《15点17分，启程巴黎》观后感(1)：亮点和是败笔都是用了真实事件中的真实人物
亮点或者说是败笔就是用了真实事件中的真实人物，演技还是有门槛的，这也算是东木对于自己的一种挑战，故事的本身是感动的，但这样的感动我用五分钟看一篇新闻报道也可以感受到。我甚至感觉克林特导演为了电影的时长硬凑了94分钟，叙事风格即破坏了故事的连贯性又让电影的节奏更慢了。我实在想象不出来导演去年才奉献出了《萨利机长》这样的电影，同样是想用平淡突出感动，但这部电影的平淡未免也太无奇了。演技是重灾区。
《15点17分，启程巴黎》观后感(2)：任何人都可以成为英雄，就看你如何选择
动作片有时如果死个英雄会让故事更加壮烈且更容易打动人，但真实生活中，我很庆幸英雄可以活下来，活着讲给大家听他们在那时那刻究竟经历了什么。继 《12 Strong》之后，华纳又推出了一部真实英雄事迹改编的故事 《The 15:17 to Paris》。只是这部距离我们更近，发生在2015年，而且片中很多内容相信都会让普通人找到共鸣。因为这不是残酷的战场，任何人在今时今日都可能经历这样的事。然而却真的没有几人可以像片中这几位那样毫不犹豫地冲向恐怖分子。而且片中主要人物，斯宾塞·斯通的故事与美国队长还真的很相似呢。他的故事有可能会激励出更多的英雄。在如今恐袭笼罩的世界，真的很需要这样的英雄。
想想过去几年里发生的恐袭，大都是手无寸铁的人们直接遭扫射或被炸，就算逃跑或躲避还是无能为力。说实话，现在也没有什么好办法告诉人们在面对这种情况下应该怎么做。除了逃命，就只有听天由命。然而片中的斯宾塞·斯通很显然做出了不同的选择。在看到持枪恐怖分子没多久，他就直接冲了上去，甚至是直面枪口。因为那时枪居然卡住，没有打中他，才得以让他有机会与其他人一起迅速擒拿恐怖分子。让恐怖分子都还没有机会实施计划。但就算他真的被射中，他这个冲上去的动作照样会改变一切。也是这个动作，救了很多人。
如果他没有这么做，后果不堪设想。正如他自己曾说的：我不希望我妈妈看到我尸体时是躲在桌子底下。大部分普通人是做不到这点的。当然，他和他朋友受过军事训练，是军人。但他们之所以会选择参军也是希望可以保护其他人。只能说，这车人命好，遇到了这样的旅客同行。
这样的英雄时刻，我们往往都只在电影里看到。比如美队1里面，Steve Rogers在军营训练时，手雷扔过来，大家都躲闪，只有他扑了上去。那个时刻，大部分人都觉得，只是电影，只是吓唬人。然而，看到有人真的这么做时，相信大家都会十分敬佩与感动。
斯宾塞·斯通的故事类似美队的还不止这里。他从小是个胖子，学习不好，但一直希望参军。他为参军努力减肥，经过严格训练真的通过了很多测试。那种特别想参军，在军队里非常认真的样子也是与Steve Rogers很像。
可以说，这样现实的英雄题材是绝对应该拍成电影的。即使伊斯特伍德爷爷没做，其他人也会做。然而，不像《United 93》，这部电影大部分的情节并不在火车和这件恐袭上。原因是，这次袭击和反击真的很短暂，与911那个恐怖早上完全不同。没办法独自撑起一部电影。老伊于是花了很多时间去讲述三个年轻人小时候的故事，为何参军，在军营里的生活。
为了不让观众闷，他们小时候上学的部分是以喜剧方式呈现，效果很好。观众一下就会看出这部分特别类似《Lady Bird》。因为这三人居然与Lady Bird一样来自Sacramento的教会学校，里面的老师塑造得与《Lady Bird》中真的是如出一辙，超级有喜感。
后面还花了很多时间去讲述三人去欧洲旅行。这段我觉得太长了，很多观光日常，自拍聊天等。但，不得不说，这段其实最容易引发公众共鸣。为何呢？看着他们开心地逛意大利、德国、荷兰，并讨论着要不要去巴黎，我们每个人都会同样想起以前那想去欧洲就去欧洲的日子。如今，一切都大不同了。提起欧洲，大家第一个反应就是会不会遭遇恐袭。谁也不敢说走在巴黎的街道上还会像以前那么无忧无虑。所以看着三个人在意大利自拍，去名胜古迹，甚至坐火车，相信大家都会想起以前自己作游客时的美好时光。
三位英雄自己在片中饰演了自己，还演得不错。他们的母亲，小时候及老师等都是演员诠释。所以其实三人出镜并没有从头到尾，只有斯宾塞·斯通相对多一些。
你可能不会觉得这是像《United 93》那样紧张又写实的电影，因为事件本身及叙事方式的不同，但绝对是非常值得一看的故事。因为它证明了：任何人都可以成为英雄，就看你如何选择。同时也庆幸这些人活着回来让咱们看到了这个故事。不然像《United 93》，只能杜撰，用塑造英雄去鼓舞人心，然而残忍的是，永远没人知道那架飞机上究竟发生了什么。
《15点17分，启程巴黎》观后感(3)：这次恐袭很有法兰西历史传统（列车员躲最后一节 警卫室反锁，不管乘客怎么拍门，所有人命交给恐怖分子和英美人士去PK）
网上查看到当年历史情况的细节描述：
其中关键的亮点在于——在车上乘客惊慌失措之时，该火车列车乘务人员却一路奔向11节车厢后的警卫室(列的末尾)，把他们自己锁在里面，在后来的一段时间内，任凭外面的人如何敲打，死也不出来。与此同时，恐怖主义分子所在的12节车厢内的3位美国人和一位英国人行动了。————很有法兰西传统不是么？担负责任的法国公职人员、军队、总是第一时间保自己，投降绝对积极，首先保自己命，至于自己职责该保护的人民群众，就丢一边吧，然后自己的职位和薪水福利待遇要死保，不折手段罢工要挟政府和整个社会（法国铁路职工罢工可是很积极的），反正自己不能损失，自己责任职责都是第二和可以损失的。
这就是法兰西的本质精神，法国人民从来靠别人拯救，一战二战都靠英美拯救，而和英美乃至自己国民互相之间窝里斗抢利益法国佬绝对积极。至于其他浪漫什么的都是自己雇佣媒体吹嘘的美化自己的，法国佬的本质其实很丑陋。
PS：现场经历者采访中的实话：“我们听到有乘客喊英语：他在开枪!他在开枪!他拿着卡拉什尼科夫冲锋枪。”他表示，“突然列车乘务员顺着楼道背弓腰开始狂跑。他们的脸都变成惨白色，跑向自己的警卫室，用特殊钥匙打开门之后在里面锁住自己。 ————法国公职人员逃命招数绝对在行，绝对专业，所以难怪有人说：和占领莫斯科一样困难的是在法国佬投降前占攻占巴黎。
《15点17分，启程巴黎》观后感(4)：A Mixed Bag
As Hollywood film fodder, this is—or should have been—a slam dunk, even for a director who insisted on having the three Americans play themselves, which is the case here、 T
o call Clint Eastwood's "The 15:17 to Paris" a mixed bag would be generous、 It packs all the wild action you came to see into a 20-minute stretch near the end, and elsewhere gives us something like a platonic buddy version of Richard Linklater's "Before" trilogy、 This is an audacious choice regardless of whether you're into it、
Too bad seeing this trio re-enact their European vacation is as absorbing as watching a friend's video footage of a trip you didn't go on、 As cinematographer Tom Stern's camera hangs close-but-not-too-close, Sadler, Stone and Skarlatos retrace their steps, traveling from Rome and Venice to Berlin and Amsterdam, cracking jokes about old buildings and sculptures, flirting with attractive women, getting liquored up in a nightclub、 You feel like you're right there alongside them、 This is an eerie and astonishing feeling when they're re-enacting the train incident, but not when they're ordering food or taking selfies、
There's a long tradition of real people starring in films about their lives, from Pancho Villa and Jackie Robinson to Muhammad Ali and Howard Stern, and some film cultures, particularly Italy's Neorealism and Iran's post-1980s docudramas, have a proud history of extraordinary nonprofessional performances、 World War II Medal of Honor winner Audie Murphy went straight into acting with help from a famous admirer, James Cagney, played himself in 1955's "To Hell and Back," based on his same-titled memoir, and died 21 years later with 50 screen credits、 There haven't been too many instances where audiences looked at these performances and thought, "Wow, what an incredible actor—a professional wouldn't have added anything、" But if the nonprofessional seems relatively comfortable onscreen and lets a bit of personality come through, the film can work、 And the performance might be likable、 Or at least not painful、
I'm relieved to report that not only are these three less than terrible in their big screen debuts, they're kind of charming, once you decide to make peace with the fact that Eastwood has traded the depth and nuance that a professional can bring for the unpredictable freshness you can only get from casting newcomers、 Stone is an unexpectedly striking screen presence: a towering, broad-shouldered, lethal goofball with a comic book henchman's jawline and a bubbly, impatient manner of speaking、 There are moments when his rat-a-tat delivery, practically tripping over his own words, suggests an unholy fusion of Drew Carey and young Gary Busey、 I wouldn't be surprised to see him wind up on a sitcom opposite Tim Allen or Kevin James、 The other two seem to have been granted screen time in proportion to their not-terribleness、 We get a lot of Stone with Sadler, who's not a particularly deep actor, to put it mildly, but is disarmingly natural and has a great rapport with his pal、 Skarlatos, a handsome but wooden nice guy, is kept mostly offscreen until he joins the others、
But no matter what you think of these men as thespians, their performances are the least of the film's problems、 A good 70% of "The 15:17 to Paris" is inert, its affable nothingness redeemed only by the laid-back charisma of three men who once again find themselves in extraordinary circumstances and have no choice but to rise to the occasion、
The film starts with a flashback to the trio's childhood, with Jenna Fischer and Judy Greer as Skarlatos and Stone's mothers, that promises an American Fighting Man Epic in the vein of "Sergeant York" or "Hacksaw Ridge、" But these scenes fall almost entirely flat, with character traits being more described than dramatized、 The scene where the moms argue with a snotty administrator who tries to diagnose Stone with ADHD while dissing both women for being single mothers might be the worst five minutes Eastwood has put onscreen, but it has lots of competition here、 How Eastwood managed to get worse performances out of the professional actors playing the young heroes than the adults who'd never acted is a mystery that only another director can properly unravel、 Ace character actors Tony Hale and Thomas Lennon are wasted as, respectively, the school's principal and gym coach、 Jaleel White is given just one scene to convince us that he's a great teacher who inspired the boys' interest in history; it lasts about 60 seconds and ends with him handing them a manila folder full of maps、 The moms mention God occasionally, but usually in a stilted way, and their families' spiritual lives aren't examined in any detail (though there are a couple of prayers in the film, which is rare for a Hollywood movie)、
The screenplay, adapted by Dorothy Blyskal from a book co-written by the trio plus Jeffrey E、 Stern, is often painfully awkward and obvious、 Earnest discussions of fate and destiny are shoehorned into shallow but generally likeable (and seemingly improvised) scenes of the guys talking to each other, and to people they meet during their journey、 A couple of the latter are so odd that they verge on sublime, like the bit when an old man at a bar talks them into going to Amsterdam by recounting the illicit good time he just had there、
But for the most part, "The 15:17 to Paris" is a study in misplaced priorities、 While the re-enactment of the incident on the train is superb—Eastwood has always had a flair for staging unfussy yet shockingly brutal screen violence—I'd have happily traded the lead-up hour of marshmallow fluffery for scenes that showed what happened to the guys once they got back to their home country and were treated like gods on earth (though, in fairness, Eastwood might've figured he told that story already in “Flags of Our Fathers”)、 And there are some groaner choices, like Eastwood's refusal to age Fischer and Greer for their scenes opposite their now-grownup sons, which makes it seem as if they had them when they were 12; the near-omission of Sadler's parents from the narrative, which inadvertently turns a co-equal lead character into The Black Friend; and the way Eastwood keeps the terrorist literally faceless during his first few flashback appearances, by focusing on his hands, his feet, his knapsack and wheeled suitcase, and the back of his neck、
I've read that Eastwood asked the French government if he could get Khazzani to play himself, too, but was refused、 Is this why he portrayed him as a non-person—just another Bad Thing happening to Good People? I wanted to know how Khazzani ended up on that train as well—not because he deserves any sympathy (he doesn't) but because his is also a tale of social conditioning and sheer willpower, and might have reflected off the main trio's story inilluminating ways、 For an example of how to do this in a thoughtful, responsible manner, see Anurag Kashyap's 2007 film "Black Friday," which retold the same bombing from the point-of-view of the terrorists and the police, in two different halves、 Eastwood did something similar with "Flags of Our Fathers" and "Letters from Iwo Jima、" But for the most part, he has become increasingly uninterested in that kind of complexity, despite having devoted the first 20-plus years of his directing career to letting us see the evil in good people, and the good in the evil、
While there's something innately inspiring about Eastwood continuing to crank out films 48 years into his directing career, there's a downside: his batting average has never been terrific, and his game has slipped a lot since the Iwo Jima films、 There are intriguing aspects to nearly all of his films, but he's only made maybe six or seven that are excellent from start to finish—even the mostly good ones have bad scenes and sections—and in the last 20 years, even his good work has included a lot of ill-considered, amateurish, or flat-out baffling elements, like the screechingly caricatured parents in "Million Dollar Baby," and Chris Kyle doting on an obviously fake infant in "American Sniper、" Eastwood is famous for working fast and bringing his movies in on time and under budget, and "The 15:17 to Paris" is another example of that legendary efficiency: supposedly he decided to tell the trio's story after giving them a Spike TV Guys' Choice Award just 19 months ago、 But breeziness is not, in itself, an unassailable virtue、 There hasn't been a single Eastwood film since "Unforgiven" that couldn't have benefited from script rewrites, plus a few trusted advisors with the nerve to tell him that a particular choice was ill-advised、 (I know, I know—who wants to tell Clint Eastwood he's wrong? Nobody who's seen him use a hickory stick in "Pale Rider," for starters、)
The movie's greatest virtue, which might be enough to make it a critic-proof hit no matter what, is its poker faced sincerity、 This extends to faithfully reproducing a Red State worldview that was also showcased in "American Sniper" and "Sully、" A lot of U、S、 moviegoers are going to feel seen by this film, and that's a net gain for American cinema, which is supposed to be a populist art form representing the body politic as it is, not merely as the industry wishes it could be、 If only someone could've heroically intervened to save this movie、
《15点17分，启程巴黎》观后感(5)：我觉得还是有意义的
在一个礼乐逐渐崩坏的时代
老爷子还在坚持着自己认为对的东西和事情
让人觉得很踏实
就像我们所知道的
英雄也是普通人
或者说绝大部分的时间他们都是普通人
即使是一个所有人都知道的故事
老爷子放在挖掘人的背景和成长上
虽然因为前戏显得太长让好多人人没耐心看高潮
不过在勇气和追求上
个人认为还是很不错的
不过也只是相对其他电影而言