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飙风雷哥英文观后感,

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飙风雷哥英文观后感,
There鈥檚 a New Sheriff in Town,and He鈥檚 a Rootin鈥?Tootin鈥 Reptile By A.O.SCOTT Published:March 3,2011 Feature animation currently finds itself in a golden age of mediocrity,with sensationally inventive technical means tethered,more often than not,to drab and cynical imaginative ends.The perennial Pixar exception tends to prove a dreary rule:as animated movies claim an ever bigger share of money and attention 鈥 drawing cross-generational,demographically diverse audiences more readily than most other films 鈥 they rely more and more on manic,synthetic formulas.And so,a half-dozen times a year,parents and children line up for overscaled,noisy genre pastiches crammed with yammering movie-star voice work,eye-straining action sequences and tacked-on sermons about the importance of being yourself,following your dream or sticking by your friends and family.Even at their best (again noting the Pixar exception),these movies are like theme-park rides and other big-ticket corporate amusements 鈥 thrilling while they last and then quickly forgotten.All of the above should apply to 鈥淩ango,鈥 a tongue-in-cheek western (a lizard鈥檚 tongue,at that) directed by Gore Verbinski,who is best known for helping to turn a theme-park ride (Disney World鈥檚 鈥淧irates of the Caribbean鈥?into a dizzyingly successful movie franchise.But the odd thing about 鈥淩ango鈥 is that unlike so many of its peers,it is odd.In spite of a profile that should place it alongside 鈥淢egamind鈥 and 鈥淒espicable Me鈥 and the long list of other overblown,have-fun-or-else cartoons,this rambling,anarchic tale is gratifyingly fresh and eccentric.Much of the time you don鈥檛 quite know where it is going,which is high praise indeed given the slick predictability that governs most other entertainments of its kind.Perhaps this should not be too surprising,since Mr.Verbinski,especially in the first installment of the 鈥淧irates of the Caribbean鈥 series,showed a distinctive visual style and a genuinely off-beat sensibility.He was helped immeasurably,in all of the 鈥淧irates鈥 pictures,by the decorative whimsy of Mark McCreery (the production designer here) and by the uninhibited goofiness of Johnny Depp,who turned Jack Sparrow into a new pop-culture archetype.Both Mr.McCreery and Mr.Depp are crucial to the look and rhythm of 鈥淩ango,鈥 keeping it vigorously strange almost until the end,when the movie decides to go for the safe,commercial action-extravaganza wrap-up.But the craziness of the journey makes that familiar destination worth it.We first encounter Mr.Depp鈥檚 character,a domesticated lizard with a Hawaiian shirt and an active imagination,in the terrarium tank he shares with a broken doll torso and a wind-up plastic fish.This minimal world is a stage for him,and he struts about on it like a scaly provincial trouper,acting out dramatic scenarios and scenes from Shakespeare to dispel the boredom of benign captivity.The blank,abstract space this creature inhabits calls our attention to the fanciful nature of the movie itself,as it begins to conjure an antic,improbable world out of nothing.Or,rather,out of images and ideas that have been floating around in the collective dream life for as long as most of us can remember.Mr.Verbinski and his colleagues (John Logan wrote the script,and James Ward Byrkit shares story credit) rummage through a grab bag of allusions and homages,many of which seem inspired more by genuine fandom than by the impulse to be clever.There is an early,blink-and-you-miss-it nod to the memory of Hunter S.Thompson,who is a personal touchstone for Mr.Depp and is also connected to the iconography of the West that 鈥淩ango鈥 sets out to explore.That includes not only the expected tumbleweeds and cactuses and dusty rock formations,but also a hallucinatory desert tradition encompassing Carlos Castaneda and Wile E.Coyote.Prodded on his quest by a visionary armadillo (voiced by Alfred Molina) and accompanied by the corridos of a quartet of fatalistic singing owls,our reptilian hero drags himself to the desolate town of Dirt,a bleak,bone-dry place that is nonetheless swimming in cinematic associations.As Hans Zimmer鈥檚 score chews up great mouthfuls of Ennio Morricone-style spaghetti,the town鈥檚 varmint population evokes movies ranging from the westerns of John Ford to 鈥淐hinatown鈥 and 鈥淭he Big Sleep.鈥 I know,it sounds annoyingly,coyly referential 鈥 something like a lizard-cowboy 鈥淪hrek鈥 鈥 but the spirit is closer to those old Bugs Bunny cartoons in which Bugs would cross paths with real movie stars or perform Wagnerian opera.In other words,it is not self-conscious knowingness that drives 鈥淩ango鈥 but rather a quirky and sincere enthusiasm for all the strange stuff that has piled up in the filmmakers鈥 heads over the years.Nor are they merely recycling.The desert environment has a washed-out,eerie appearance entirely unlike the plasticized landscapes of most animation 鈥 the great cinematographer Roger Deakins,who shot the American West for Joel and Ethan Coen in 鈥淣o Country for Old Men鈥 and 鈥淭rue Grit,鈥 is credited as a visual consultant 鈥 and the critters who inhabit it are arrestingly,grotesquely hairy,slimy and scaly.In addition to the reptile there are an impressive assortment of birds,bugs,rodents and less identifiable species that collectively enact a story of greed,treachery and bravery as old as the West itself.Our lizard,a stranger in town,takes on the name Rango and finds himself appointed sheriff,and also romantically drawn to a plucky frontier gal named Beans (Isla Fisher).(Abigail Breslin,Ray Winstone and Harry Dean Stanton are among the other notable voices of Dirt.) The town is drying up,and the mayor (Ned Beatty) may not have the best interests of the citizens at heart.A whole lot happens,culminating in a showdown with a villainous rattlesnake (Bill Nighy) and including a voice cameo that I won鈥檛 spoil,though the end credits might.Those interested in narrative coherence may feel a bit let down at the end; I confess I wanted a tighter gathering of loose ends,and a more thorough explanation of the politics of water and real estate in the fast-changing American West.But that鈥檚 what real westerns are about.鈥淩ango,鈥 which may take place entirely within its hero鈥檚 head 鈥 that kind of ambiguity worked in 鈥淚nception鈥 and 鈥淏lack Swan,鈥 so why not here?鈥 is about the appetite for myths and stories,whether or not they make sense.It is about the worlds we dream inside our fishbowls,helped by the weird reflections on the walls.鈥淩ango鈥 is rated PG (Parental guidance suggested).There鈥檚 rude talk,smoking and killing.It is a western,after all.RANGO Directed by Gore Verbinski; written by John Logan,based on a story by Mr.Logan,Mr.Verbinski and James Ward Byrkit; feature animation by Industrial Light and Magic; edited by Craig Wood; music by Hans Zimmer; production design by Mark McCreery; produced by Mr.Verbinski,Graham King and John B.Carls; released by Paramount Pictures and Nickelodeon Movies.Running time:1 hour 47 minutes.WITH THE VOICES OF:Johnny Depp (Rango),Isla Fisher (Beans),Abigail Breslin (Priscilla),Alfred Molina (Roadkill),Bill Nighy (Rattlesnake Jake),Stephen Root (Doc/Merrymack),Harry Dean Stanton (Balthazar),Ray Winstone (Bad Bill),Ned Beatty (Mayor) and Timothy Olyphant (the Spirit of the West).