神奇马戏团的读后感
这是最好的励志歌舞剧
怎么评价电影《马戏之王》
正月十六，我和王一起去团看杂技，在我的印象中,这是场看马戏。
我们早早地就来人民公园，占了一个好位子。
表演开始了，首先表演的是“空中飞人”，只见一人首先爬上了高空中的钢架，另外三个人在玩荡秋千，真搞不懂他们葫芦里卖的什么药。
只是荡秋千有什么高难度和技巧啊，我也会的。
说是迟那时快只见秋千荡得越来越高，我还没回过神来，只见他们中的一个人“嗖”的一声像“火箭”一样窜了起来，一下子抓住了上面那个人的手，真险呀
大家都禁不住为他们的精彩表演拍手叫好。
接着又来一个倒挂金钟，又一个三百六十度旋转，真是又好看又刺激呀
接下来的表演“天外飞仙”给我的印象十分深刻。
两位演员每个人披一条纱巾，上面还有人从屋顶上下来。
他们爬上梯子，上面的人转动起控制梯子的手柄，两位演员就跟着梯子转了起来，随着转动越来越快，纱巾也随风飘动，他们就像仙女一样在空中飞来飞去，还有许多花样呢，在空中“飞”的感觉一定很爽吧
我也真想试试空中飞的感觉啊~后来，还看了“活马装死”、“变脸”、“单板扣碗”和“花样骑车”等节目，每个节目都有自己的特点，有的刺激，有的可笑，样样都让我惊叹不已
时间一眨眼就过去了，不知不觉天黑了，我们恋恋不舍的离开了马戏团。
望采纳谢谢
请问谁有《马戏之王》的英语影评
五百字以上的。
While watching Michael Gracey’s carefully sanitized P.T. Barnum biopic musical The Greatest Showman, I kept thinking of other titles the film could have had: Dancing With the Stars: Wolverine Edition. Diversity: A Lot of White Guys Wrote These Songs. Don’t Worry: The Elephants Are CGI. This is a film for folks who thought Moulin Rouge! was too racy and had too many distinct songs with distinct flavor or genre (soul\\\/funk\\\/rock) and would prefer instead that a computer algorithm that overemphasizes the words eyes, stars, and dream spit out flattened, Auto-Tuned anthems. Hugh Jackman is charming as ever, and two dance scenes are mildly inventive and well-executed, yet Jackman’s goodwill and a splash of inspired choreography are not enough to earn the greatest in the title.The story starts at the end. Or the middle? But also the beginning. Never mind. All you need to know is that the second the movie opens, we’re thrown into a big song-and-dance number, where Barnum (Jackman) sashays and spins through a circus ring, adored by his also-dancing “freaks.” And then that segues right into another song-and-dance number, where young Barnum (Ellis Rubin) is the poor son of a tailor trying to charm a little rich girl named Charity (Skylar Dunn). Then that turns into a montage of little Barnum writing letters to Charity, caring for his dying father, and stealing bread to survive before joining a traveling circus and returning to propose to Charity. If all this sounds confusing and a bit much for the first fifteen minutes of a movie, yes, it really is. There’s no breathing room between scenes, no respite where we can assess story or character. One thing happens, then another, and another. We’re bombarded by pop ballads that demand we simultaneously look up at the sky but also close our eyes and dream. It’s like they found the lyrics by trolling the pretty pink Instagram memes of American tweens.Eventually, the narrative does settle some, just long enough for us to grasp that grown-up Barnum has temporarily taken a boring desk job to support Charity (Michelle Williams) and their two daughters. One particularly pleasing “scene” comes when Barnum gazes outside his office window to see yet another drab office building and a quaint little cemetery beyond it. Yes, it’s three whole seconds of thoughtfulness and exactly what I would like out of a film like this on occasion. We know what Barnum did — that’s all written in the history books. What a film musical could illustrate is why he was driven to do it. But all The Greatest Showman ever offers as explanation is that he wanted to show the rich folks who discounted him — like Charity’s father — that he could make something of himself. In between this barrage of dance numbers, Jackman attempts to convey Barnum’s worries about societal validation with a quiver of a lip or downcast eyes. It is, to quote one of the film’s songs, “never enough” to make the character compelling.But there are things to like about The Greatest Showman. Zac Efron is infuriatingly talented. Efron (as Phillip Carlyle) and Jackman both radiate an impishness and glimmer when singing and dancing; they relish being the showboats and have the skills to back it up. In one number, Barnum tries to get Carlyle liquored up in a pub to convince him to join the circus show. This turns into a dance duel, where they one-up each other until Carlyle is on top of the bar, hopping over the shots the bartender lines up between Carlyle’s constantly moving feet. It’s one of those routines where you can imagine everyone on set cheering when they finally got it right.In another Efron number, Carlyle is paired with a trapeze artist named Anne Wheeler, played by Zendaya. She swings on a rope, flying through the air, then swoops down to meet Carlyle, who embraces her, only to see her fly away again. It’s lovely choreography, a genuinely thrilling moment in a film that’s mostly Cirque du So Lame. The chemistry between Carlyle and Anne radiates in every frame they are in together. I would have liked seeing more of Anne’s story; here, she’s just a trapeze artist with an overprotective brother. But that kind of detail and richness of character isn’t what you’ll get in The Greatest Showman, a perfunctory effort in story, music, dance, and direction that proffers empty messages about uniqueness, reaching not for the stars but for bland homogeneity.
