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飛屋環(huán)游記觀后感
《飛屋環(huán)游記》講述了一個老人曾經(jīng)與老伴約定去一座坐落在遙遠南美洲的瀑布旅行，卻因為生活奔波一直未能成行，直到政府要強拆自己的老屋時才決定帶著屋子一起飛向瀑布，路上與結識的小胖子羅素一起冒險的經(jīng)歷。
飛屋環(huán)游記觀后感【篇一】
我知道一個人這一生必須有一個夢想，只有這樣我們才有信念將這一生完整的走下去，可是帶著夢想遺憾地離開了這個世界，又是何等凄涼的情景?懷揣著它，只能期盼著自己下輩子去完成這個始終還在準備中的夢想。所求之物，到自己閉眼的那一刻還只能遠觀，這也許就是老者心中的痛，為了妻子這個夢想，他選擇了遠行，完成這個單純而又簡單的愿望。
是的，這部電影就是這么簡單的情節(jié)，簡單的愛情故事，簡單的夢想，簡單的追求，簡單的執(zhí)著，可是要完成這么多簡單卻是那么難的一件事，以至于現(xiàn)實中我們都喜歡退卻著，我們喜歡找理由，是現(xiàn)實牽絆著我們一直不敢往前走去尋找自己的夢想，簡單而又單純的夢想只能深深的埋藏自己的心底。
《飛屋環(huán)游記》就是講的這么簡單的一個故事，故事的開始用了長長的四分鐘講述完了他們從相識，到走進婚禮的殿堂，然后牽著手一起走到老，沒有聲音，也沒有跌宕起伏的生活情節(jié)，簡簡單單的從開始到結尾，然后剩下老者就這么默默的守著滿屋子的回憶開始自己那沉沉的思念。
夢想的實現(xiàn)有時候是有那么一點點艱難，他們一開始存錢就為了那個簡單的夢想，可是柴米油鹽醬醋茶，一切生活的需要都阻止著他們前行的步伐，一次次的砸存錢罐，一次次的滿罐，直到歲月過去，親愛的她已經(jīng)坐上了輪椅，開始不了那遠行的計劃，就這么老去，留下一屋子的夢想和回憶讓老者慢慢品味。
我知道對于一個快離去的老者來說，要做出這樣的決定會是怎樣的困難，這個屋子是他們一起建立起來的，他不容得別人就這么輕易進入，于是他下定決心要拖著這個他們建立的家一起遠行，他要讓在另一個世界的她知道他一直就在努力著。
總有那么些人，那么些事喜歡在你登上高峰的時候給你一盆冷水，讓你徹底跌入谷底，在這個尋夢的路途中，老者的生活并不是像想象中那么的順理成章的去實現(xiàn)了夢想，查爾斯出現(xiàn)了，這個在他們生命中的偶像，人們一般對自己的崇拜者不會懷有任何戒備心理的，老者如此，我們亦如此，可是查爾斯善變的臉龐嚇著了所有人，老者的夢想路也就開始了那么不平坦。
看到那一幕，我心里的防線徹底崩潰了，是怎樣的無助讓他做出了那樣的選擇，當羅素讓他去救那只鳥的時候，他站在了兩個難以抉擇的路口，一邊是受傷的小鳥被綁住了，可另一邊是自己拿承載著滿滿夢想的房子正在大火的燃燒中，一個個氣球的爆炸，一個個心碎的聲音也就爆發(fā)了出來，他最后選擇托著他的小屋離開，他將火撲滅，可是那痛苦的眼神告訴著我們他很內(nèi)疚眼睜睜看著查爾斯無情的將小鳥帶走。
他知道自己背叛了羅素，背叛了這段最珍貴的友情，坐在了他日思夢想的地方，可是他卻迷失了方向，在這里我特別害怕他會跳下懸崖就這樣結束這段生命，那就是最殘忍的結局了，可是編劇沒有，羅素自己去找小鳥了。他迷茫的回到了那個小屋，試圖在里面尋找到一些方向，最后他用了世界上最大的勇氣將東西從小屋里扔了出來，他扔的不僅僅是東西，更是對過去的拋棄，他知道是她在另一個世界告訴他應該這么做，夢想實現(xiàn)了，那么我們還要繼續(xù)的是生活，于是生活又回了來。回到了原點。
人們都說，有夢想的地方就會有斗爭，也許就是這樣的吧，這部影片讓我潸然淚下，我知道一切都要簡單就好，于是我也決定守著那簡單的夢想就這么永遠的走下去，也許夢想無人問津，但我相信我也會像老者一樣，總會有那么一天，會實現(xiàn)的。
飛屋環(huán)游記觀后感【篇二】
In its opening stretch the new Pixar movie “Up” flies high， borne aloft by a sense of creative flight and a flawlessly realized love story. Its on-screen and unlikely escape artist is Carl Fredricksen， a widower and former balloon salesman with a square head and a round nose that looks ready for honking. Voiced with appreciable impatience by Ed Asner， Carl isn’t your typical American animated hero. He’s 78， for starters， and the years have taken their toll on his lugubrious body and spirit， both of which seem solidly tethered to the ground. Even the two corners of his mouth point straight down. It’s as if he were sagging into the earth.
Eventually a bouquet of balloons sends Carl and his house soaring into the sky， where they go up， up and away and off to an adventure in South America with a portly child， some talking (and snarling and gourmet-cooking) dogs and an unexpected villain. Though the initial images of flight are wonderfully rendered — the house shudders and creaks and splinters and groans as it’s ripped from its foundation by the balloons — the movie remains bound by convention， despite even its modest 3-D depth. This has become the Pixar way. Passages of glorious imagination are invariably matched by stock characters and banal story choices， as each new movie becomes another manifestation of the movie-industry divide between art and the bottom line.
In “Up” that divide is evident between the early scenes， which tell Carl’s story with extraordinary tenderness and brilliant narrative economy， and the later scenes of him as a geriatric action hero. The movie opens with the young Carl enthusing over black-and-white newsreel images of his hero， a world-famous aviator and explorer， Charles Muntz (Christopher Plummer). Shortly thereafter， Carl meets Ellie， a plucky， would-be adventurer who， a few edits later， becomes his beloved wife， an adult relationship that the director Pete Docter brilliantly compresses into some four wordless minutes during which the couple dream together， face crushing disappointment and grow happily old side by side. Like the opener of “Wall-E” and the critic’s Proustian reminiscence of childhood in “Ratatouille，” this is filmmaking at its purest.
The absence of words suggests that Mr. Docter and the co-director Bob Peterson， with whom he wrote the screenplay， are looking back to the silent era， as Andrew Stanton did with the Chaplinesque start to “Wall-E.” Even so， partly because “Up” includes a newsreel interlude， its marriage sequence also brings to mind the breakfast table in “Citizen Kane.” In this justly famous (talking) montage， Orson Welles shows the collapse of a marriage over a number of years through a series of images of Kane and his first wife seated across from each other at breakfast， another portrait of a marriage in miniature. As in their finest work， the Pixar filmmakers have created thrilling cinema simply by rifling through its history.
Those thrills begin to peter out after the boy， Russell (Jordan Nagai)， inadvertently hitches a ride with Carl， forcing the old man to assume increasingly grandfatherly duties. But before that happens there are glories to savor， notably the scenes of Carl — having decided to head off on the kind of adventure Ellie and he always postponed — taking to the air. When the multihued balloons burst through the top of his wooden house it’s as if a thousand gloriously unfettered thoughts had bloomed above his similarly squared head. Especially lovely is the image of a little girl jumping in giddy delight as the house rises in front of her large picture window， the sunlight through the balloons daubing her room with bright color.
In time Carl and Russell， an irritant whose Botero proportions recall those of the human dirigibles in “Wall-E，” float to South America where they， the house and the movie come down to earth. Though Mr. Docter’s visual imagination shows no signs of strain here — the image of Carl stubbornly pulling his house， now tethered to his torso， could have come out of the illustrated Freud — the story grows progressively more formulaic. And cuter. Carl comes face to face with his childhood hero， Muntz， an eccentric with the dashing looks and frenetic energy of a younger Kirk Douglas. Muntz lives with a legion of talking dogs with which he has been hunting a rare bird whose gaudy plumage echoes the palette of Carl’s balloons.
The talking dogs are certainly a hoot， including the slobbering yellow furball Dug and a squeaky-voiced Doberman， Alpha (both Mr. Peterson)， not to mention the dog in the kitchen and the one that pops open the Champagne. And there’s something to be said about the revelation that heroes might not be what you imagined， particularly in a children’s movie and particularly one released by Disney. (Muntz seems partly inspired by Charles Lindbergh at his most heroic and otherwise.) But much like Russell， the little boy with father problems， and much like Dug， the dog with master issues， the story starts to feel ingratiating enough to warrant a kick. O.K.， O.K.， not a kick， just some gently expressed regret.
飛屋環(huán)游記觀后感【篇三】
電影的開頭部分像我們講述了一個溫暖的愛情故事，其實就是我們每個人短暫而美好的一生。如果能夠這樣這樣相愛、包容一輩子到老，是一件多么浪漫的事。追憶似水年華，生活的細節(jié)中包含這樣多的溫情和摯愛，這些最珍貴的印記總是占據(jù)思緒中最華彩的篇章。只是，往往時間倏然而過，那些曾經(jīng)的夢想?yún)s永遠留在想象和期許之中了。所以當我們有夢想的時候，一定記住要一起去實現(xiàn)啊!
艾利去世后，垂垂暮年的卡爾始終不能適應沒有愛人的日子。每天一個人的生活清冷而孤獨，他總會看著小屋中的一切想起艾利。艾利的那本夢想圖冊是他經(jīng)常翻閱的東西，物是人非，本來要追求夢想的兩個人如今形影單只。原本卡爾想在這樣的回憶和遺憾里終老一生，可是這樣的日子也成了奢望。開發(fā)商為了得到卡爾的這塊土地，找借口將卡爾告上法庭，最后卡爾不得不去敬老院。最后的那個夜晚，卡爾老淚縱橫，低低地呼喚艾利：“老婆，我該怎么辦?”第二天，當敬老院的人來接卡爾時，想到卡爾真的要離開這座承載了無數(shù)愛的小屋，卡爾和艾利的夢想不能實現(xiàn)，他也許以后的日子都要失去自由了，我心如刀割。可是奇跡出現(xiàn)了——卡爾抖開巨大的袋子，無數(shù)個扎在一起的氣球沖天而起，帶著小屋飛起來了，飛過城市、田野，飛向高遠的藍天、飛向他們的夢想——仙境瀑布。那一刻，我熱淚盈眶。
卡爾歷盡千難萬險終于到達了仙境瀑布，可是他失去了一路上同甘共苦的朋友——小羅、逗逗和大鳥凱文。實現(xiàn)理想的卡爾沒有得到快樂，依舊是悶悶不樂，原來自己始終沒有走出艾利離開自己的陰影，失去了艾利的自己不過是一具空殼。他再一次翻看艾利的夢想圖冊，發(fā)現(xiàn)在“長大后我要做的事”這一頁后面貼了許多兩個人在一起時的照片，最后的那一頁艾利寫到“我只能陪你走這一段，以后屬于你的冒險更精彩。”卡爾忽然頓悟，自己重新找到生活的方向快樂起來，才是對艾利最好的祭奠。于是他救出朋友并和他們一起回到家鄉(xiāng)過快樂的日子。我想：去仙境瀑布追尋夢想的過程，就是卡爾尋找自我的過程。既然分離是人生的底色，就沒有人能夠逃脫，無論是主動選擇的還是被動接受的，都意味著某種放棄，我們要告別某個人，或者要放棄既定的生活，這讓我們無所適從。但是，人生的閱歷會讓我們發(fā)現(xiàn)，這些分離能夠讓我們放棄依賴，重新審視自己而回到自我，描繪出獨特的生命流向而成為真正的自己——破繭而出。
和最愛的人一起看看這部片子吧。當那些誓言早已塵封，你會憶起兩個人在一起的點點滴滴，想起那些他為你做過的事情，購置的物品，栽種的花草，那些一同走過的日子，在陽光的碎影里熠熠生輝，原來我們現(xiàn)在所擁有的彌足珍貴，看似平凡卻芳醇四溢。
——獻給我的愛人，我們也要這樣一直相愛到老。
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