【www.zhuodaoren.com--观后感】
【一】:寻龙诀观后感
寻龙诀观后感
首先我是以一个十年的纯灯丝的名义来写这篇观后感的，其次我是半哭着看完的，因为当多年前我在《巫峡棺山》的最后看到霸唱说不会在写他们的故事的时候我也哭过，没错我是一个多愁善感的男人。
那么来说说我对《寻龙诀》这部电影的看法吧！首先我们要说到鬼吹灯的主体思维，就是所有的诡异事物都被霸唱用伪科学的方式诠释的过份的真实，这是这本书出彩的地方，亦是电影中出彩的地方！
接着就是霸唱式的幽默曾几何时我看到胖子对着电话喊着“喂喂，我是环球倒斗有限公司的波士王呀”足足笑了一节课，现在我又听到了胖子说“什么睡过就是男女朋友了？你不是天天晚上和我睡的吗？”当然电影中也对我上面的梗有了更好的梗。电影与书，书与电影！已经完美的合为了一体。
当然还有男女主角的爱情和老胡与胖子的友情，由于不能透剧我也
不做多说了，当故事的最后我看见老胡把杨参谋塞进棺材里的时候，以及胖子跳进湖水里的时候我才知道有一种友情和爱情真的可以超越生死。
最后唯一的泪点，当然是对于亲爱的路人观众 们的泪点，电影中把丁思甜的去向终于作出了最终的解读，而且不得不说泪点挺高的，毕竟是初恋，老胡的初恋，胖子的初恋，让他们不顾一切的一个女孩，最后却为他们做了一切。
综上，这部电影一定是让鬼吹灯红遍大江南北五湖四海的电影。
最后感谢所有的工作人员，所有为这部电影付出的人们，所有的灯丝和观众，感谢主演和导演，感谢天下霸唱。
【二】:鬼吹灯之寻龙诀观后感影评
www.fz173.com_寻龙诀影评。鬼吹灯之寻龙诀观后感影评
这只是一个小小的个人感受，未曾想过引起赞赏，实在有愧。 低下的评论我看到了，有人说，陈坤没有“糙感”很正常，因为胡八一叫胡八一是因为建军节出生的，而重名太多，一气之下改为八一，并没有当过兵，质疑我没有看过原著。 有没有看过原著不提（毕竟就算看过也无法向大家证明），胡八一是当过兵的，还做到了连长的位置，这在原著中有过正面、侧面描写。
贴一下《精绝古城：第十九章（考古队）》中，陈教授说的话： 陈教授觉得郝爱国说话太直了，他跟大金牙的父亲也很熟，经常向他们请教一些古玩鉴赏的问题，不愿意把关系闹得太僵，就从沙发上站起身来打圆场，请我们落座，闲聊了几句，问了我和胖子的一些事，听完之后微笑点头：“ 不简单啊，当过解放军的连长，还有参加过战争的经验，而且去过沙漠， 真是难得啊，当我们这些书呆子的领队，那实在是绰绰有余了。沙漠中的遗迹和古墓，大多数都掩埋在黄沙之下，孔雀河故道早已干涸难以寻觅，如果不懂天星风水术，恐怕是找不到的，不知这风水学你们二人懂不懂？”
另外，关于杨雪莉的口音问题，有人说，因为杨雪莉是华裔，说不清国语也很正常，同样来自《精绝古城：第十九章（考古队）》中对于杨雪莉的描写：杨小姐微微一笑：“胡先生，我会说中文，咱们还是用中国话交谈吧。你今后叫我Shirley杨就可以了。” 没想到她的普通话说得很好，没有半点美国口音，至于美国口音是什么样
的，其实我也没个概念，反正觉得她和中国人没区别。
至于为何选择舒淇饰演这名角色，毕竟是要打开市场的电影，选角儿是经过各方权衡之后的行为，非常理解。 然后有人说，我的某些话对杨颖夫妇不友善，这里也回应一下：并非不友善，只是实话实说。黄晓明自《大汉天子》之后，最经典的角色就是处于落魄时的成冬青，土鳖气息被他演活了。无论从哪一点看，这都是在赞赏其演技，为何说不友善呢？杨颖在饰演丁思甜时同样如此。www.fz173.com_寻龙诀影评。
还有人说，我对于坐在旁边小哥的猜想很无聊，人家看没看过3D电影你咋知道？还TM笑点，就你看多的是不？可能是我没写清楚，之所以成为我的笑点之一，是因为让我想起了 自己第一次看3D时，也会有下意识的闪避动作，这并非嘲讽小哥，而是觉得很可爱。 以下为原答案： 如果有更高期待，想把《寻龙诀》跟好莱坞超A级大作相比，是对于目前整个中国电影工业体系的无敌信
所以，保持一颗平常心去看这部国产商业大片（单纯跟其他国产商业“大片”比），是一个理智的做法。
什么是国产商业大片？故事、特效、后期、道具，但最重要的，是 本土 。 本土，不是让导演、编剧们故作姿态来接地气，也不是拉来一帮俊男靓女走走过场，或者复制下港片无厘头梗，或者再复制下好莱坞特效PPT，而是踏踏实实的、认认真真的，去尊重中国观众的智商，讲述一个只可能发生在中国的故事，且完成度还不错。 在这一点上，回过头去看2015一整年，这种片子的数量有多少？ 《寻www.fz173.com_寻龙诀影评。
龙诀》就是其中之一。甚至我个人不怕捧高，这极有可能是新国产商业大片的标杆之作，地位不在张艺谋《英雄》之下。换句话说，若干年后，当我们回首国产大片发展史时，
《英雄》和《寻龙诀》都是一个绕不过去的坎。 我们先从导演说起。 张小北说，乌尔善是一个牛X的导演，美术出身，出道拍摄600万成本电影《刀见笑》，第二部电影《画皮2》制作成本过亿。而后，其生涯第三部作品，是万达、光线、华谊兄弟民营电影三巨头联合制作的《寻龙诀》。
看完电影后，觉得脸很疼。这确实是一位很有才华的导演，他对于《寻龙诀》中的布景、道具及后期的视觉特效，确实有着自己独特的审美在里面。看得出来，也确实用心在做了。
有趣的是， 坐在我身边的是一对恋人（影院里除了我，基本都是恋人，泪），小哥可能不经常看3D电影，每有器物，例如爆炸的碎屑，朝着镜头飞来时，他总是下意识的躲避，成为我观影时的最大笑点之一（觉得很可爱）。
这从侧面证明，特效团队很厉害，对比其他打着3D的幌子公然骗钱的国产电影，至少在特效上没骗人。虽然我看的出来，很多时候的3D效果略假，如爆炸的碎屑物、断裂的吊棺木、胡八一手里的飞爪等等。 不过，即便如此，我对乌尔善的能力依然持有戒备心。 再说演员。
几个主演里，陈坤的胡八一跟原作中还是有出入，这种出入，
主要体现在陈坤不够“糙感”，不像经历过战争的军人。 他的主角扮相，更像是邋遢、不修边幅的中年人。 少了那么点果敢、坚毅的气质。 当然，这是我个人感觉。
黄渤可能遭遇了演技瓶颈，看得出来，他对于拿捏王凯旋十分走心，尤其知情扮相时，那种对于喜欢的人娇羞感。但是，在黄渤诠释这个角色时，总感觉缺了点什么。可能缺了点身高吧.
舒淇.....杨雪莉是《鬼吹灯》里唯一女主，搬山道人后代，爷爷是一代传奇鹧鸪哨，果敢、聪明、智慧、独立、心思细腻。可以说，在《鬼吹灯》满是大男子主义老爷们儿的衬托下，杨雪莉简直就是新时代中国女性的代言人。可她塑造的，却是一个为了爱情，可劲儿傲娇的小女生。尤其张嘴一口台湾腔，尴尬都溢出了屏幕，让我不得不关注身边的恋人们。
个人的互动也毫无CP感，就像在说“哎，跟你俩说哦，咱仨演戏呢，演完了请你俩去吃土耳其烤肉”。夏雨的大金牙，有人说用力过猛，我觉得即便过猛了点，应该也是夏雨演员生涯的第二春——少年得志，出道电影即摘影帝桂冠，沉寂多年，偶尔跑龙套，却能完全放下身段儿演一个戏份吃重的丑角儿，这才是演员精神<啊！这才是拿钱办事的契约精神啊！而大金牙是《鬼吹灯》中的经典角色，实在太经典了，一时竟然觉得没有哪一个演员可以完美诠释这个角色。就像你我身边的某个胆小、贪财，却在关键时刻靠得住的朋友，太熟悉了，不仅仅要胆小时的面部表情到位，更要有贪财时的眼神传达，可
想这个角色对于职业演员的挑战。
【三】:关于寻龙诀的一些看法
浅谈寻龙诀的一些槽点
注：这不是影评而是吐槽
有人愿意将鬼吹灯改编成电影，作为一个鬼吹灯系列的喜爱者的确为之愉悦，在经历了陆川的九层妖塔身心折磨以后，带着“千万不要再坑爹了，外星人怪兽的，怎么不整个凹凸曼呀！”的心情在紧张的期末考试期间还是抽出时间想尽一切办法观看了寻龙诀。
寻龙诀上映的一星期后票房便达到了16亿，掀起贺岁档的小高潮，不得不说，寻龙诀算得上是中国悬疑冒险电影辉煌的一作。但是寻龙诀从最初的“中国大片里程碑”、“行业标杆”、“中国电影工业跨越之作”到如今槽点接踵而至，资深影评人方枪枪不无感叹地说：“其实电影宣传营销的功劳比电影本身的质量更高。”作为一部国产奇幻片，影评人桃桃认为，这至多是一部工工整整学习好莱坞的习作，而距离“中国特色的奇幻大片”还有很远的距离。
首先寻龙诀毕竟是一部根据小说改编的电影，最起码需要做到的还原人物特征。原著中王凯旋是个身高马大却又异常灵活的胖子，满口毛主席语录，不时和胡八一斗嘴，诙谐有趣。他经常自称胖爷，而这点在依托于《鬼吹灯》创作的《盗墓笔记》中也得到了延续。不过电影中王凯旋的扮演者黄渤的身材并没有那么胖，再自称胖爷显得有些违和，于是改成了“凯爷”，可即使这种客观原因，了解鬼吹灯系列的
人也总会认为有着深深的维和感。称谓上不仅这一点，胡八一平日称shirley杨为雪莉，而影片中称呼有时的shirley有时的杨小姐不免让人感觉摸不着头脑。并且影片中关于shirley杨这一角色的设定也值得商榷：她本身毕业于美国海军军官学院，外祖父鹧鸪哨虽然曾是名满天下的盗墓高手，但并非摸金校尉一派，乃是另树一帜的搬山道人。在电影中，从三人拿出摸金符合而为一的场景可以看出shirley的身份也被设定为摸金校尉，这一点是严重违背了作品的人物原设。丁思甜、胡八一与王凯旋本是纯洁的革命友谊，但是为了剧情发展的需要，电影中将三人关系强行发展为三角恋，好像若想吸引观众眼球就不得不将男女关系发展为恋爱，上演男主男二女主女儿的复杂纠葛。虽然有“摸金校尉”三人组，但是深入辽代古墓却不是为了“探墓”，而是为了“圆一个初恋的梦”。这和小说《鬼吹灯》有本质的区别。导演乌尔善曾在接受记者采访时表示，《寻龙诀》是小说《鬼吹灯》的延续，可以看作是《鬼吹灯》第9部。但是看过电影的观众均表示，其实《寻龙诀》的精髓和《鬼吹灯》相差了十万八千里，“《寻龙诀》只是借鉴了《鬼吹灯》的人物和框架。”
也许你会说，这毕竟是面向大众的电影，不需要高精度还原原设的人物和剧情。那我们再看整部电影的情节：朋友男二王凯旋为初恋不顾金盆洗手誓言回国探墓，女主男主废
话二十分钟最终表明为了朋♂友情谊女主什么话都是白说，拜托女主，一开始你不就是说我知道我说什么都没用吗？那你跟男主废话20分钟是在干嘛？和反派公司合作探墓，男二探出口六次失败导致男二朋友男三被抓，反派说再出错就拔掉男三牙，于是此时男二神明附体般一下找到了入口??剧中这些老套路情节的设定仿佛就在说：你千万不要带脑子去想剧情啊这类的话。剧情设定也是十分平庸甚至牵强附会，从一开始设定就能知道结局：救基友，杀反派，除基友旧梦，男主女主天长地久。电影反复出现的感情纠葛真的是看得我都纠葛了起来。关于摸金技术方面，一个电影两个小时，总共过了三关，前两关都是八卦，什么一重缠是一重天说了至少三遍。第三关就是把几个钥匙放进去随随便便扭一扭。还有解读壁画，杨姐姐你都不仔细看看么？墙上别说字了，连画都斑驳不堪了，你说的跟背书似的真的不是在唬人么？还有大反派的设定，我能说无脑么，自己各种信封神学，但是又相信实体，果然是神学搞久了，自己也变神经病了么，还拉着一堆死心蹋地的明知道是扯dan的神学的人来送死。喂，反派手下，对外表现得那么理智的你们在大反派面前就忽然变得无脑了嘛？
也许你又会说，毕竟这只是动作片奇幻片冒险片，剧情没必要那么创新。但是我看《寻龙诀》最大的感受是不紧张也不刺激也不感动，就是“平淡”。虽说平平淡淡才是真，
不过我看一个盗墓电影这么平淡，画风好像有些不对吧！全片虽然大场面不少，可没有一处让我看得心紧的。甚至看到有些地方夹杂的大量信仰之跃、大力出奇迹等“五毛特效”时，我竟然笑出了声。唯一能让我感觉紧张些的是所谓的“大粽子”（鬼吹灯里的说法，可以理解为死尸复活）出现。然而电影全程强调唯物主义，大量的回忆部分有唯物主义、相信科学的说法，影片中针对一些现象也是不顾环境进行强行解说。可是最后就是没对“大粽子”给出合理的解释，让人真的相信是彼岸花让他们复活，虽然男主反复强调这是幻觉，可是那真的是大粽子杀死了人了啊 喂！
电影中最让人吐槽无限的就是各种维和的无厘头。男三不该开玩笑时开玩笑也就算了，男三就是那种性格。但是反派三个标志人物分别用三种语言交流是什么鬼啊？三脚猫一般的英语口语、标准的东京腔日语和没有语调的汉语真的能这么流畅地交流？明知道自己处境危险反派就是不听专业人士的话乱动这乱动那，一次一次的差点丧命你们不长记性吗？雕像神秘消失时来一个强行解说是风化的结果，结果分分钟被吹到的人就成了“大粽子”，这flag立的。最后女主角被用枪比着脑袋时男二这时你语气一变问男主和女主什么时候上的床？严肃点好不好啊喂，女主快死了啊喂。剧中这些无厘头的设定并没有让观众觉得搞笑或是放松，而是觉得相当的多余。
作为一部视效大片，《寻龙诀》的卖点就是华丽丽的美术设计。电影片方一直强调的也是这是一部2.5亿人民币“烧”出来的“提升中国电影工业水准之作”。钱花了是不假，但是，这视效观众是否买账呢？《寻龙诀》的视觉效果的确好于同类型国产片，但距离好莱坞水准还相去甚远。比如内蒙古草原上的石像还有地宫里的黑乎乎的奈何桥以及雕塑，一看就是现代假山石同款，好吗？古墓丝毫没有“文化亲切感”。虽然乌尔善曾表示，地宫古墓特别请来了内蒙古博物院院长当考古顾问，但是这个辽代公主墓并没有让观众感觉到中华文化的亲切感，古墓浮雕倒更像是印度神庙的雕刻。剧中所涉及的古墓文化的确丧失中国特色郝艺（电影的背景主要设计人）本人也承认：“在关卡的设计上借鉴了一些土耳其石窟、印度教走廊、穹顶等具体形态和类似人体的元素。”如此设计，一点都不中国，又怎么能算得上是中国特色的奇幻片呢？
我知道我可能又要挨骂了，但是事实就是事实，我们不能以票房掩盖电影的缺点，寻龙诀的突出部分的确值得肯定，但是敢于接受错误，中国影业才能更好的走向国民走向世界不是么？
【四】:寻龙诀英文版影评
Analysis of “Mojin-The Lost Legend”
Nowadays, a well-known film is shown in the cinemas in China. Its name is “Mojin-The Lost Legend”, also known as “Xun Long Jue” in Chinese Pinyin name. People estimate its future box office will surely exceed 2 billion RMB, which will be a great success in Chinese film industry. I am trying to analysis the internal environment of this great film.
The tangible resources of this film should not be neglected. I believe there are at least five tangible resources contribute to its success. First, the director Wuershan is definitely a key character in the team. Born in 1972 in Inner Mongolia, he has got some international film awards with good reputation. His has successfully directed “Painted Skin II” in 2012, which earn him the master of imaginary film. Second, the main actors in this filmare all big shot. Chen Kun is the chief actor in this film. He has acted several leading roles in different imaginary films in China. He is also a famous singer which earns him a greater range of reputation as well as box office appeal. Shu Qi is the chief actress in the film. She is known as her beauty and nice shape in film industry. Started as a model, her performance skill is becoming better and approaching perfection day by day. Huang Bo is a famous characteristic comedy actor in China. His participation in this film increases the layer and dynamic of the story.
Several of his film is known as the box office champion of the year, which demonstrate his popularity. Third, the scene arrangement of the film is also an important tangible resource. The major scenes are produced in Chinese Film Base in Huairou in Beijing. The whole base has 15 different studios and this film took 13 of all. Forth, the scriptwriter is also a popular character. This film is adapted from a well known tomb robbing novel “Gui Chui Deng”, which is seen as the best of this kind. The writer of this novel is called Zhang Muye, who has a pen name called Tian Xia Ba Chang, which has tong resounded among his readers. He is the scriptwriter and advisor of this film. Fifth, a good technique team is an essential tangible resource of the film. This film has a strong technique team which has more than 2000 people to ensure the fantasticdazzling pictures nail audiences to their seats. Last but not least, tangible resources such as shooting equipment, costumes, stage properties, extras and staff are all essential to the success of this film.
The intangible resources of this film arealso crucial. First, as I mentioned above, the film is adapted from the famous novel “Gui Chui Deng”, which is an intellectual property. Since the team gets the copyright of this novel, it becomes the first and most important intangible resource of the film. “Gui Chui Deng” was published in 2006 and gradually become the top one. It brings the concept of Mojin into the public view. The title of the novel suggests a unique way of tomb digging,
which is lightening a candle in the southeast corner of the tome. Before opening the coffin, the grave robber should check the candle constantly. Once the candle is out, the grave robber should withdraw the action and return everything he/she got from the comb. Otherwise, something bad will happen, usually zombies in the tomb will come out and start to kill. As the novel becomes more and more popular, this concept, also known as Mojin style, becomes the label of almost all tomb robbing related literature products and makes “Gui Chui Deng” to be a great successful intellectual property. The number of the readers of this novel is increasing sharply these years. It is easy to estimate that the readers are the potential audience of this film. Second, this film has a strong investment background. Wanda Media, Enlight Media and Huayi Bros. Media are three major media groups in China. They are all a part of the investment group. They have mature film marketing and operating skills as well as solid public relationship channels, which contribute to the second intangible resource of the film. Third, the good reputation of the actors and the story is also an intangible resource. Lots of people choose a film based on the actors they like before they step into a cinema. This film has six big shotswho are very famous in film and TV industry. Some of them are also singers or models. Their reputation is a key factor to attract their fans and bring them into the cinema. The story adopted from “Gui Chui Deng” also has a reputation, which attract its readers to enjoy and exam it
on the big screen no matter the film is good or bad.
The capability of the film is the joint effort of all sides. First, the director of the film is capable of producing largeimaginary film. His work“Painted Skin II”helps him to strength his unique way of storytelling through camera. Before start with “Mojin-The Lost Legend”, he has carefully examined the original novel for several times. The novel consists of 8 different stories which have abundant film elements. Wuershan picked up the most interesting and essential characteristics from the stories and combined them together. He turned them into film language and retold the story in a new brilliant angle in 2 hours. The whole progress he took is difficult but meaningful. He was creating while learning and adjusting. It takes 2 years for him to finish the final production. All his effort and his diligent attitude ensure his success in this film. Second, the actors are capable of the roles. Chen Kun cast the leader of the tomb robbers in the film. The character needs him to be both tough and smart, who always knows what to do in case of emergency. Chen Kun has the experience of casting such character before. He is able to show him determination and ambition successfully through his performance. Shu Qi cast the only female of the tomb robbers. The character needs her to be sexy and clever, willing to take adventure and fight as male, but can be soft when falling in love. She Qi was a model and kept good body shape. She was seen as the“Lara Croft” in
Chineseversion. She is fully capable for taking a leading role in action film. Most of the actors are seen to be just the perfect image of the roles in the eyes of fans.Third, the background music of the film adds flowers to embroidery. All the music works are come from a very unique Inner Mongolian rock band called Hanggai. This band consists of 7 musicians who are all come from Inner Mongolia, which is also the place where this film was shot at. The music goes with the scenes harmonically that enable the film catch the inner feelings of the audience.
Sometimes the success of a great film belongs to accidental, but it usually under cover certain factors. These factors are the core competence of the film. “Mojin-The Lost Legend” is a successful one in terms of box office as well as audience’s response. There are at least 3 core competences contribute to its success. First, the visual effect is strong enough to hold the all the scenes. Since this film is about zombies, tombs, ghost and unrealistic world, the production team has to create an imaginary world out of nothing. It is said that more than 80% of the shots are producedwith special effect. It takes about 100 million RMB to ensure the perfection of the image. Also, the timeline start with 1980’s, then goes back to 1970’s, and finally turns to modern New York and Beijing. Different time setting requires different costumes and stage properties. The production team fully aware of it and create variety of different imagery systems. Some scenes draw on the experience of Turkish rock
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