我们不是天使 正片

分类：喜剧片 地区：美国年份：1989

主演：罗伯特·德尼罗,西恩·潘,黛米·摩尔,霍伊特·阿克斯顿

导演：尼尔·乔丹

更新：2023-06-17 19:16

简介：奈德（罗伯特·德尼罗RobertDeNiro饰）和吉姆（西..奈德（罗伯特·德尼罗RobertDeNiro饰）和吉姆（西恩·潘SeanPenn饰）是两名逃犯，在逃亡的路途中，他们来到了一个地处偏远的小镇。阴差阳错之下，奈德和吉姆成为了牧师，而很快他们便发现，在这个小镇上，牧师享有着极高的地位和声誉。就这样，奈德和吉姆这两个毫无信仰，对神学一无所知的混混们开始了他们的牧师生活，在这里，奈德结识了名叫莫利（黛咪·摩尔DemiMoore饰）的姑娘，莫利的悲惨身世让奈德很受触动，随着时间的推移，两人之间产生了真挚的感情，而吉姆亦在小镇中重新体会到了友情的美妙滋味。不幸的是，正当奈德和吉姆沉浸在小镇平静的生活中之时，一直追捕两人的监狱长来到了小镇。©豆瓣{if:"

Not to asperse the gladsome Christmas vibes, but Michael Curtiz’s Bogart star vehicle WE’RE NO ANGELS is such a plodding pipsqueak dwarfed in front of their canonized work of CASABLANCA (1942). The comparison might not be fair as the two movies belong to tonally disparate genres, but the sticking point is that Bogart is anything but a top-line comedian, and the picture’s lavish Technicolor and VistaVision treatments only make him look out of sorts, why he looks so dismally gray and grimy, standing side by side with a rough-hewn Aldo Ray and a rubicund Peter Ustinov?

3 escaped convicts from Devil’s Island, French Guiana, fetching up in a nearby colonial town right before Christmas, intend to rob a store managed by the Ducotel family. However, impressed by the household’s impeccable goodness, they are, instead, very much obliging in solving their problems, from financial snags, familial inheritance to a damsel’s suitor. During the process, unregenerate antagonists are effortlessly disposed of (offscreen by their poisonous pet snake called Adolphe), and in the end of the day, those three non-angels even reckon that prison might be a better place than a free world at large, facetiously decide to go back in incarceration, which also jocosely suggests their prison-springing outing can be fêted as an annual thing to spread goodwill and merriment.

That said, the whole picture is seminally crippled by its ponderous pace and slapdash, even languid execution of the directorial guidance, often the story plays out with the clunkiest line-delivery uttered by thinly-developed, black-or-white characters, twinned with hugger-mugger spatial mobility, even festive strains are supplanted by the melancholic rendition of Sentimental Moments, sung by Joan Bennett’s materfamilias, arguably the most all-round role in the fold, albeit still a stock mother figure.

Among the three leads, our saving grace is Ustinov, preferably arch and has a knack of gingering up the rote plot with his own conspiratorial expressions and small gesticulations, like his Jules’ safecracking legerdemain, seeing is believing!

Anyhow, WE’RE NO ANGELS is a storybook bonhomie-preaching fantasy that seems only opportune in the holiday season, other than that, one’s inherent low quotient of sufferance might significantly ruin that willingness.

referential entries: Curtiz’s WHITE CHRISTMAS (1954, 6.7/10); CASABLANCA (1942, 8.9/10). "<>"" && "

Not to asperse the gladsome Christmas vibes, but Michael Curtiz’s Bogart star vehicle WE’RE NO ANGELS is such a plodding pipsqueak dwarfed in front of their canonized work of CASABLANCA (1942). The comparison might not be fair as the two movies belong to tonally disparate genres, but the sticking point is that Bogart is anything but a top-line comedian, and the picture’s lavish Technicolor and VistaVision treatments only make him look out of sorts, why he looks so dismally gray and grimy, standing side by side with a rough-hewn Aldo Ray and a rubicund Peter Ustinov?

3 escaped convicts from Devil’s Island, French Guiana, fetching up in a nearby colonial town right before Christmas, intend to rob a store managed by the Ducotel family. However, impressed by the household’s impeccable goodness, they are, instead, very much obliging in solving their problems, from financial snags, familial inheritance to a damsel’s suitor. During the process, unregenerate antagonists are effortlessly disposed of (offscreen by their poisonous pet snake called Adolphe), and in the end of the day, those three non-angels even reckon that prison might be a better place than a free world at large, facetiously decide to go back in incarceration, which also jocosely suggests their prison-springing outing can be fêted as an annual thing to spread goodwill and merriment.

That said, the whole picture is seminally crippled by its ponderous pace and slapdash, even languid execution of the directorial guidance, often the story plays out with the clunkiest line-delivery uttered by thinly-developed, black-or-white characters, twinned with hugger-mugger spatial mobility, even festive strains are supplanted by the melancholic rendition of Sentimental Moments, sung by Joan Bennett’s materfamilias, arguably the most all-round role in the fold, albeit still a stock mother figure.

Among the three leads, our saving grace is Ustinov, preferably arch and has a knack of gingering up the rote plot with his own conspiratorial expressions and small gesticulations, like his Jules’ safecracking legerdemain, seeing is believing!

Anyhow, WE’RE NO ANGELS is a storybook bonhomie-preaching fantasy that seems only opportune in the holiday season, other than that, one’s inherent low quotient of sufferance might significantly ruin that willingness.

referential entries: Curtiz’s WHITE CHRISTMAS (1954, 6.7/10); CASABLANCA (1942, 8.9/10). "<>"暂时没有网友评论该影片"}

Not to asperse the gladsome Christmas vibes, but Michael Curtiz’s Bogart star vehicle WE’RE NO ANGELS is such a plodding pipsqueak dwarfed in front of their canonized work of CASABLANCA (1942). The comparison might not be fair as the two movies belong to tonally disparate genres, but the sticking point is that Bogart is anything but a top-line comedian, and the picture’s lavish Technicolor and VistaVision treatments only make him look out of sorts, why he looks so dismally gray and grimy, standing side by side with a rough-hewn Aldo Ray and a rubicund Peter Ustinov?

3 escaped convicts from Devil’s Island, French Guiana, fetching up in a nearby colonial town right before Christmas, intend to rob a store managed by the Ducotel family. However, impressed by the household’s impeccable goodness, they are, instead, very much obliging in solving their problems, from financial snags, familial inheritance to a damsel’s suitor. During the process, unregenerate antagonists are effortlessly disposed of (offscreen by their poisonous pet snake called Adolphe), and in the end of the day, those three non-angels even reckon that prison might be a better place than a free world at large, facetiously decide to go back in incarceration, which also jocosely suggests their prison-springing outing can be fêted as an annual thing to spread goodwill and merriment.

That said, the whole picture is seminally crippled by its ponderous pace and slapdash, even languid execution of the directorial guidance, often the story plays out with the clunkiest line-delivery uttered by thinly-developed, black-or-white characters, twinned with hugger-mugger spatial mobility, even festive strains are supplanted by the melancholic rendition of Sentimental Moments, sung by Joan Bennett’s materfamilias, arguably the most all-round role in the fold, albeit still a stock mother figure.

Among the three leads, our saving grace is Ustinov, preferably arch and has a knack of gingering up the rote plot with his own conspiratorial expressions and small gesticulations, like his Jules’ safecracking legerdemain, seeing is believing!

Anyhow, WE’RE NO ANGELS is a storybook bonhomie-preaching fantasy that seems only opportune in the holiday season, other than that, one’s inherent low quotient of sufferance might significantly ruin that willingness.

referential entries: Curtiz’s WHITE CHRISTMAS (1954, 6.7/10); CASABLANCA (1942, 8.9/10). {end if}详情