《夏日之王》影评精选10篇
《夏日之王》是一部由乔丹·沃格特-罗伯茨执导，加布里埃尔·巴索 / 尼克·罗宾森 / 莫伊塞斯·阿里亚斯主演的一部剧情 / 喜剧类型的电影，文章吧小编精心整理的一些观众的影评，希望对大家能有帮助。
太忙乱，没有看清楚时间就去看试映，结果提前１小时到场，当时就想要是这没有啥明星的青春片不好看，那可亏大了，加一起算是要浪费俩个半小时啊。很幸运，从序幕开始就和周围的观众们一起爆发出阵阵笑声。实在是没办法，这就是一群老二大二中二小二演员，演绎的一段轻松的，带些小感动的文艺少年故事。
编剧很聪明，选择少年的视角，所以一开始就是无奈的小帅哥们如何面对问题家长的反转，小帅哥们没办法，只好跑反去树林里自己动手建设个属于他们的小屋。期间发生了种种可乐的故事，但是美好的一切由于小美女的到来，彻底毁灭。在所谓的爱情面前，友情或者基情是那么脆弱。不能再剧透，其实也没啥好透露的，就是一个很简单的小故事。每个小男孩都曾经希望能有个只和朋友分享的秘密小屋或者据点，俺也和三个小朋友用建筑工地的废门板，在小时候的大院荒地里搭起一个到处漏风的小棚子，大家一起在那里打牌，分享从家里偷来的各种零食。
由于导演把观众定位为青少年和喜欢找乐子的成人们，因此致力于搞笑，对白着实精彩，人人都被设定为不同程度的二，不管你有没有台词，有没有露脸，每个人都得至少二那么一下。不能不说片中小二，虽然体型是那么瘦小，但绝对是二的毫无天理，没有他的搞笑，该片堪称鸡肋。在这种情形下，观众几乎忘记了美丽的镜头和精彩的配乐，也不在乎有没有深刻内涵，就是呵呵哈哈，甚至上一段还没有缓过劲，下一个包袱又抖出来了，简直有点疲于跟笑。还有几次，大家都笑完了安静下来，突然有位，狂笑几声，然后发现整个影院就他自己的笑声，于是赶紧急刹车，您就明白了啥叫“噎”然而止。最搞笑的是，当剧中“不地道”的小美女和帅哥坐在土坡晒夕阳时，观众和忧郁的小男主一起伤心到鸦雀无声的境界，坐在旁边的美女突然指着荧幕大声说，“look, that BITCH dressed like me”，我和她男友还有周围的观众，都惊奇的看到她挥舞自己的裙角，虽然大伙都发现她的裙子还真是一模一样，但是因为她说dressed太快，产生歧义，大家对视一眼后，摇着头看着她，先是微笑然后大笑，美女刚开始瞪着大眼睛不明白，随后突然醒悟，捂着脸也乐了。
虽然后半段比较俗套，还有一段残忍镜头，可能会被删减。总体来说这样清新的文艺小品，硬是被夸张的表演二到观众也被感染了，最后大家笑呵呵的鼓掌谢幕。由于赶时间，俺立刻退场，出口走廊处有人对我说谢谢，抬头一看原来演员们在等着字幕放完后上台和观众互动，顺便对每位看完先离开的观众致意。赶紧对那三个活宝说感谢带给大家如此好笑的电影，尤其是那个最神的小二Moises Arias，这位放弃剧中最213造型，原来是三小伙中最帅的一个，而且演的最好，那段独舞直逼Napoleon Dynamite，于是对他说“没有你电影就不够精彩，我很看好你奥”。在皮特等帅哥美女们老去时，好莱坞在不断推新人，这几位就这样的势头演下去，将来值得期待。
《夏日之王》影评(二)：Those little Kings and Queens
After watching 'The Way Way Back', I came across this quirky movie. I was firstly attracted by the name, and then the poster, and then of course the trailer, although i have to admit that it almost got me rethinking whether it is my 'cup of tea', now after watching it, I am so glad that I didn't cross it off on my viewing list.
The story is about a rebellious teenage boy, Joe who can't bear his grumpy and distant old man. Together with his childhood best friend Patrick and a funny looking boy Biaggio, they ran away into the woods, built a house from scratch, and started their own life 'into the wild'.
I really love to watch 'coming-of-age' films because you as an audience can actually witness the physical and psychological change of the main characters, however it is almost impossible to make a 'coming-of-age' film without being criticized as 'cliched'. 'The Kings of Summer' is written, directed, and produced by 'men-boys', and I assume it is precisely a bunch of men/boys they are trying to attract.
I still remember in Harry Potter and the Goblet of Fire, Professor McGonagall told her pupils that "boys are like lions ready to prey; girls are like flowers, gracefully waiting to be awaken'. Well, this film, like I said is about men, made by men and enjoyed by men. I can almost imagine the process of ｓｃｒｉｐｔ-writing and production, how much fun they were having.
The film is about 'escaping into the wild and become a man of his own', and it is also about 'girls being bitches destroying male bonding'. Don't get me wrong here. I really enjoyed the film and its vibrant soundtrack and gorgeous cinematography, however it is the underlying philosophy which those film-makers assume would work that I am objecting.
There are a great number of stories about escaping the phony adult world or some unbearable families in which from the child point of view, everything his (normally his because girls escaping into the world are just too unconvincing) parents do triggers more anger within him. The only way to be a man of his own is to run away, into the wild, without taking any responsibilities. To build a tree house (in this case, a real fucking house with basket ball ring, a slide and a mailbox) are the dream-comes-true experience for many men/boys. In the end, it is the gloominess and restrains of the adult world these boys are trying to run away from. This become a dream so deeply buried in their subconscious, and you can often hear them saying 'if I could be a boy again'. And this is also why there are all kinds of movies about a bunch of guys doing ridiculous stuff just trying to reminisce their boyhood.
The film really got me upset when Joe told Patrick, while sipping beer on the hills, "now all we need is a soft hand." It followed by Patrick teasing: "Oh we got Biaggio." It cheaply plays with the sexuality of Biaggio as he once told Joe that he thought he doesn't have a gender and when Biaggio finally 'came out' to Joe that he thought he is 'gay' his definition/symptom of 'gayness' clearly resembles what TB might be diagnosed.
The character of Kelly is the one who really pisses me off. She is, as many films of the same genre, gorgeously blond and beautiful. Her appearance, as many films of the same genre prompts the mental growth of a man. Kelly is not important in this film. She is the object that breaks the bonding between Joe and Patrick. She is the thing that makes Joe hate Patrick while Patrick hate himself for being in love with the girl. We the brothers fight, and when Joe calls her 'bitch', she is helpless and desperately begging for forgiveness. She can't do anything but leave. It is classy!
Overall, it's a wonderfully ｓｃｒｉｐｔ and intelligently made film. I highly recommend it! 7/10
《夏日之王》影评(三)：刮胡子
说剧情弱，也算可以啦，不过青春之歌还要怎样深刻呢，至少开场那段舞，值回票价。
值得留意的是最后森林小子回来了，在厕所刮胡子的场景。洗脸、喷去味剂、刮胡子。每做一件事，都插播一点森林的树、流水、阳光、动物，在风中摇动的树叶，从树叶间穿透的阳光，阳光下的流水，隐约小心的动物们，原始世界一如既往。
对森林来说，你们来过，你们又走了，对这片森林来说，多了一个小屋，和多长一棵树，没有太大的区别。
对人来说，离开那里，就是全然不同的世界，以后那个世界不再是日日身处的环境，不再需要面对同样的困难，现代社会要让一个人存活下来，其实实在是太方便了。
真的要回到尘世，就要洗去原始。对森林来说人的来去没有什么不同，对人来说，谁知道呢。但留唇上软须，来日再说吧。
《夏日之王》影评(四)：A sweet sense of nostalgia.
The bizarre Biaggio role had me laughing throughout the entire movie. Arias gives stellar performances and seems so natural in his character. The film starts off slowly, as u watch longer with the modest expectations u'll find a lot of comic relief and appealing moments. This non-blockbuster transports u back to ur juicy teenage years. It got that sort of indie vibe, u need to accept on its own terms. The Kings of Summer ~ A crowd pleaser fills u up with a sweet sense of nostalgia.
《夏日之王》影评(五)：让生活发生改变，故事就会精彩
转自 Christopher Cline的影评
quot;A pleasant throwback to the coming-of-age & slice-of-life genre..."
The American cinema has been dominated for many years by the beast that is the "action blockbuster". In a year that has been dominated by action flicks like "Jack The Giant Killer", "Oz, The Great and Powerful", "GI Joe : Retaliation", "Olympus Has Fallen", and not to mention "A Good Day To Die Hard", a simple coming-of-age comedy is easily overlooked by the common movie goer. But as always, there are exceptions every now and then where a small- time independent film with a good story, good cast, and a good marketing strategy seeps through the cracks in the foundation of cinema society and becomes a target of interest. Some notable examples of these "independent gems" of the 21st century would include: "My Big Fat Greek Wedding", "Juno", "March Of The Penguins", and...still much to my surprise..."Napoleon Dynamite". As such, I have tremendous confidence that "The Kings Of Summer" will achieve some level of notoriety for it's effort in capturing a very welcome offbeat and whimsical interpretation of the coming-of-age and slice-of-life film genre. The story focuses around three young boys who have just finished their first year of high school and are unfortunately finding the first few days of summer to be a less than welcome reprieve. Our three misfit teenage protagonists are Joe Toy (Nick Robinson), the out-of-touch teen who struggles to find peace of mind with his less than affectionate widowed father Frank Toy (Nick Offerman). Patrick Keenan (Gabriel Basso), the awkward silent type with the overly involved parents (Mark Evan Jackson & Megan Mullally), who struggles with finding independence and personal freedom under the clouds of parental control. And finally, Biaggio (Moises Arias), the very rare embodiment of social awkwardness and complete and total lack of personal sophistication teenager, that invokes a combination of amazement, bewilderment, and pity simultaneously from the common viewer. It's a role that cannot be explained...only watched. As these three boys grow emotionally exhausted with there seemingly pointless lives, Joe Toy hatches the idea of leaving their old lives behind and building a house from scratch in the unexplored wilderness of Ohio. Together, the three of them run away from home, determined that they can live off the land without parental control breathing down their necks and quickly erect a make-shift house of their own from forest growth, and abandoned (and stolen) construction materials. While the thrill and excitement of their accomplishments fuels them for a time, after a couple of weeks in the forest on their own they quickly realize that the responsibilities that come with adulthood aren't exactly the joys they had hoped for. While the plot is relatively simple on paper I have yet to see a film where it unfolds in such charming originality as it does here. It's a "gawky" and "cutesy" storytelling style that relies on it's own social awkwardness to bring out the genuinely funny moments and the dramatic transformation of our heroes in question. It can be classified in my book as both an "experimental indie-film", and a potential modern day "classic". But either way, it's an all around fun film! While there is the occasional editing goofs and mishaps that come with indie-films the cinematography is quite good and really captures the forested landscape with a poignant artistic fashion. But ultimately, this story is nothing without the characters! The story would not be nearly as memorable if it wasn't for the talented cast of actors that fully drive the plot of this story. Robinson and Basso are right at home in their roles and the friendship between them is very well written and performed. I rarely felt that the acting was forced or overdone. Offerman, Mullaly, and Jackson also give stellar performances as the parents, bringing the typical comedic talents they have been known for in their previous works on screen. But Arias as "Biaggio" is quite possibly one of the best comedic performances I have ever seen a young performer give . It's a wonderfully bizarre role that fully encompasses both the awkwardness and the sincerity of a social misfit. The role is so over-the-top that it's amazing that Arias can make it look so natural and genuine. Ultimately, it's a film worth seeing by a mainstream audience and I'm hopeful that CBS Films will be successful in achieving this goal. It's done very well on the independent circuit so far, and it's national opening is currently June 7, 2013. Director Jordan Vogt-Roberts is relatively new to directing and film-making, but this is definitely a great start to a hopefully great career. While it may not be everyone's personal favorite film, it will without a doubt leave its own unique imprint on the viewers who watch it. It strives to be original, funny, intriguing, and somewhat life changing, and I say it hits the mark very well on all of these points. Only time will tell whether or not this film makes it's way to the level of popularity as it's aforementioned indie predecessors of yesteryear.
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作者大多表露出对独立电影的期望与赞美。独立电影依靠一种真实平和的力量打动观众，更能走入到观众的生活中去。这些成功的独立电影就如作者所说一样，着力于让故事原创度高，幽默有趣，让普通人的生活发生改变。
《夏日之王》的题材横向来看再普通不过，关乎青少年的成长和自我认知。但其有趣的叙事结构和镜头间节奏的把握，让电影质感更加清晰，仿佛这个夏天就发生在你身边一样。主角和他小伙伴们的故事如同发生在沉闷的午后，但导演在这个故事中加入了“比阿基奥”，这个古怪的男孩每次莫名其妙的出现在镜头前，怪异的行为更加符合森林所处的这个环境，在充满惊喜和力量的自然面前，格外契合。
每一年sundance都能给大家带来感动和惊喜。赞同作者的说法，独立电影的精彩，只有靠时间来告诉你。
《夏日之王》影评(六)：噢seventeen
音乐，摄影，剪辑，色彩。
片尾曲seventeen很适合这电影，Joe和他爸交替剪辑对照那段，他终究是没逃出他最想逃离的那个家，那个被他老爸霸占的家，那个由他老爸rules的家。
即使十几，你的未来，基因还有你老爸在那。
kelly半夜爬上阁楼，Joe看着正前方那身影愈加曼妙，黑暗中幸福地咧开了笑，笑得那么开心，似乎梦想实现的那一瞬间的笑容就是如此。但是Kelly找寻的是那更前方，另一个个体。当Kelly的眼神与Joe错过，那Joe本来欣喜准备对接的蓝色眼神，一种颤抖在逐渐滋生，伴随着寒冷的，绞痛的绝望。背后的她俯下身，轻轻唤醒了Patrick，然后是两个个体带着体温走开了，他们留下的余温随着时间渐散，寒冷的绝望这时该冷到了极点，Joe被这份心中的冰寒冻僵了躯体，他唯一还能动的眼睛现在也只是睁着。很久很久，直到灯光师把橘黄色的灯具升起，让橘黄洒进片场，假装温度渐升，假装化开了Joe体表的僵硬，只是Joe依旧不动，没人知道他僵硬的外壳下那颗心怎么样了，他可能到达了二维，在那边度过了很长一段时间，也可能到达了四维，仅仅度过了一瞬间，无论如何，那颗心变了。再然后，那个身影再次徐徐出现，带着一层金黄，依旧曼妙，可是随着心变了，有种莫名的东西也变了。这种莫名突然无意识中变成一种冲动，让Joe猛地闭上这不知睁了多久的眼皮。但是，眼皮后的瞳孔开着，似乎还能看到光，透过了那层薄膜的光。那份光中，身影依旧在，依旧如此美丽，只是，再不敢除去那层薄膜的阻挡。Joe依旧僵硬，面前，隔着眼皮的眼神前，那个女神，那个bitch说着什么，他不知道能做些什么，就让僵硬成为借口吧。恩，她走远了。立刻地，硬直消失了，像是那个女人施了魔法一般，Joe翻了个身，他是一个唇红齿白的少年。
《夏日之王》影评(七)：有笑有哭
看完以后心里说不出的感动，另外一种喜剧，观赏完以后全身都舒服。
每个人都有一段叛逆阶段，家里生活的不愉快，学校里的种种烦恼，焦躁的心情铸就了我们的叛逆，在城市中能发现自己的一片绿地，用自己的双手创造它并和最要好的朋友一起去发现它的美；曾经迷茫的时候，我也曾离家出走，虽然只是短短的2天，但是那两天对我的影响无法形容，改变了我的人生观，让我明白家的意义，亲情的冷暖。
影片中对友情刻画的让人深陷其中，尤其是当乔和帕特里克两人坐在土坡上，看着日落和森林，聊着他们的那些事；比奴基奥神经质的言语，动作和他的敢做。他们三个人在管道的那段表演，看的真的很舒服，很羡慕他们；
爱情也贯穿影片当中，当我看到乔和莉那么甜蜜的在一起，有说有笑，晚上莉登上来时，乔睁开眼露出笑容的时候，她却找了帕特里克，我的心情真的和主人公一样低落，那种感觉像是被人猛捶胸口的感觉，换成是我也会无法接受。
天马行空的想象虽然不切实际，却又让人感到真实，混沌的日落，翠绿的森林，耀眼的阳光，金黄的麦田一直出现，温暖的感觉，影片结尾又再次回归到森林里的小屋，那是叛逆的见证，是我们每个人的经历。
《夏日之王》影评(八)：用一个夏天去长大
三个少年为逃避父母的管束，为摆脱所谓的“稚气”，离家出走在森林里自食其力地建了间木屋子，在没有电灯、没有网络、没有约束、没有帮助的情况下，他们学会了如何劈柴、打猎……他们更重新定义了家庭、朋友、爱情、勇气等，这便是圣丹斯电影节上的获奖作品——《夏日之王》，一部颇具感染力的小清新独立电影。
电影本身就具有小清新影片所具备的各种灵动与鲜活，镜头毫不吝啬的捕捉到了明媚温暖的阳光，静谧的草地，清亮的湖水，各色动物，给人以一种神清气爽的感觉。而影片中的三个少年的精彩演出，也让观影人在看罢影片后情不自禁地陷入思考之中。
青春期的少年们多有一颗躁动的心，渴望获得自由、渴望获得肯定，然而父母们似乎却始终没有意识到如此变化，就像影片中，Joe的父亲限制其外出自由，甚至无理的要求儿子必须在七点半上床睡觉，而Patrick的父母细致到衣服要穿什么颜色。逐渐的，父母过多的管教与约束使他们的英雄形象开始崩塌，当冲突爆发，孩子的离家出走似乎也是意料之内。而当身处野外，要独自面对广阔的大自然，少年们似乎并没有被吓倒，相反，他们很是享受可以睡到自然醒、可以外出打猎、可以自己为自己做主的时光：在悬崖纵身跃入水中、在林子中疯子般地跳舞、躺在花海中什么也不想、在夕阳的照耀下喝啤酒、在淙淙流水边拉小提琴……那时候，他们从没有想过远在林子外焦急等待他们回家的父母，正在想方设法四处寻觅，不是为了其他，只是乞望他们能回家。
身处青春期，或许每个少年都曾把他们的父母作为烦恼的根源之一，会觉得父母事无巨细的关怀像苍蝇一样在耳边嗡嗡作响，会把他们的缺点无限放大，直到忍无可忍，甚至觉得父母其实并不爱你，质疑他们究竟是不是你的亲生父母，就像Joe在片中说过的气话“他不是我的亲生父亲，我和他没有血缘关系”。然而，会说出这样的话并不是因为要伤害谁，只是我们都太年轻，太想告诉我们的父母：现在的我们已经长大，我是一个男子汉，我可以照顾自己。
年少时的我们，尽管依然弱小，却毫不畏惧，一往无前。或许没有人能想到三个少年能坚持了那么久，但像这样自由自在的生活不可能是一辈子，自然而然地便等到了瓦解的一天。那时，父母们终于知道了少年们的需要：当初的小屁孩已经长大，他们能够照顾自己的，或许能做的就是给予他们更大更广的自由发挥的空间。而对于少年们，有些东西失去了，便不再复返，那时，只有学会释然才能让自己继续走下去，而对于还拥有的，譬如亲情、譬如朋友，我们还应该学会珍惜，而不是二话不说就一走了之，也不是在争吵中把对方赶出自己的世界。
或许，这就是成长吧，在跌跌撞撞中，在懵懵懂懂中，更看清了亲情与友情的纯真本质，学会用一颗真心去体会身边的爱与感动……
《夏日之王》影评(九)：三个少年的小屋
不知道为什么我总感觉把这部电影简单的翻译成“夏日之王”似乎不那么贴切，当初下载这部影片时是抱着试试看的心态，直到看完才发觉这是部不错的影片。没有暴力、没有色情、没有浮夸，就是简简单单的少年维特之烦恼似的淡淡的忧伤。这种烦恼与忧伤每个人在成长过程中都遇到过，有的做出过挣扎，有的默默接受。现在回过头来再看看这部电影我的心情无法平静，我不知道我是应该建议家长朋友都去看看这部电影，还是应该建议青少年朋友都去看看这部电影。
虽然我已经是成年人了，但是我还是那个不谙世故，不善交际的我。即便我的许多同龄人都已经娶妻生子，为人父母，但是我还是孤家寡人、孑然一身。我不知道我是怎么了，总感觉自己和这个社会格格不入，甚至是异类状态下的生存。于是我经常反思自己的成长，每个人的成长环境都是不一样的，不一样的成长环境，铸就出了不一样的性格。在我的青春期里我也是叛逆的、挣扎的、痛苦的，是谁造成了我的痛苦，我的痛苦解决了没有，我该怎样摆脱痛苦。一系列的命题在我看完这部影片之后亟待解决。
20岁之前我没有见过森林，虽然我家是农村的，但是得益于农村包围城市的政策，我见惯了速生丰产林，却从没有见过真正的，属于大自然的森林。直到我22岁开始一段独自一人的穿越之旅，我骑着自行车丈量着祖国的大地。在西藏的波密，我见到了真正的叫做森林的地方，我悄悄的对自己说：我想造一间小木屋，面朝雪山背靠着湖。我想养几条流浪狗，门前再种上几棵树。
今天，我在异乡的土地上。每天工作着，拿着微薄的薪水想着家。想着属于我自己的夏天，那个夏天。
《夏日之王》影评(十)：我的森林木屋
成长是件很艰难的事。把形状未定，身量却已不小的脚，挤入大人世界的鞋子，充满困惑和摩擦。Coming of age属于很流行的电影题材，但常常就拍得大开大合，残酷青春刀般锋利等等等等。让人涌起和中年人相似的引酒浇愁倾向，却又内心发虚我这是强说愁吗？
所以《夏日之王》不下重手，往轻里拍，还能拍出青少年时期，那种与父母朋友异性，都有点膈应的尴尬，刺儿头小子与他人，与自己的赌气，真的很难得。
从另一方面讲，美国人很善于圆熟得讲故事，每隔三分种塞入一个笑话（也确实超好笑），结尾再狠狠得按“温情”的按钮。这样的电影很可口，传递了正能量，却没有自己的特质。而《夏日之王》就像放暑假一般，卸下了成熟模式的包袱，自在的走到森林草地里，拍拍日落，拍拍水管舞，一大段没对白也无所谓。开心得不得了！少年不适应成人的规矩和困顿，就创造自己的世界，自己的规则。电影也可以从老路数里逃脱，在野地里开荒，撒欢。
我也在奶奶家的后山上，搭过自己的森林小木屋。留出做窗户的那个正方形的洞，还找了同样大小的一片蜀葵叶子盖上，如同百叶窗一样，即遮阳又透光。我对自己的设计满意极了，跑回奶奶家偷了一大碗蒸好的番薯，在我的木屋里美滋滋得盘腿坐着吃，一手一脸都黏黏的，甜甜的。
怎么能不喜欢这样的夏天呢。