时光倒流七十年Somewhere In Time英文影评(1980)
  He is a talented young playwright of 1980. She is a great new star of the American theater in 1912, on her way to becoming the toast of one continent. They meet, fall ecstatically in lov
e and are suddenly separated, it seems, forever - time travel being far less predictable than even the Long Island Rail Road.
  This is more or less the plot of ''Somewhere in Time,'' which is hereby nominated for the 1980 ''Hanover Street'' award that each year goes to the big-budget screen romance with the highest giggle content. The film opens today at the Trans-Lux 85th Street and other theaters.

  Somewhere in Time,'' which does for time-travel what the Hindenburg did for dirigibles, was written by Richard Matheson, based on his novel, ''Bid Time Return,'' and directed by Jeannot Szwarc, whose last triumph was ''Jaws 2.''
  Its stars are Christopher Reeve (''Superman''), as Richard Collier, the playwright who falls in love with an old photograph and successfully wills himself back into the world of 1912, and Jane Seymour, a beautiful young Englishwoman who plays the actress, Elise McKenna. The music is largely by Rachmaninoff, whose ''Rhapsody on a Theme by Paganini'' is played more often than sanity can easily accommodate.
  The film's principal setting is Mackinac Island, Mich., and its Grand Hotel, which is one of the last, great 19th-century American resorts still in tip-top shape. The hotel and Mackinac are spectacularly lovely, but fail to give substance to this ephemeral endeavor.
  The screenplay is priceless (funny) and though both Miss Seymour and Christopher Plummer, who plays the actress's stern manager, are credible, it's Mr. Reeve who sets the film's tone. Unfortunately, his unshadowed good looks, granite profile, bright naivete and eagerness to please - the qualities that made him such an ideal Superman - look absurd here. Though he is physically huge, he has no more weight on the screen than a giant, helium-filled canary. He doesn't even walk with authority. He sort of floats, but awkwardly.
somewhereIt may also be that he has been badly directed, urged to act, to ''do things,'' to add bits of ''business'' to the characterization when less would have possibly been more. Another movie like this and it will be back to the phone booth forever.
公主日记2:Royal Engagement英文影评(2004)
  The story opens with Mia graduating from college (when we last saw her she was in high
school) and zipping off to Genovia, which her grandmother, Queen Clarisse Renaldi (Julie Andrews), hopes she will govern someday soon. As in the original ''Princess Diaries,'' much of the putative comedy involves the free-spirited Mia working in gentle, contrapuntal harmony with her veddy, veddy proper grandmother. Because the ugly duckling has already molted into a swan, however, the plot this time around hinges on some minor palace intrigue and romances with two blow-dried suitors who take turns holding the royal hand while keeping a safe distance from the royal chastity. In between the cooing and wooing, the pratfalls and product placements, Ms. Hathaway and Ms. Andrews flash smiles of such dazzling wattage they could carry California through its next energy crisis.
  ''The Princess Diaries 2'' was directed by Garry Marshall, who has been selling wish-fulfillment fantasies for years, most notably in ''Pretty Woman'' and in the first ''Princess Diaries'' movie. Mr. Marshall, whose place in pop-culture heaven was secured long ago by television comedies like ''The Dick Van Dyke Show,'' on which he served as a writer, is not much of a film director. Depending on the budget, his movies look either cheap (like this one) or studio slick (''Pretty Woman''), and tend to have the same flat, presentational visual
style that's familiar from most sitcoms. (That's why his movies fit so snugly into airplane monitors.) And as in those sitcoms shot in front of live audiences, Mr. Marshall's actors often play to the camera and wait for laughs, which can be a serious problem when the screenplay is as deeply unfunny as this one.
  Built on vintage and newly minted clichés, Shonda Rhimes's script combines a classic storybook scenario with the usual self-help uplift. After undergoing a radical makeover in the first ''Princess'' movie, Anne has metamorphosed into a self-possessed young woman. She knows how to walk in high heels, iron the frizz out of her hair and whirl around the dance floor with ineligible partners without making them feel bad. True, her sexuality comes across as weirdly underdeveloped, closer to that of the preadolescents who constitute this G-rated movie's core audience, than that of most typical college graduates. But that's in keeping with the character whose appeal is largely predicated on being essentially unremarkable in every respect in looks, intelligence, personality and that most dubious of designated female traits, niceness.

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