《在上帝的领土游戏》经典影评集

　　《在上帝的领土游戏》是一部由海科特·巴班克执导，汤姆·贝伦杰 / 约翰·利特高 / 达丽尔·汉纳主演的一部剧情 / 爱情类型的电影，特精心从网络上整理的一些观众的影评，希望对大家能有帮助。

　　《在上帝的领土游戏》精选点评：

　　●演凯西贝茨的老公

　　●有 Tom Waits 呢. :)

　　●Aidan Quinn脑残粉，我叔的电影必须得顶

　　●人们要接纳异种文化总是非常困难，不理解和不认同感让我们恐惧、恶心。我觉得经过彼此了解的过程后，我们应该放下偏见，不因容貌和生活方式的差异而惊慌失措，而是互相关心、求同存异。这样才能避免悲剧发生。

　　●这就是人类文明的图景！这就是对种族冲突的解释！

　　●看得蛋疼

　　《在上帝的领土游戏》影评(一)：致人类的过去与未来

　　人们要接纳异种文化总是非常困难，不理解和不认同感让我们恐惧、恶心。同源的人类况且如此，若有向往和平共存的外星文明与我们相遇，就当今多数人来说应该只有恐慌和毁灭两种应对心理。 我觉得经过彼此了解的过程后，我们应该放下偏见，不因容貌和生活方式的差异而惊慌失措，而是互相关心、求同存异。这样才能避免悲剧发生。

　　《在上帝的领土游戏》影评(二)：人類前文明圖景

　　本片提供了人類前文明時代的生活圖景，一種羣居時代的生活可能。在這個意義上印第安人足可以稱為人類的活（著）化石。感謝導演用三個小時的時間為我彌補了這方面的知識。

　　此外，本片最震撼我的在於MARTIN最後的總結：對印第安人最文明的方式就是不要影響他們。開始白人對他們是殺戮，然後改為影響他們，改變他們，以告訴他們外面世界的方式讓他們文明，成為公民。可是，結果卻是，印第安人沒有死在白人槍炮下面，卻因為文明人帶來的疾病一片片死去。這種死法簡直和槍炮的死法異曲同工，很諷刺，很黑色幽默。無論那種方式都是以印第安人的消逝作為代價。所以，MARTIN才說最好就是什麽也不要企圖去改變。

　　MARTIN很善良，很是好人。他是唯一對印第安人沒有任何成見的，最後唯一的兒子死了，自己因為保護他們被他們殺死。導演的意思就是兩種文明的衝突必然帶來兩邊的犧牲。但是，就更廣泛的層面而言，印第安人犧牲得更多，更徹底。儘管我很喜歡片中的MARTIN，對印第安人飲毛茹血的生活方式感到毛骨悚然，這也不會模糊我對這段歷史的理性判斷。

　　《在上帝的领土游戏》影评(三)：转载

　　Adapted from the widely heralded but unread Peter Mathiessen novel, Hector

　　abenco's "At Play in the Fields of the Lord" has the feel of being several

　　chapters lifted from a Joseph Conrad-inspired genealogical expedition by James

　　A. Michener titled "Amazonia." Some of us would argue that he already wrote

　　omething close -- "Hawaii." And the 1966 movie of it comes to mind as "At

　　lay" proceeds to lay its episodic groundwork: Tom Berenger as a Rafer Hoxworth

　　with an ethnic consciousness; John Lithgow as the black and Aidan Quinn as the

　　white version of Abner Hale; and Kathy Bates as the fattened-up ancestor of

　　Abner and his wife Jerusha. While nothing in Mathiessen's or Babenco's versions

　　of the perils of White God Redemption is all that new -- it's still the same

　　old White Man rape of supposedly unGodly cultures for religious power and

　　commercial gain -- there's a twist here that keeps you interested: an American

　　Indian (in the movie, Berenger) literally dropping down from the skies to

　　ecome the Amazon Indians' Kisu Mu -- the Thunder Spirit. It's Gabriel Garcia

　　Marquez's "Old Man With Enormous Wing" darkened and without the magic.

　　What keeps the movie from becoming better than it turns out is its

　　obviousness: just about everything -- from corrupt police to machetes as

　　ribes, from bells subtly tolling in the background to epidemics -- is

　　ham-radioed in, even before the principals turn theirs on. And though we know

　　that the heat, insects and various illnesses while filming hampered production,

　　ome of the actors just aren't delivering. They appear to have given in to the

　　climate -- they're sluggish, dehydrated, missing beats in their line readings;

　　the general tone, except for Berenger and sometimes Quinn, is, "Let's get this

　　over with asap." Hindering Babenco may have been his lack of knowledge about

　　ates and Lithgow -- that they need directors who stay on top of them, keeping

　　them from going flaccid, preventing them from reciting their lines on a par

　　with sloppy e-mail; when you hear Lithgow reading from a letter, you'll know

　　what I mean. As a converter for the Lord, Quinn is miscast -- Bates calls him

　　quot;a regular little four-eyed Jesus" -- and he doesn't have anything resembling a

　　elievable married relationship with Bates; you wonder what's the matter with

　　him that he got stuck with her. Come climax, however, he's the turmoil of

　　religious confusion, the bearer of delayed honor and the eventual tragic

　　acrifice that the fields of this Lord demand.

　　It's Berenger's performance the movie has to rest on; if you can accept the

　　convenient mechanism that on one ordinary day he lands his plane down in the

　　Amazon and finds his need to re-establish his roots suddenly mushrooming and

　　therefore has to parachute backyard into his linkable origins to save "his

　　eople" from white man's exploitation, then you'll be fairly engrossed. If you

　　don't, then nothing he does will matter. (You'll find yourself hoping that

　　ates does one of her "goes bananas" numbers, and you won't be too

　　disappointed.) What he has to do many other actors wouldn't, but that he keeps

　　holding his backpack (？) over his privates can drive you crazy -- not because

　　you don't get to see his measure but because it gets so damned distracting. But

　　ot paralyzing; Berenger is soon given an Indian brief and from that moment on,

　　he becomes so assimilated into the tribe that he's like camouflage. (The makeup

　　and hair design by Jaque Monteiro.) His native look has one comic bit -- when

　　he's peeking at a nude Daryl Hannah. Babenco's direction of the Indians is a

　　wonder and rarely have I seen actors in group sequences avoid the camera with

　　this much diligence; these actors have a no nonsense approach to their duties

　　and in some moments -- when, for example, the flu strikes -- what they achieve

　　in unison appears so real that you keep having to remind yourself that these

　　eople coughing and trying to rub away the chills are performers.

　　hotographed by Lauro Escorel, this Amazon is safer than what we've seen in

　　other movies: no snakes (except a dead one), no infestations of ants or other

　　creepy crawlers; it's a habitable environment. Concentrated doses of the jungle

　　aren't beautiful after a while -- the greenery and earth floor blunt the senses

　　through prolonged exposure -- but there are aerial shots by Stan McClain that

　　howcase the region and the best come when Berenger flies toward a waterfall.

　　The lulling mist from the falls is breathtaking in its panoramic delicacy and

　　enhanced by the almost classical music by Zbigniew Preisner. If you can get

　　ast the first forty minutes, you should be able to go all the way. You'll wish

　　it had a stronger narrative push, and that the action was speedier, but, given

　　Waco and other martyrs, it's a useful refresher course: all of us need to be

　　reminded about the charlatans who pass themselves off as messengers of God.