《高度》劇情介紹
《高度》是由克里斯·特里奧執(zhí)導(dǎo)，AmyFox編劇，伊麗莎白·班克斯,格倫·克洛斯,詹姆等明星主演的劇情,電影。
故事中的伊莎貝爾是一位備受贊譽(yù)的攝影師，即將迎來(lái)自己的婚禮。然而，她開(kāi)始對(duì)婚姻的選擇感到猶豫不決。與此同時(shí)，她的未婚夫喬納森也有一個(gè)將會(huì)毀掉一切的秘密。伊莎貝爾的母親戴安娜是一位演員，她發(fā)現(xiàn)自己的丈夫有了外遇。在一次偶然的相遇中，伊莎貝爾遇到了一個(gè)男子阿拉克，這個(gè)邂逅讓她的生活變得復(fù)雜起來(lái)。伊莎貝爾和喬納森之間的關(guān)系開(kāi)始出現(xiàn)裂痕，他們面臨著自己內(nèi)心的真實(shí)和選擇。在婚禮的前夕，他們是否能夠勇敢地面對(duì)自己的內(nèi)心，做出正確的選擇？《錯(cuò)位之戀》是一部浪漫劇情片，通過(guò)描繪主人公們的內(nèi)心世界和他們之間的糾葛，探討了婚姻和自我認(rèn)同的關(guān)系。這部電影將帶領(lǐng)觀眾們進(jìn)入現(xiàn)實(shí)生活中復(fù)雜的情感世界，引發(fā)思考和共鳴。
《高度》別名：愛(ài)在紐約破曉時(shí),追尋五個(gè)失落的故事，于2005-11-24上映，制片國(guó)家/地區(qū)為美國(guó)。時(shí)長(zhǎng)共93分鐘，語(yǔ)言對(duì)白英語(yǔ)，最新?tīng)顟B(tài)超清。該電影評(píng)分7.6分，評(píng)分人數(shù)339人。
《高度》演員表
《高度》評(píng)論
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《高度》影評(píng)
Americanshaveindies,too?。?/h3>《高度》是一部關(guān)于婚姻和家庭的電影。故事圍繞著主人公伊莎貝爾和她的未婚夫喬納森展開(kāi)。伊莎貝爾開(kāi)始對(duì)婚姻的選擇感到迷茫，而喬納森也有一個(gè)秘密負(fù)擔(dān)著。同時(shí)，伊莎貝爾的母親戴安娜也在處理自己的家庭問(wèn)題。伊莎貝爾在偶然的機(jī)會(huì)中遇到了一個(gè)男人阿拉克，這改變了她的生活軌跡。電影探討了婚姻的困惑和家庭問(wèn)題，展現(xiàn)了人們?cè)诿鎸?duì)選擇和變化時(shí)的內(nèi)心掙扎。
A simple story told with sensitivity and subtlety. An understated and wistful ode to isolation and (subsequent) dejection.
This film presents us with a fine example of how critical a movie's rhythm is, in rolling out the story, and piecing the sundry elements together. Here the wonderfully well-paced and tactful tempo has been underscored, throughout, with both an apt soundtrack, and the nuanced body language of the main actors and actresses. I suspect we have seen the best performance of their career from the two leads, Elizabeth Banks and James Marsden, who may eventually "wear it out" in future romantic comedies of the assinine Hollywood categories.
However, two faux pas, both related to the script, marred the film for me: one through carelessness; another through inconsistency. The beginning scene with the magnificent Glenn Close as Lady Macbeth brought up the interesting point of "gusto", of living with passion, rather than the pale substitute of petite bourgeoisie existence; but there is no sufficient followup to that. The preaching of "take a chance" is not quite close to the richer stuff that gusto consists of. This neglect, as I siad, is careless.
Then there is the revelation towards the end, that cheapens the drama. Our fundamental apartness from even those who are closest to us, that profound isolation, seems to be reduces to the consequence of one man's duplicity, which is inconsistent with the complexity built up with the first 2/3 of the movie; as if Jonathan could have saved us all this heartache by simply being "straight" (pun unintended) with himself, so that he could achieve togetherness with one lover or the other, and second-guess the big existential question. Yeah, right.
An aside: Glenn Close is one of the few American actresses who can handle a Shakespearean text, who have the mesmerizing stage presence, the supple, well-developed enunciation, and the looming moral ambivalence that the Bard's great heroines require. It has been my long-time fantasy to see Glenn Close as Lady Macbeth, to deliver such lines as "take my motherly milk and turn it into gall", or "pluck my nipple from the smiling ungummed lips and dash its brain out...", or, "Unsex me here!" This spectacle alone is worth the DVD! 這篇影評(píng)有劇透
《高度》是一部關(guān)于婚姻和家庭的電影。故事圍繞著主人公伊莎貝爾和她的未婚夫喬納森展開(kāi)。伊莎貝爾開(kāi)始對(duì)婚姻的選擇感到迷茫，而喬納森也有一個(gè)秘密負(fù)擔(dān)著。同時(shí)，伊莎貝爾的母親戴安娜也在處理自己的家庭問(wèn)題。伊莎貝爾在偶然的機(jī)會(huì)中遇到了一個(gè)男人阿拉克，這改變了她的生活軌跡。電影探討了婚姻的困惑和家庭問(wèn)題，展現(xiàn)了人們?cè)诿鎸?duì)選擇和變化時(shí)的內(nèi)心掙扎。
A simple story told with sensitivity and subtlety. An understated and wistful ode to isolation and (subsequent) dejection.This film presents us with a fine example of how critical a movie's rhythm is, in rolling out the story, and piecing the sundry elements together. Here the wonderfully well-paced and tactful tempo has been underscored, throughout, with both an apt soundtrack, and the nuanced body language of the main actors and actresses. I suspect we have seen the best performance of their career from the two leads, Elizabeth Banks and James Marsden, who may eventually "wear it out" in future romantic comedies of the assinine Hollywood categories.
However, two faux pas, both related to the script, marred the film for me: one through carelessness; another through inconsistency. The beginning scene with the magnificent Glenn Close as Lady Macbeth brought up the interesting point of "gusto", of living with passion, rather than the pale substitute of petite bourgeoisie existence; but there is no sufficient followup to that. The preaching of "take a chance" is not quite close to the richer stuff that gusto consists of. This neglect, as I siad, is careless.
Then there is the revelation towards the end, that cheapens the drama. Our fundamental apartness from even those who are closest to us, that profound isolation, seems to be reduces to the consequence of one man's duplicity, which is inconsistent with the complexity built up with the first 2/3 of the movie; as if Jonathan could have saved us all this heartache by simply being "straight" (pun unintended) with himself, so that he could achieve togetherness with one lover or the other, and second-guess the big existential question. Yeah, right.
An aside: Glenn Close is one of the few American actresses who can handle a Shakespearean text, who have the mesmerizing stage presence, the supple, well-developed enunciation, and the looming moral ambivalence that the Bard's great heroines require. It has been my long-time fantasy to see Glenn Close as Lady Macbeth, to deliver such lines as "take my motherly milk and turn it into gall", or "pluck my nipple from the smiling ungummed lips and dash its brain out...", or, "Unsex me here!" This spectacle alone is worth the DVD! 這篇影評(píng)有劇透
