中文的行吗？
评《老无所依》：牛仔很忙、杀手很冷、警长很老很无奈！
原始狂野的西部风光下残忍疯狂的杀戮游戏遵循着一个永恒不变得题材，那就是围绕在金钱和财富周围的暴力。
《老无所依》以美国西部广袤的旷野为开端，随着紧张的故事情节的发展，各种场景轮番变换，观众首先领略的应该是美国西部狂野豪放的自然风光和风土人情：广袤无垠的沙漠、沙漠中孤零零的老橡树和小木屋、牛仔帽、枪械、汽车旅馆、穿过沙漠的公路、扬起滚滚沙尘的皮卡、人们慵懒而简朴的生活。然而，就在这广袤无垠的旷野上，一块巨大的乌云蛮横无理地侵入了天空，影片似乎通过这个镜头向人们展示：一个古老的美国西部风情和社会法则正在被毒品和金钱所侵蚀，过去以匡扶正义、除暴安良的侠义精神为标志的美国西部正在被毒品、金钱和贪婪的欲望所侵蚀，堕落的社会法则驱使人们相互间进行着疯狂的杀戮。
《老无所依》的故事梗概很简单，一场失败的毒品交易导致了黑吃黑，毒贩的200万美元毒资被主人公moss意外获得，这改变了他的生活，贪念促使他独自对抗冷血杀手和毒贩的追踪，他强悍的牛仔性格和超强的动手能力、敏捷的身手和高超的智慧使他能够顽强地与变态冷血杀手anton当面PK，而且几乎打成平手！尽管他最后死于墨西哥毒贩黑帮的枪下。----
《老无所依》的确是一部非常值得一看的获奖影片，并非什么好莱坞的大制作，里面的暴力血腥场面比起其他类似的影片也不是特别令人不堪忍受。
那么这部片子为什么叫《老无所依》呢？
我个人认为：在美国西部题材的影视作品中，警察、牛仔、匪徒三者构成了黄金铁三角，西部题材的影视作品很大程度上就是描写彪悍的匪徒、侠义的牛仔、尽职尽责的警察三者之间的故事。《老无所依》，英文原名《No country for old men》，我想大概就是老警察对社会堕落、秩序混乱难以控制的慨叹吧！在本片中，三个主要人物：警长tom、牛仔moss、杀手anton构成了这个黄金铁三角，概括地说，《老无所依》中的这个黄金铁三角已经完全变化了：牛仔moss变得很忙很贪财、杀手anton很酷很变态、警长tom很老很无奈，从逻辑上分析就是，牛仔和匪徒这两个边都要摆脱警长这个边了，所以这部影片的名字就叫做《老无所依》，（老就是指老警长tom，或者指过去的社会法则）这个三角形的两个边更强，警长这个边更弱，三角形的稳定性差了，暗喻这个社会要疯狂了。
确切地说：
牛仔moss没了侠义精神，而是为了将一笔不义之财据为己有而顽强战斗着，他曾经是个参加越战的步兵，所以他具有超越常人的应变能力和敏捷的身手，退伍后贫穷的生活促使他不会拒绝路遇的不义之财，他凭借超强的动手能力（他简直就是个DIY高手）和判断力，以及顽强不屈的牛仔精神独自与冷血变态的杀手对抗者，并且越战越勇，几个回合下来几乎打成平手。我最欣赏moss的就是他在老鹰旅馆与anton的那场PK，moss在房间里被anton的气动开锁器击出的锁芯打伤后，开枪还击并迅速从窗户逃亡，然而他并未直接奔向大街，而是转身回到旅馆，避免了anton从窗户直接射击。这说明他很有经验且头脑清醒，当拦下汽车后，伪装被anton击中，假装让汽车失控，撞向路边，然后下车躲在马路对面静候anton，当anton发现moss不在车上，知道上当的同时，moss开枪击中anton腿部，其次就是他在腹部重伤的情况下，能够冷静地与路遇的少年做交易，买下少年的外套和半瓶啤酒，佯装酒后少年越过边境来到墨西哥。此外，moss的藏钱的功夫也是了得，动手能力和观察力均属一流！最终要的是：moss最终到底把钱藏在哪里不得而知，但我猜，一定是在moss老婆那里。有道是：牛仔很忙很贪财，不舍命也不舍财！
杀手anton不仅依然保持着过去西部匪徒骁勇善战、经验丰富的特点，还增加了变态、冷血的特点，他进行杀戮的时候异常冷静而有条理。气动瓶、装着硕大消音器的散弹枪、冷酷的脸、低沉的嗓音、另类的发型、黑色的装束、以及那双死死盯住你不放的眼睛，无疑给我们留下危险、恐惧、变态、冷血的印象，他的形象时刻警告着我们，不要和陌生人说话！而且他还是一个非常“坚持原则”的杀手，当然是坚持自己的原则，从影片中可以分析他的原则：1、他是个自恋狂，不相信世俗的观点，并且强迫别人尊重他。当雇主派的人领他去看枪战现场时，有个人骂了他一句：“悠着点，混蛋！”，没过一会儿，他就非常冷静地枪杀了骂他的人；当他知道雇主还雇了其他人找钱的下落的时候，他愤怒地杀死了雇主；在老鹰旅馆里，他用枪指着另一个杀手卡森说：“如果你的规则把你置于死地，你的所谓规则还有用吗？”他以自己的规则为荣，尽管这种规则近乎变态。2、他也尊重象他一样遵守自己规则的人。Moss的房东太太坚决不向anton透露任何moss的信息，并称这是规矩，我们看到ANTON无奈地离开了，并没有伤害房东太太。3、当他自己的原则无法判断时，他就使用猜硬币正反面的方法，尽管这种变态的方法帮助他解决了杀与不杀的困惑，但毕竟说明他的内心的确存在困惑，这种困惑来源于他自己的规则与自然法则的迥异，所以，他只能用这种变态的方法选择。更重要的不同与以往西部片土匪角色的变化是，杀手anton还有洁癖，他在汽车旅馆枪杀第三个墨西哥人的时候，由于距离很近，他就拉上了淋浴帘，防止被溅到血；他在老鹰旅馆枪杀杀手卡森后，在地上流淌的鲜血快流到自己脚底的时候，他马上抬起了双脚，避免沾上血迹；他杀了moss的妻子后出门的时候，特意看了看自己的两个脚底是否被沾上血迹。大家知道，以往的美国西部片中，土匪一向都是几个月不洗澡，浑身脏兮兮的。有道是：杀手很冷很变态，拿不准主意就猜硬币！
警长tom再也没有了过去西部片中那些尽忠职守勇猛顽强的西部警察的作风，虽然业务熟练、见多识广、但缺乏具体行动，最终没能保护moss，老当益壮的tom警长在沙漠之沙旅馆，也就是moss被打死的房间外面看见了曾经熟悉的气动开锁后留下的孔，他就知道杀手anton肯定去过里面，或许还在里面，他还是勇敢地端枪走了进去准备与杀手anton对决。影片中我们的警长tom一直在抱怨和絮叨，尽显对混乱局势的失控和无奈。他还坦言他不敢面对自己不熟悉的东西，当然他指的是杀手anton的特色武器气动瓶。不过他有一句名言：人和动物争斗，都没有完全的胜算，何况-----？有道是：警长很老很无奈，社会规则在改变！
《老无所依》中有很多经典的镜头值得回味：
杀手Anton驾车追踪moss路过一钢架桥时，行车中将散弹枪伸出车窗向一只站在桥梁上的乌鸦射击，可惜没击中，车过，乌鸦飞---。预示，超级杀手也有失手的时候，结果，对手moss确实很难对付。
杀手anton被moss击伤后展开的自救行动也是该片一大经典！血腥，就是腥！很酷很血腥！
Moss负伤后向少年购买外套和啤酒，交易很顺利，面对浑身是血的moss，少年只是问问是否车祸，并不主动对moss施救，而只顾做成交易，讨价还价。少年缺少人情和爱心的社会现实撞击着观众的内心，
同样，影片最后，杀手anton杀了moss的妻子后，突遭车祸，被撞得手臂断裂，成为废人，还是与路遇的少年做交易，花钱买下少年的外套，并买通少年不要乱说。然而，两个少年却为如何分钱而争吵，
影片严厉地提醒着广大观众要关心下一代的健康成长！
《no country for old men》，老无所依，向我们展示了一个挑战并颠覆传统道德的时代的来临！该部影片通过对冷血杀手anton的独特刻画和描写，清除地告诉人们，原始的西部已经被改变，包括杀手和警察、牛仔在内的一切社会规则正在被一种新的规则挑战，这种挑战令老人感到无奈。所以叫做：no country for old men。
当然，《老无所依》最大的特点就是给观众留下了一个悬念，钱到底被谁拿去了，我猜，应该是被moss的老婆拿了
追问：电影《老无所依》的读后感300字英文的
"No Country for Old Men" is for the kind of film fan who remarks, "Gee, wasn't that murder a clever mise-en-scene?" and who asks, "What kind of lens do you think they used in that strangulation shot?" The skeleton of "No Country for Old Men" is a cheap, 78-minute, gun-monster-chase B movie. Javier Bardem plays Anton Chigurh, the monster. He is Frankenstein; he is Max Cady from "CaPE Fear;" he is from your childhood nightmares. He may be death personified.
One of many completely implausible scenes: an arresting officer, defying any logic, turns his back on Chigurh. Chigurh, displaying the suPPle sinuosity of a Cirque du Soleil contortionist, or an orangutan, sliPS out of his handcuffs. This is done out of camera view, because for Bardem it would be impossible; thus the scene's implausibility. Chigurh then, in real time, strangles the young police officer to death on camera. This is an extended sequence. This is the PAyoff for "No Country for Old Men": watching one human being kill other human beings, in scene after scene after scene, using various weapons, including a captive bolt pistol usually used on livestock. Guess Chigurh couldn't get hold of a Texas chainsaw. This is a slasher flick for the pretentious.
Early on, there are well-done, if standard, chase scenes. A man outruns a car: not beliEVAble, but fun to watch. A pit bull chases this fleeing man down a whitewater river. The man reloads his gun at the very last moment (of course) and shoots the pit bull dead just as it is about to sink its teeth into the man. Later, in a hotel, a beeping transponder informs the killer wher his prey hides. Your PUlse may race and you may think that this is all leading up to something interesting. You will be disaPPOinted.
Tommy Lee Jones, whose ear lobes aPPEar to be metastasizing as he ages, wanders aimlessly through the film as Sheriff Ed Tom Bell, delivering cornpone, homespun, cowboy poet ruminations that are more or less opaque in meaning. No doubt the film's fans are even now feverishly compiling a companion volume that decodes Bell's dreams and conveys their depth.
Woody Harrelson, late the bartender of the TV sitcom "Cheers," shows up for a completely pointless half-hour role that yanks the viewer right out of the movie. "What is Woody Harrelson doing here?" Some years back, some bored English majors decided that conventional narrative structure was not intellectual enuf, and decided to play games with narrative. "No Country for Old Men" plays these sorts of games. The viewer is invited to invest time getting to know characters who are eliminated from the plot in ways that convey no meaning and are not moving. The narrative flow is truncated and yet the movie keeps going; viewers ask themselves why the movie is continuing -- sometimes out loud, even in a movie theater -- this is supposed to be a deep, intellectual experience. It is not. It is merely annoying.
Other than bratty English major head games, pretty much the entire substance of "No Country for Old Men" is a series of murders and tortures committed by Chigurh, who may symbolize your high school's worst bully – a bully so terrifying exactly because he targeted English majors. His victims are often courteous; their likability makes watching them be humiliated and then murdered an uncomfortable, and, given the film's structure, ultimately pointless exercise. Not only are the Coen Brothers torturing their characters, they also torment their ticket-buying audiences.
Chigurh's nice victims are often poor, rural, Southern, whites, the kind of people often not featured as positive, lead characters in Hollywood entertainments. They are often villains – witness films like "Deliverance." Here they are murder victims. Chigurh is associated with Mexicans, part of a rising "dismal tide," as one Anglo character puts it. No matter how you feel about immigration, you may find this association of Mexicans with a rising tide of evil to be offensive.
The film's boosters insist that the movie offers three deep and shocking lessons: life doesn't always follow a neat narrative structure; evil often triumphs; and the old days were more peaceful and, nowadays, things are getting really bad. In truth, everyone walking in to the theater already knows the first two "lessons." No one needs the Coen brothers to inform him that life doesn't always follow a neat narrative structure, or that evil often triumphs. We expect filmmakers, and all artists, to offer us a more substantial thesis. As for the third "lesson," that the old days were more peaceful and things are getting really bad today -- have the Coens, or Cormac McCarthy, heard of Attila the Hun, or any number of other less-than-peaceful and courteous personages from our common human past? One might well be dubious about "No Country"'s "lessons." Visit internet discussion boards devoted to this movie, and you will find fans asking, not "What is fate?" or "What is the role of a good man in a bad world?" but questions like, "If Hannibal Lector and Anton Chigurh were locked in a room, who would come out alive?" Given such reflections, one is safe in concluding that the appeal of this film is its emphasis on graphic violence, rather than on any more advanced intellectual or artistic merit.
自己再根据需要整理下
追问：如果有一天，我老无所依，请把我埋在，埋在这春天里……歌名是什么？
歌名:春天里
歌手：汪峰
补充：老无所依经典对白!!一定要经典！！（双语）
Llewelyn Moss: If I don't come back, tell mother I love her. Carla Jean Moss: Your mother's dead, Llewelyn. Llewelyn Moss: Well I'll tell her myself then. 卢埃林·摩斯：如果我再也回不来了，告诉妈妈我爱她。 卡拉·吉恩·摩斯：卢埃林，你妈妈已经死了。 卢埃林·摩斯：那好吧，我会亲自告诉她的。 Anton Chigurh: What's the most you ever lost on a coin toss. Gas Station Proprietor: Sir? Anton Chigurh: The most. You ever lost. On a coin toss. Gas Station Proprietor: I don't know. I couldn't say. [Chigurh flips a quarter from the change on the counter and covers it with his hand] Anton Chigurh: Call it. Gas Station Proprietor: Call it? Anton Chigurh: Yes. Gas Station Proprietor: For what? Anton Chigurh: Just call it. Gas Station Proprietor: Well, we need to know what we're calling it for here. Anton Chigurh: You need to call it. I can't call it for you. It wouldn't be fair. Gas Station Proprietor: I didn't put nothin' up. Anton Chigurh: Yes, you did. You've been putting it up your whole life you just didn't know it. You know what date is on this coin? Gas Station Proprietor: No. Anton Chigurh: 1958. It's been traveling twenty-two years to get here. And now it's here. And it's either heads or tails. And you have to say. Call it. Gas Station Proprietor: Look, I need to know what I stand to win. Anton Chigurh: Everything. Gas Station Proprietor: How's that? Anton Chigurh: You stand to win everything. Call it. Gas Station Proprietor: Alright. Heads then. [Chigurh removes his hand, revealing the coin is indeed heads] Anton Chigurh: Well done. [the gas station proprietor nervously takes the quarter with the small pile of change he's apparently won while Chigurh starts out] Anton Chigurh: Don't put it in your pocket, sir. Don't put it in your pocket. It's your lucky quarter. Gas Station Proprietor: wher do you want me to put it? Anton Chigurh: Anywher not in your pocket. wher it'll get mixed in with the others and become just a coin. Which it is. [Chigurh leaves and the gas station proprietor stares at him as he walks out] 安东·齐格：通过投硬币决定的事情里，你觉得自己失去最多的是什么？ 加油站经营者：你说什么？先生？ 安东·齐格：失去最多的，投硬币的时候。 加油站经营者：我不知道，想不起来了。 （齐格从柜台找回的零钱里拿出一枚硬币，弹起落下后，他用手盖住了它） 安东·齐格：猜猜。 加油站经营者：猜？ 安东·齐格：是的。 加油站经营者：为什么？ 安东·齐格：你就猜吧。 加油站经营者：好吧，如果猜也可以，我得知道为了什么。 安东·齐格：你只管猜，我不能告诉你，否则不公平。 加油站经营者：我根本就不需要猜。 安东·齐格：不，你需要。你刚刚在这里赌上了你的一生，只是你还不知道而已。你知道这枚硬币的年份吗？ 加油站经营者：不知道。 安东·齐格：1958年，所以它已经整整做了22年的旅行才抵达这里，现在，它在这里，有正面也有背面，所以你只管猜就对了。 加油站经营者：好吧，我想知道我能赢得什么。 安东·齐格：任何东西。 加油站经营者：怎么可能？ 安东·齐格：你可以赢得任何东西，猜吧。 加油站经营者：好吧，我选正面。 （齐格移开了自己的手，发现硬币确实正面朝上） 安东·齐格：做得好。 （加油站经营者紧张地拿走了堆成小山一样的硬币，而他显然认为齐格嘴中的"任何东西"，指的就是这个） 安东·齐格：别把它放到你的口袋里，先生，别把它放到你的口袋里，那是你的幸运硬币。 加油站经营者：那你想让我把它放到哪儿？ 安东·齐格：任何地方，只要不是口袋，因为在那里它会与其它硬币混在一起，成为一枚普通的硬币，它不应该得到这种待遇。 （齐格离开了，加油站经营者一直瞪着他走出去） Wendell: You know, there might not have been no money. Ed Tom Bell: That's possible. Wendell: But you don't believe it. Ed Tom Bell: No. Probably I don't. Wendell: It's a mess, ain't it, sheriff? Ed Tom Bell: If it ain't, it'll do till the mess gets here. 温德尔：你知道的，那里不可能没有钱。 爱德·汤姆·贝尔：完全有可能。 温德尔：但是你不相信我说的。 爱德·汤姆·贝尔：是的，可能我确实不相信。 温德尔：一片混乱，不是吗？长官？ 爱德·汤姆·贝尔：即使不是，也会有混乱找到这里的。 Wendell: You think this boy Moss got any notion of the sorts that're huntin' him? Ed Tom Bell: I don't know, he ought to. He's seen the same things I've seen, and it's certainly made an impression on me. 温德尔：你认为这个叫摩斯的人，知道有人在追杀他？ 爱德·汤姆·贝尔：我不知道，不过他应该知道，他能看到我看到的事情，这让我真的留下了非常深刻的印象。 Man who hires Wells: Just how dangerous is he? Carson Wells: Compared to what? The bubonic plague? 雇用韦尔斯的男人：他到底有多危险？ 卡森·韦尔斯：那得看跟什么比？黑死病？ 评论
如果有一天我消失了 谁会发了疯的找我 又是谁会哭的肝肠寸断 现在我们只是拥有了青春 确如此挥霍 当老无所依时 又与谁白头偕老 英文怎么说
If one day I disappeared who will be mad seek me and who would cry GanChang grieved for now we just have it so extravagant when that "no country for old men with whom again when I wanted.now ,(如果有一天我消失了、谁会发了疯的找我、又是谁会哭的肝肠寸断、现在我们只是拥有了青春、确如此挥霍、当老无所依时、又与谁白头偕老。)
评论求《心灵捕手》英文影评，最好原创，不是的话也最好是五篇影评拼在一起的
囧啊！！ 追问：
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