请人帮个忙,的影评谁帮我写点,英文的,

请人帮个忙,的影评谁帮我写点,英文的,
请人帮个忙,的影评谁帮我写点,
英文的,

请人帮个忙,的影评谁帮我写点,英文的,
这里找到几篇,供参考：
·One Flew Over the Cuckoo's Nest
Talent: Brisbane Arts Theatre
Directed by Jan Paterson
Until 12 June
Date of Review: Thursday, 3 June 2004
I am not keen on the notion of critics comparing one production with another of the same play. I am really not keen on critics who compare film versions with stage versions and vice verse and so it is here that I run into my first and only major problem with this particular play. As such I will have to at least make mention of the film versus stage dilemma as it relates to this show.
Jack Nicholson defined the role of Randle P. McMurphy for all time in the movie of the same name and has since made it nearly impossible for actors who have tried to bring something new to the many subsequent stage versions. However, Michael Mudd may just be the exception to a rather generalist rule here. He has managed to capture just enough of Nicholson's menace to make the role identifiable to so-called film "purists", while at the same time bringing much of his own interpretation to the role as well. Mudd's McMurphy is just as menacing but perhaps a little more subtle than Nicholson's - and rather cleaner looking too!
That, however, is as far as I really wish to go with the comparisons. As I said I don't think much is to be gained by continuing down that path.
In this particular production the Arts Theatre have really excelled themselves in regard to producing a good piece of well-directed, tight, well-designed theatre. I feel at least some of this is due to the casting of Michael Mudd in the central role but that should not detract from the pivotal (and in many cases quite exceptional) work done by actors in many of the other roles. Nor should it detract from the work done by director Jan Paterson, who steered the creative energies of the cast into a coherent production so very different from much of her previous work.
The cast is really rather too large to single any one member out for individual comment. However I feel an exception should be made in the case of Karen Peart in the role of Nurse Ratched. While being possibly about ten years too young for the role, I believe she brought considerable vision to the role. She captured beautifully the uneasy balance of a woman who appears like the ultimate bitch but who understands, probably better than McMurphy, that the structure her regime offers is possibly the only hope for some of her patients.
This is a good play, with strong characterization, written by a talented playwright and it has lost none of its appeal in the forty years since it was written. Attention to detail on the part of Graham McKenzie as set designer, and Robin Edwards as costume designer have also gone a long way to ensuring that this community theatre production of a classic of twentieth century theatre will go a long way to being the success it deserves to be.
I have praised and criticized the Arts Theatre on a number of occasions in regard to their productions and therefore have no hesitation in encouraging you to support this particular production.
Four Stars
Nigel Munro-Wallis
·One Flew Over the Cuckoo's Nest
Theater Guild of Webster Groves
Reviewed by Sean Ruprecht-Belt
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Audiences going to see the stage adaptation of Ken Kesey's brilliant novel, One Flew Over the Cuckoo's Nest now playing at the Theater Guild of Webster Groves may be in for the theatrical equivalent of a pre-frontal lobotomy. The novel, a masterpiece of 1960's fiction, places it's anarchic, lost hero, Randle McMurphy in a mental institution as a sort of symbolic representation of Kesey's anarchic, generation lost in the madhouse of an American society. As a novel, full of passion and wildness, it works. McMurphy shows the other inmates of the men's mental ward the way to shake off their medicated lethargy and their servitude to the monstrous Big Nurse Ratched, though he is ultimately sacrificed for the cause. In a stage adaptation, we lose a great deal of the complexity and range of the novel and it is up to the actors and the director to provide for the audience the passion, intensity and seditious, nose-thumbing humor necessary for this piece to work.
In this production, however, the Theater Guild of Webster Groves has missed the mark. The actors are all doing their best, and some of them, notably Stephanie Shaw, Thom Grunenfelder, and Tom Kavanaugh have some very nice, very genuine moments. Everyone else on the stage seemed to at least know their lines and where they were supposed to be. Which is certainly a plus. But director Ginny Austerman has not helped her actors at all. She has not worked to move the story at a good pace, to turn her actor's weaknesses to advantages, or to present a cohesive attitude towards the material. All things which a successful director must do. This requires more than opening the building and rudimentary traffic direction on the stage.
This story has to be driven by the pitched battle between McMurphy and Nurse Ratched to determine who is going to be the 'Head Bull-Goose Loony' of the ward. Unfortunately, the feeling of high-stakes, of literal life and intellectual death, in this conflict, never materialized. This Nurse Ratched was never the evil insidious presence the situation calls for and Matt Holtmann's McMurphy was certainly obnoxious and annoying, sort of like any number of South City hoosiers with one too many beers in them. But he never approached either the hair-trigger unpredictability or the underlying promise of savage violence this character needs to achieve heroic status at the end of the play.
The uncredited set design was well done, lending a bleak, depressing, institutional look to the production. The washed out green of the walls and the wire mesh over the windows were particularly good touches. Costumes were adequate, although perhaps a bit too crisp and white for long-term patients to be wearing.
One Flew Over The Cuckoo's Nest will continue through September 19 at the Theater Guild of Webster Groves 517 Theater Lane. Call 962-0876 for more information.
·ONE FLEW OVER THE CUCKOO'S NEST
Barbican Theatre, London EC2
Opened 27 July, 2000
In the final minutes of the film Being John Malkovich, "Malkovich" reveals to friend Charlie Sheen how a group of them might live for ever: "You, me... Gary Sinise, maybe." If the reception given to his stage performance in One Flew Over The Cuckoo's Nest is anything to go by, Malkovich's sometime Steppenwolf associate Sinise has earned his place among those immortals. The Chicago company's production not only brought the opening-night audience at the Barbican to their feet, but more tellingly elicited loud gasps during the performance – not through any bravura or pyrotechnics, but simply because we had become so immersed in the narrative that some of its twists drew genuine shock and dismay.
Dale Wasserman's 1965 stage adaptation of Ken Kesey's novel about a liberating new presence on a mental ward is different in many ways from Milos Forman's subsequent film version. Wasserman and director Terry Kinney retain some of the point-of-view narration of Chief Bromden, the huge schizophrenic Indian persuaded to speak after many years of silence by the simple, playful kindness of newcomer McMurphy; when Tim Sampson delivers these bridging passages, he is isolated in a spotlight as slide projections move across the darkened walls to suggest the vast, infernal machines of the Chief's imaginings. It also becomes apparent that Randle P. McMurphy and Jack Nicholson are not one and the same: Sinise, in his leather jacket and lumberjack shirt, characterises McMurphy as an exceptionally shrewd redneck, naturally exuberant and only given to disruption or misrule when overly restrictive rules are forced upon him in the first place. In this case, the agent of oppression is Nurse Ratched, whose cold, "for your own good" belittlement of patients and other staff alike is played by Amy Morton with the kind of measured, dispassionate delivery at which Lindsay Crouse so excels; she suggests stronger feelings screwed tightly down, and eventually, under McMurphy's cheery provocation, these geyser to the surface.
Robert Brill's set, with its huge, curving white walls and lintels, suggests a kind of psychiatric Odeon. Kinney's sure directorial touch takes an apparently straight naturalistic line in terms of performance, but does not neglect deeper symbolism; he uses passages of Hendrix between scenes, to suggest at once the seemingly chaotic uproar which McMurphy brings and the pioneering promise of freedom which he embodies. The other patients on the ward are efficiently and often winningly characterised. (I was particularly taken with Danton Stone as Martini, prone to hallucination and smilingly dealing cards and passing basketballs to people who aren't there.) The feelgood which Kinney's production brings is not of the vapid, sentimental kind; it is a story straightforwardly told but which conveys the deeper affirmation that "the machine" can still be overcome by a good, wild yawp.
Written for the Financial Times.
·Review: 'One Flew Over the Cuckoo's Nest'
April 30, 2006
By Kathy Janich
Almost everyone knows One Flew Over the Cuckoo's Nest from either the 1962 novel or the 1975 film starring a wild-eyed Jack Nicholson. So the main question surrounding a stage production today is why do it at all. What does a story that is clearly rooted in the rebellion of a different era have to say to a contemporary audience — and to the audience of Atlanta's Dad's Garage Theatre, which is largely 35 and under. The answer: more than you might think.
The story still speaks to the disenfranchised, the unpopular kid, anyone ever on the wrong side of a bullying boss, teacher, or parent. In today's terms, it speaks to those who see a lobotomized America in the hands of a trigger-happy president. (Ditto Britons castrated by the policies of Tony Blair: A London Cuckoo's Nest featuring Christian Slater as firebrand Randle P. McMurphy runs in the West End until June.)
Yet if Cuckoo's Nest needs a little TLC to maintain its antiestablishment message, director Kate Warner and her team provide it. They've worked hard to make their storytelling primal, unpredictable, and unsettling. The cast of 12 — the original Broadway run, starring Kirk Douglas, had 23; the 2001 revival had 20 — fills the 50-seat black box with its manic wanderings, therapy sessions, and card and mind games.
The audience is tucked just inside the mental hospital's day room, up close and personal as McMurphy and the other patients fight for a say in their daily lives. They — and we — are surrounded by stark white walls, faux dropped ceilings, and bright institutional lights (the "environment design" is by Jamie Warde). The floor is a scuffed black-and-white checkerboard, the furniture is plastic and utilitarian, and the only window is barred and locked. We sit single file, our backs to the walls. When Chief Bromden, the hallucinatory hero-narrator, shuffles by with his broom, its bristles almost tickle our toes. Can anyone say "claustrophobic"?
Thomas Piper plays McMurphy as a bigger-than-life bird, a balls-to-the-wall, pedal-to-the-metal kind of guy who bursts into the action with such vigor he shifts the atmospheric pressure. He's tall, well-built, handsome, reckless — sometimes too reckless for the small space — but you can't argue with the telling contrast between his boisterousness and his sensitivity as he champions the baby steps of Billy Bibbit (Tim Stoltenberg) toward manhood or coaxes Bromden (Mike Schatz) out of his deaf-mute shell.
The other actors also give specific performances, at once endearing and annoying: Steven L. Emanuelson uses a nasal voice, twitching fingertips, and squinting eyes to betray the rampant insecurities of Harding, the nervous-Nellie brainiac emasculated by his wife's buoyant bra size. Stoltenberg, as a stuttering mama's boy, combines childlike fears and naiveté with the poignant desire to be just one of the guys. As Martini, Chris Blair is a scared little rabbit and frenetic co-conspirator, guffawing oddly, his head swiveling as if to detect danger. Schatz, though hard to hear at first, has us near tears in the final scenes.
And then there's Tiffany Morgan's Nurse Ratched, played more as a brittle control freak than novelist Ken Kesey's truly evil manipulator. She's intimidating if you're a mental patient or hospital colleague, I guess, but she never really shows us why.
In her program notes, director Warner writes of her longtime attachment to Cuckoo's Nest and its "still resonant idea that outsiders can show us more truths about ourselves." Is that crazy? Not so much.
One Flew Over the Cuckoo's Nest runs April 14-May 6 at Dad's Garage Theatre Company, 280 Elizabeth St. N.E., Atlanta. Tickets: (404) 523-3141. Website: www.dadsgarage.com.
----Will

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