and Grant share in the movie, could be “Surreal, but nice.”

英文电影影评—-Forrest Gump《阿甘正传》1994
英文电影影评—-Slumdog Millionaire（贫民窟的百万富翁）2008