变形金刚4的英语观后感，50词以上
《变形金刚4》：一首钢铁诗歌#变形金刚4：绝迹重生#其实是一首钢铁诗歌，人类自取灭亡的偏执愚昧与机器拯救地球的热情坚持一样疯狂，浩瀚银河的伟大包容与钢铁烈焰的激烈碰撞，形成变形金刚独有的温情。
时而空濛时而雄壮的音乐让影片充满律动，也让台词在彷如诗歌吟咏与激情呐喊中，绝迹重生，并寻找到人类情感的共鸣。
如果说#变形金刚4：绝迹重生# 改造更新正反派角色形象是对细节的加强，那么把镜头从城市拉进河谷森林，则是借由空间的放大增加气势的恢弘。
而麻将、鸟笼、石狮、牌坊、自行车、汉字等等中国元素的展现，代表影片对中国观众及巨大市场的迎合，在漂移金属披风的映衬下，中国文化随电影工业走向世界。
《变形金刚4：绝迹重生》除了人类班底更新，钢铁机器兵团也有力量补充，由威震天改造升级的惊破天，赏金猎人禁闭以及人类仿照大黄蜂自行制造的毒刺让狂派实力大增，而探长、十字线、漂移以及恐龙军团，更是让博派有了激荡人心的战斗力。
尤其新变形金刚的杀招，脸炮、折叠镰刀、风火轮……充满震撼效果《变形金刚》首部让人惊喜，青年汽车梦与保卫地球的强大反差保持了故事惊喜的持续，续集系列第2、第3两部则太过差强人意，深感故事力不从心。
《变形金刚4：绝迹重生》则让迈克尔•贝扳回一城，以中年人反击落魄生活的勇气与父女之情的温情，给暴烈的钢铁之战注入一丝成年人的悲怆与担此重任的坚毅。
《变形金刚4：绝迹重生》堪称电影高度工业化的巅峰代表作品，借由数字化的先进，可以完全无视空间束缚，将钢铁机器的破坏力发挥到极致，数字技术上的成功，则更注重制造和提升视听效果，让观影的愉悦感体现到最大。
在香港的一场“华丽”搏杀中，国产灾难片与之相比，显现犹如手工业者般的拙朴。
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变形金刚4观后感30字以上
今天怀着一种崇敬的心态坐在中视影城观看《变形金刚4:绝迹重生》。
这部由迈克尔·贝执导的第四部《变形金刚》不仅让我们领略了现代科学技术的发达，美国电影事业的的辉煌成就，同时也给了我“人性”这个更加深层次的思考。
擎天柱的团队是团结的，所以他们能一次又一次的战胜敌对势力。
记得影片中有这样的一句话“这就是‘擎天柱的魅力’”.没错，他的确很有魅力，不仅不余遗力的保护着他的团队，还愿意选择相信欺骗过他的人类。
信任很重要，如果一个团队没有了信任，那也就没有灵魂。
人汲取了天地之精华，宇宙之糟粕。
是勇敢与胆怯、成熟与幼稚、伟大与渺小、豁达与自私……的结合体。
由矛盾创造，应矛盾而生活。
通过《变4》我们也能看出来。
是汽车人帮助人类毁灭了威震天，可是也是我们重塑了惊破天，最终也是人类为自己急功近利负责并且只有我们能负责。
当然这是小部分，马克·沃尔伯格演绎的cade个别代表，虽然为了金钱修复擎天柱，但面对家人即将死亡也不肯说出擎天柱的所在之地，让我为之感动了一把。
最后并肩作战挽救了地球也让我着实明白，各人是力量是渺小的，团结才是王道。
擎天柱是一种信仰
他大无畏的精神有仇必报，有恩比还是我们最单纯的向往。
社会生活的繁复使我们越来越复杂，所以单纯成了我们奢侈的希望。
我们都希望身边有“擎天柱”这样的人，而且遍地都是，但那最终只能是心底最深处最纯净的家园。
《变形金刚4》结束了，生活还在继续。
影片中擎天柱说“你们要想他们保护你们一样保护他们。
”但是我觉得我们应该是“我们要像他们保护我们一样保护自己”. 其实觉得这部片比前两部还是有不少进步啦。
至少我是觉得，看IMAX票价是值了。
人类戏份确实没那么多了，给了更多时间去展示各种汽车人变形时的特写细节，看得还是很爽的。
我还记得擎天柱第一次满血复活的时候，看得我那叫一个激动啊
而且别的不行，拍片态度真的感觉不怎么样，不过还是真的蛮佩服迈拷贝选女主的眼光的，一个个全是标准的模特身材啊。
还有个亮点就是设定人造变形金刚为反派了，以及马克沃尔伯格的加盟。
感觉真的有点不一样，当然，也有同学说这样感觉很违和…见仁见智呗—— 但有点想诟病的是，这部片没有男主的成长，感觉看完了，啥都没发生一样。
我总觉得，一部好的电影，总是伴随着主角的成长的。
包括前几部变形金刚，你也能很明显地看出开始的时候到结束的时候希亚拉博夫的变化。
而这点，真的没在马克沃尔伯格身上看出来。
想说的就是，现在是超级英雄崛起的时代。
marvel正风生水起搞得过热，隔壁的dc也在摩拳擦掌跃跃欲试。
就在越来越多的包括我在内的90后们为美漫疯狂的时候，相信各种70、80还有一些90后脑子里仍对自己小时候的变形金刚念念不忘。
我是直到08年电影出的时候才真正第一次接触到变形金刚，实在是有点晚了。
虽然尝鲜体验了一把首映场，但是因为是凌晨，所以是用一颗混沌的大脑看完整部片子的。
因为电影时间太长，所以从后半部开始我的注意力主要都集中在“憋尿”这件事上。
首先不得不感叹一下IMAX 3D的震撼效果，看这种大片必然是极致享受。
擎天柱扫描重卡换装那一幕配上背景音乐确实是霸气十足，有一种屌丝秒变高富帅的感觉。
相对来说大黄蜂换装感觉就没有那么震撼了，毕竟擎天柱是老大，而且换装有先有后，小弟也不能喧宾夺主不是
这种商业片最主要的还是赚钱，随着越来越多的片方看到中国这块大蛋糕，越来越多的中国元素被加入其中，稍加宣传就可以带来大批票房。
很多人去看电影除了感受震撼效果外就是想要看看在片中露面的中国明星和中国品牌，甚至是汉字，证明中国也在电影中出了一份力。
中国元素无非就那么几点：功夫，古建筑，东方美，这三点做好了不止能吸引国人去找看点，还能吸引外国佬驻足：“Oh! It's China! I know that!” 总感觉这次变4的任务造型借鉴了美国其它作品，汽车人阵营新加入的成员我感觉有两人借鉴了《超能勇士》。
探长借鉴犀牛勇士，绿皮，重武，胖，MT;漂移是个日本双刀流，大老远从日本开到美国不容易，借鉴了黄豹勇士。
倒数第二幕高潮擎天柱荣耀归来我觉得是最令人兴奋的点了，玩过魔兽世界的朋友应该都有些错觉，擎天柱这是化身巫妖王阿尔萨斯手持霜之哀伤带领燃烧军团杀回来了么
为毛线你们做个剑都要做成这么像的，虽然我也觉得霜之哀伤很帅，但没必要让一把剑玩穿越吧
好了，大脑处在混沌中，就先说这么多吧。
看变形金刚的英文观后感(70个词左右)急!!!!
Transformer is a good movie for both children and adults.It tells us the righteous will definitely beat the evil. Also, it's important to get together and help each other when we face challenges and dangers.High technology is widely used in this movie and this makes it so interesting and exciting. I like the movie very much.
看变形金刚的英文观后感(70个词左右)急!!!!
1Two things that should not be placed in close proximity of each other: Michael Bay and camera. It is almost unthinkable that anyone could make a boring movie of Transformers. But that’s just what Bay has done.Transformers is mind-numbingly boring, consisting largely of many, many minutes of annoying humans talking and talking and talking and … yes, you wish the Autobots would just break their self-imposed rule of not killing humans and just pulverize these puny beings on screen.It’s a big mistake to make the humans the main characters of the story. We all know how Bay is with characters – caricatures at best, racial stereotypes at worst. And that’s what we get here. Quite a few racial stereotypes and a bunch of bad actors hamming it up for no good reason, while Bay tries to inject extremely lame comedy into the scenes which are supposed to “establish” the characters.We came to see the robots, Michael Bay, so give us the fucking robots!But no, he teases us with a few transformations, glimpses here and there. And when the big moment finally comes – the arrival of the Autobots – we get … more talking with the puny humans!But later, we come to understand why this is so. It’s a story that gives humanity too much credit, that despite our tendencies for great destruction, we’re also very capable of great heroism. Right. And in the absolute worst moments of the film, it takes shots at the Iranians, the Chinese and the Russians, and goes for Bush-friendly lines like “Freedom is the right of every sentient being” or something to that effect. Not surprising, since this is the guy who made the awful Bad Boys II, which has its ending in, of all places, Guantanamo.And the action? I’m tempted to say “What action?” Nothing really happens until the last moments of the film, and the action is the usual disappointing bunch of blurry, shaky nonsense done further damage by choppy, steroid-enhanced editing. We came to see robots fight, but Bay gives us an absolute auto-wreck in which it’s hard to distinguish just who’s fighting who, or even what’s exactly happening on screen. But by the last half hour, my brain had gone into auto-pilot and my eyes had given up trying to follow the messy action. You can also fault that on the over-designed robots.At this point I must quote John Boorman, who coined the term “new brutalism” to contrast the new kind of action sequences that we now see much too often, consisting of fast cuts and action going out of frame, with the more classical style of action. In fact, I think if you were to time the action sequences in Transformers, each cut probably doesn’t last more than 1.5 seconds.It was Boorman who said the new brutalism “is a form of naivete, because it’s made by people who I think don’t really have a grasp of cinema’s history. It’s the MTV kind of editing, where the main idea is that the more disorienting it is, the more exciting. And you see it creeping into mainstream cinema more and more. You look at something like Armageddon and you see all the things that would have been forbidden in classical cinema, like crossing the line, camera jumping from side to side. It is a way to artificially generate excitement but it doesn’t really have any basis to it. And I find it kind of sad, because it’s like an old man trying to dress like a teenager.”I couldn’t agree more.This is a case of the trailer being much better than the film, and promising much more than what is delivered by the actual film. Bay should have learned something from the original cartoon series or even the animated film, at least in regard to what should be the focus of the story. Instead, he’s much too busy orchestrating military action and trying to make Jon Voight be in his most official and most Rumsfeld, while completely wasting a great talent like John Turturro. But then again, Bay has never been good with characterization and actors anyway.Maybe Bay should just stick to making military recruitment videos, since he’s so adept at magic-hour shots of military aircraft and personnel, moving in slow-motion or otherwise, making it all look so cool and stylish. There are so many of these shots in the movie that you might just begin to wonder if some of them are stock footage or scenes cut out from his other films that are recycled here. Even when it’s totally unnecessary, he slips some in with pulsing, official-sounding music.Let’s face it, Michael Bay is cliché, and cliché is Michael Bay. And what we have here is a cliché-ridden adaptation of one of the most beloved cartoon series that misplaces its concerns and completely squanders what could have been a timely live-action revival for Optimus Prime and gang. Instead, we get a yawn-inducing and overlong meditation on how great humanity is, so much so that powerful alien robots think we’re so worth saving that they’re ready to put their lives on the line for us.2There are two ways to review this movie. The right way is to look at it objectively, examining how the film is put together and picking apart the script by pointing out the gaping logical gaps present in it. I’ll be reviewing the film the wrong way, as a man who was once a little boy crying because Optimus Prime was dead. Now whatever is left of that kid inside me has had a wakeup call. The movie he’s been waiting twenty years to see is finally here; Optimus Prime is back from the grave and he needs my help.Transformers director Michael Bay has done the impossible. He’s created a wholly modern, action extravaganza while staying completely true to all the things that have ever been good about the Transformers. Alright maybe Optimus Prime didn’t need to have flames painted on him, but that’s such a minor detail in a movie with characters that are quite literally so big. Otherwise, Transformers is so much like the 80s cartoon many of us loved that it nearly forgets to be cinematic and becomes almost silly. Transformers is astoundingly goofy, but it knows it’s goofy and simply doesn’t care, which is why Bay’s film is so much giant freakin robot There’s no attempt to be serious. That’s not to say the movie doesn’t try to be as real as it can be, after all the goal here is to take giant transforming robots and put them believably in our world. It attempts to seem real, but never at the expense of the essence of what the Transformers have always been. Because of that, Transformers isn’t just dorky, it’s gloriously dorky. The film absolutely revels in how completely looney this premise is, and is all the better for it.Transformers wastes no time getting right to the incredible robot action we’re all hungering for, and rushes directly from the credits to eye-popping, rampant robot destruction. What really holds the film together though is that even when it’s knee deep in save the world, all out, brawling in the streets, giant freakin robot war, at the core of everything is the simple story of a boy and his first car. For a man, there are few things more powerful than the relationship he has with his first automobile, and it’s no different for Sam Witwicky (Shia LaBeouf).Once Bay wisely satiates our lust for effects sequences, he gets right to the heart of his story by taking us along with Sam and his dad as they go car shopping. Sam has worked and saved to afford a car, and is disappointed to discover that he can’t afford any better than a clunker. However, his clunker is no ordinary POS, it’s more than meets the eye. Sam’s relationship with his car, the Autobot Bumblebee is what connects this movie to the audience. The film takes the same formula that has worked so well in other car movies, and applies it to Sam and Bumbelee. In many ways, Bumblebee ends up being a lot like Herbie the Love Bug crossed with shades of Steven Spielberg’s . Sam develops a strong attachment to his beat up little Camaro, long before he discovers it’s more than four tires and a radio. When he does, because of an old war injury Bumblebee can only speak using beeps and by changing radio stations. That too works wonderfully, only deepening their relationship as Bumblebee stands up to protect Sam and the two struggle to communicate with one another. Sam’s relationship with his car is brilliantly written, even better directed, and it’s the super glue that holds this gigantic summer blockbuster tightly together when things go mad in a flurry of one-liners and special effects.Because this is a Michael Bay film, Transformers mixes in the parallel storylines of other characters embroiled in Earth’s sudden alien robot problem. The film cuts between stories, one minute we’re following Sam as his car gets him caught up in a battle that’s way over his head, the next it’s a group of government geeks trying to decode a strange alien signal, the next a group of soldiers under attack from an unknown and evil, alien force of mechanical beings with the ability to disguise themselves as everyday items. Eventually everything collides together and the film’s three separate factions join up with the Autobots, an alien robot force for good, to kick some Decepticon butt. Still, the film is smart enough to ensure thatl Sam’s story remains at the center and heart of the film no matter how big it gets.Just because this is a movie about a boy and his car doesn’t mean it skimps on robot action. In that way, the film plays out almost exactly like the old cartoon series. Sam, for all intents and purposes is just like the humans in the cartoon, a guy who befriends a group of alien beings known as Autobots and helps them fight the good fight against their enemies the Decepticons. One the film gets going there’s barely a frame that doesn’t have some sort of Transformer in it. That might seem like a given, but so many movies of this ilk end up going cheap on the big effects pieces, either to save on budget or in some misguided attempt to heighten the reality of what’s happening. Transformers says screw that and gives you Optimus Prime and his friends hanging out, talking, and fighting the good fight to defend mankind. Occasionally fight sequences suffer but Transformers knows you’re here to see robots thrash the hell out of each other and never shies away from laying that on thick. Bay shows his robots in perfect hero poses with blinding sunlight streaming over their shoulders and Optimus talks about loyalty, duty, and freedom like he’s just stepped off an Autobot recruiting poster. In another movie it would be ridiculous, in Transformers it’s the sort of thing you’ll feel welling up in the pit of your stomach.If there’s any problem with the film, it’s that at 140 minutes it runs slightly long. I’m not proposing that they should have cut back on robots, but some of the movie’s more irrelevant moments involving characters other than Sam could have been truncated without much negative impact. That’s not to say they aren’t entertaining, when the movie’s not wowing you with spectacle it’s pretty good at being flat out funny. At 140 minutes though, Bay could have dropped a few things. Jon Voight has far too many lines, Anthony Anderson seems to serve no real purpose, and though John Turturro is hilarious as the head of a secret government organization, it wouldn’t have hurt the film to have less of him.Minor length issues aside, Transformers is a truly great summer blockbuster. As an action movie it’s a huge success; with awe-inspiring effects, tremendous set pieces, a sexy style, and jaw-dropping things which you have absolutely never seen before in any other movie. As a nostalgia trip for the kids who were sitting next to me in 1986 the last time these characters were in theaters, it’s an even bigger hit. Like many old school Transformers fans I was incredibly skeptical about what Bay was doing. Much of the early information leaked out about the film just didn’t seem right. We were wrong to doubt. For you adults and the kid inside who was there back in the 80s cheering Prime on, this movie is like a rallying cry to your inner child. You’ll want to leap through the screen to stand at Optimus Prime’s side to fight the good fight against Megatron. For your kids, to whom the Transformers are now entirely new, this will be without a doubt the greatest movie they have ever seen. Don’t let them miss it.There are two ways to review this movie. The right way is to look at it objectively, examining how the film is put together and picking apart the script by pointing out the gaping logical gaps present in it. I’ll be reviewing the film the wrong way, as a man who was once a little boy crying because Optimus Prime was dead. Now whatever is left of that kid inside me has had a wakeup call. The movie he’s been waiting twenty years to see is finally here; Optimus Prime is back from the grave and he needs my help.Transformers director Michael Bay has done the impossible. He’s created a wholly modern, action extravaganza while staying completely true to all the things that have ever been good about the Transformers. Alright maybe Optimus Prime didn’t need to have flames painted on him, but that’s such a minor detail in a movie with characters that are quite literally so big. Otherwise, Transformers is so much like the 80s cartoon many of us loved that it nearly forgets to be cinematic and becomes almost silly. Transformers is astoundingly goofy, but it knows it’s goofy and simply doesn’t care, which is why Bay’s film is so much giant freakin robot There’s no attempt to be serious. That’s not to say the movie doesn’t try to be as real as it can be, after all the goal here is to take giant transforming robots and put them believably in our world. It attempts to seem real, but never at the expense of the essence of what the Transformers have always been. Because of that, Transformers isn’t just dorky, it’s gloriously dorky. The film absolutely revels in how completely looney this premise is, and is all the better for it.Transformers wastes no time getting right to the incredible robot action we’re all hungering for, and rushes directly from the credits to eye-popping, rampant robot destruction. What really holds the film together though is that even when it’s knee deep in save the world, all out, brawling in the streets, giant freakin robot war, at the core of everything is the simple story of a boy and his first car. For a man, there are few things more powerful than the relationship he has with his first automobile, and it’s no different for Sam Witwicky (Shia LaBeouf).Once Bay wisely satiates our lust for effects sequences, he gets right to the heart of his story by taking us along with Sam and his dad as they go car shopping. Sam has worked and saved to afford a car, and is disappointed to discover that he can’t afford any better than a clunker. However, his clunker is no ordinary POS, it’s more than meets the eye. Sam’s relationship with his car, the Autobot Bumblebee is what connects this movie to the audience. The film takes the same formula that has worked so well in other car movies, and applies it to Sam and Bumbelee. In many ways, Bumblebee ends up being a lot like Herbie the Love Bug crossed with shades of Steven Spielberg’s . Sam develops a strong attachment to his beat up little Camaro, long before he discovers it’s more than four tires and a radio. When he does, because of an old war injury Bumblebee can only speak using beeps and by changing radio stations. That too works wonderfully, only deepening their relationship as Bumblebee stands up to protect Sam and the two struggle to communicate with one another. Sam’s relationship with his car is brilliantly written, even better directed, and it’s the super glue that holds this gigantic summer blockbuster tightly together when things go mad in a flurry of one-liners and special effects.Because this is a Michael Bay film, Transformers mixes in the parallel storylines of other characters embroiled in Earth’s sudden alien robot problem. The film cuts between stories, one minute we’re following Sam as his car gets him caught up in a battle that’s way over his head, the next it’s a group of government geeks trying to decode a strange alien signal, the next a group of soldiers under attack from an unknown and evil, alien force of mechanical beings with the ability to disguise themselves as everyday items. Eventually everything collides together and the film’s three separate factions join up with the Autobots, an alien robot force for good, to kick some Decepticon butt. Still, the film is smart enough to ensure thatl Sam’s story remains at the center and heart of the film no matter how big it gets.Just because this is a movie about a boy and his car doesn’t mean it skimps on robot action. In that way, the film plays out almost exactly like the old cartoon series. Sam, for all intents and purposes is just like the humans in the cartoon, a guy who befriends a group of alien beings known as Autobots and helps them fight the good fight against their enemies the Decepticons. One the film gets going there’s barely a frame that doesn’t have some sort of Transformer in it. That might seem like a given, but so many movies of this ilk end up going cheap on the big effects pieces, either to save on budget or in some misguided attempt to heighten the reality of what’s happening. Transformers says screw that and gives you Optimus Prime and his friends hanging out, talking, and fighting the good fight to defend mankind. Occasionally fight sequences suffer but Transformers knows you’re here to see robots thrash the hell out of each other and never shies away from laying that on thick. Bay shows his robots in perfect hero poses with blinding sunlight streaming over their shoulders and Optimus talks about loyalty, duty, and freedom like he’s just stepped off an Autobot recruiting poster. In another movie it would be ridiculous, in Transformers it’s the sort of thing you’ll feel welling up in the pit of your stomach.If there’s any problem with the film, it’s that at 140 minutes it runs slightly long. I’m not proposing that they should have cut back on robots, but some of the movie’s more irrelevant moments involving characters other than Sam could have been truncated without much negative impact. That’s not to say they aren’t entertaining, when the movie’s not wowing you with spectacle it’s pretty good at being flat out funny. At 140 minutes though, Bay could have dropped a few things. Jon Voight has far too many lines, Anthony Anderson seems to serve no real purpose, and though John Turturro is hilarious as the head of a secret government organization, it wouldn’t have hurt the film to have less of him.Minor length issues aside, Transformers is a truly great summer blockbuster. As an action movie it’s a huge success; with awe-inspiring effects, tremendous set pieces, a sexy style, and jaw-dropping things which you have absolutely never seen before in any other movie. As a nostalgia trip for the kids who were sitting next to me in 1986 the last time these characters were in theaters, it’s an even bigger hit. Like many old school Transformers fans I was incredibly skeptical about what Bay was doing. Much of the early information leaked out about the film just didn’t seem right. We were wrong to doubt. For you adults and the kid inside who was there back in the 80s cheering Prime on, this movie is like a rallying cry to your inner child. You’ll want to leap through the screen to stand at Optimus Prime’s side to fight the good fight against Megatron. For your kids, to whom the Transformers are now entirely new, this will be without a doubt the greatest movie they have ever seen. Don’t let them miss it.
”变形金刚“的创意是谁想出来的
1楼其实也回答了LZ的一部分问题补充一些，关于LZ的追问1、变形金刚世界包含多个平行宇宙，如果一概而论是无法概括所有历史的（关于平行宇宙的设定可以去百度多元宇宙贴吧）。
2、电影基本没有对应的动画，漫画倒是有一部分，这个也可以百度或者去变盟等变形金刚论坛寻找。
漫画补充了电影前后的一些事件和设定，也有部分与电影不同（比如变三的漫画结局）。
3、由于出身等种种原因，变形金刚日版动画有很多，这里只说邪神三部曲（或称为宇宙大帝三部曲）。
这个系列有日美合作的成分，但大部分工作是由日方完成的，所以个人认为日版算是原版。
而美版则重新配音制作片头片尾，在第三部，日版称Galaxy Force美版称Cybertron，即C版，改动较大，因为美方希望将三部划为同一世界观。
至于日版翻译为“火线擎天柱”，美版翻译为“超越”的角色，算是一个小小的玩笑，因为角色长相以及TF世界历来缺妹子的缘故，美方将这个人物的性别改为女性。
4、至于打击，这个人物最早出现在G1，是战车队的成员。
而塞伯坦传奇和领证则是不同世界观，人物性格也差异很大，自然可以算作是不同的人物了。
