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传说在很久很久以前，世界上充满魔法，魔法来源于山顶上极光，那就是我们的祖魂……
雪山边有三兄弟，少奇、狄克和肯尼。肯尼又与妮塔是朋友，送给妮塔一个护身符。得到了刻有“爱之熊”的图腾石。肯尼把杀死少奇的熊杀死了，却被少奇的祖魂变成了熊。肯尼听了长老的指点，去山顶找极光。途中认识了小熊科达。狄克认为肯尼就是那只杀死少奇的熊，狄克找到了他们，这时少奇的祖魂把肯尼变回了人，狄克明白了，把捡来的图腾石还给了肯尼。肯尼为了与科达在一起又变成了一只熊。
护身符的事情已经过去了若干年，肯尼与妮塔长大了，妮塔结婚时，护身符让妮塔不能结婚，她必须找到肯尼。妮塔在魔法师的指点下，她碰见了肯尼，烧掉了护身符。肯尼与妮塔的心连在了一起，他们让祖魂把妮塔变成一只熊，过上了幸福的生活。
这是一个和谐的故事。小熊肯尼与科达能成为朋友，源自于他们对着目标不懈地前进，虽然肯尼还是一只熊，但他拥有了最纯真永久的友情，这是非常难得可贵的。
肯尼拥有“爱之熊”图腾石，这使他有了与常人不同的使命与潜质，也最终成为了一只拥有友爱、亲情、真爱的“熊”、一只有着熊的外表，内心有丰富细腻感情的“熊”，一只宁愿被有误会的哥哥捕杀也不愿伤害哥哥的熊！
肯尼和妮塔让我们觉得：“我会甘愿做这样的熊。”
当纯真的感情淹没在人群中时；当周围几乎再也找不到天真无邪的目光时；当我们发现谎言已经渗透每一个角落时，才发觉，原来做一只熊是那么简单。
世界是人与动物的，为什么会与动物们有那么遥远的距离？似乎只有动物们之间，才存在自然的和谐。
雪山边有三兄弟，少奇、狄克和肯尼。肯尼又与妮塔是朋友，送给妮塔一个护身符。得到了刻有“爱之熊”的图腾石。肯尼把杀死少奇的熊杀死了，却被少奇的祖魂变成了熊。肯尼听了长老的指点，去山顶找极光。途中认识了小熊科达。狄克认为肯尼就是那只杀死少奇的熊，狄克找到了他们，这时少奇的祖魂把肯尼变回了人，狄克明白了，把捡来的图腾石还给了肯尼。肯尼为了与科达在一起又变成了一只熊。
护身符的事情已经过去了若干年，肯尼与妮塔长大了，妮塔结婚时，护身符让妮塔不能结婚，她必须找到肯尼。妮塔在魔法师的指点下，她碰见了肯尼，烧掉了护身符。肯尼与妮塔的心连在了一起，他们让祖魂把妮塔变成一只熊，过上了幸福的生活。
这是一个和谐的故事。小熊肯尼与科达能成为朋友，源自于他们对着目标不懈地前进，虽然肯尼还是一只熊，但他拥有了最纯真永久的友情，这是非常难得可贵的。
肯尼拥有“爱之熊”图腾石，这使他有了与常人不同的使命与潜质，也最终成为了一只拥有友爱、亲情、真爱的“熊”、一只有着熊的外表，内心有丰富细腻感情的“熊”，一只宁愿被有误会的哥哥捕杀也不愿伤害哥哥的熊！
肯尼和妮塔让我们觉得：“我会甘愿做这样的熊。”
当纯真的感情淹没在人群中时；当周围几乎再也找不到天真无邪的目光时；当我们发现谎言已经渗透每一个角落时，才发觉，原来做一只熊是那么简单。
世界是人与动物的，为什么会与动物们有那么遥远的距离？似乎只有动物们之间，才存在自然的和谐。
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帮你找了个英文的，记得给分哦 ~
Brother Bear will not go down in the annals of traditional animation as a classic, but it is proof that Disney remains capable of producing enjoyable, family-oriented animated movies. This film looks and feels a little bit like a throwback to the kinds of pictures Disney was making five or six years ago when it was still at the top of the animation heap. There's drama and comedy, a message about tolerance and brotherhood, and a few songs to sell the soundtrack. The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.
The movie takes us to the dawn of prehistoric human civilization and introduces us to three brothers: Sitka (voice of . Sweeney), the eldest; Denahi (Jason Raize), the middle one; and impetuous Kenai (Joaquin Phoenix). After a large bear kills Sitka, Kenai avenges his brother's death by eliminating the animal. At that moment, an ancient spell transforms Kenai into the form of a bear, and Denahi mistakenly believes that Kenai killed Sitka. Thus begins a chase, with Denahi hunting Kenai, who soon befriends a motherless cub, Koda (Jeremy Suarez). Koda talks too much and can be annoying, but Kenai becomes protective of his younger companion. The bears are soon joined by a pair of moose, Rutt (Rick Moranis) and Tuke (Dave Thomas), but Kenai keeps moving because Denahi is only a step behind him.
One of the more fascinating things that Brother Bear does is to expose children to the concept that there are different ways to view a single event, and that neither perspective necessarily represents an objective one. (Call it Rashomon for the under-10 age group.) This occurs when Kenai kills the bear. From his point-of-view, he is eliminating a monster. But, later in the film, 英语影评 are exposed to another, seemingly contradictory perception. Also, in allegorical fashion, Brother Bear advocates the themes of racial tolerance and brotherhood. Here, it's men and beasts, but even kids should be able to make the connection to real-life situations.
The subject matter may be darker than usual for an animated film, but there's plenty of comic relief. The lion's share of it is provided by Rutt and Tuke, who are essentially SCTV's McKenzie brothers (right down to the exaggerated Canadian accents, eh) in animal form. The humor is reasonably broad-based: not so juvenile that adults will dismiss it, and not so sophisticated that children won't laugh. Phil Collins provides a few tunes. The target audience will probably enjoy these, but I think the film would have worked as well (if not better) without them. Brother Bear is not a musical; why bother to throw in a few random songs unless it's to sell more CDs, to get Collins an Oscar nomination, or both?
The animation is middle-of-the-road: not as gorgeous as Disney's best, but far more visually appealing than the quickie jobs of movies like Lilo and Stich or The Jungle Book 2. The directors, first-timers Aaron Blaise and Bob Walker, cut their teeth working in Disney's animation shop, so they know their stuff. Brother Bear relies upon traditional, hand-drawn animation. There may be occasions when computers are employed, but the results are not showy or obvious. And there are some truly lovely sequences, such as the long-range shots of the bears fishing for dinner during the salmon run.
It has been widely publicized that Disney intends to abandon traditional animation in favor of the three-dimensional, computer-generated type. If this happens, Brother Bear will be one of the last of its kind. So, although the movie lacks the depth and magic that have characterized the best of Disney animation, it is a strong enough effort that we may find ourselves looking back on it with a certain nostalgic wistfulness years from now, when this kind of motion picture has passed into the realm of things filmmakers used to do.
Brother Bear will not go down in the annals of traditional animation as a classic, but it is proof that Disney remains capable of producing enjoyable, family-oriented animated movies. This film looks and feels a little bit like a throwback to the kinds of pictures Disney was making five or six years ago when it was still at the top of the animation heap. There's drama and comedy, a message about tolerance and brotherhood, and a few songs to sell the soundtrack. The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.
The movie takes us to the dawn of prehistoric human civilization and introduces us to three brothers: Sitka (voice of . Sweeney), the eldest; Denahi (Jason Raize), the middle one; and impetuous Kenai (Joaquin Phoenix). After a large bear kills Sitka, Kenai avenges his brother's death by eliminating the animal. At that moment, an ancient spell transforms Kenai into the form of a bear, and Denahi mistakenly believes that Kenai killed Sitka. Thus begins a chase, with Denahi hunting Kenai, who soon befriends a motherless cub, Koda (Jeremy Suarez). Koda talks too much and can be annoying, but Kenai becomes protective of his younger companion. The bears are soon joined by a pair of moose, Rutt (Rick Moranis) and Tuke (Dave Thomas), but Kenai keeps moving because Denahi is only a step behind him.
One of the more fascinating things that Brother Bear does is to expose children to the concept that there are different ways to view a single event, and that neither perspective necessarily represents an objective one. (Call it Rashomon for the under-10 age group.) This occurs when Kenai kills the bear. From his point-of-view, he is eliminating a monster. But, later in the film, 英语影评 are exposed to another, seemingly contradictory perception. Also, in allegorical fashion, Brother Bear advocates the themes of racial tolerance and brotherhood. Here, it's men and beasts, but even kids should be able to make the connection to real-life situations.
The subject matter may be darker than usual for an animated film, but there's plenty of comic relief. The lion's share of it is provided by Rutt and Tuke, who are essentially SCTV's McKenzie brothers (right down to the exaggerated Canadian accents, eh) in animal form. The humor is reasonably broad-based: not so juvenile that adults will dismiss it, and not so sophisticated that children won't laugh. Phil Collins provides a few tunes. The target audience will probably enjoy these, but I think the film would have worked as well (if not better) without them. Brother Bear is not a musical; why bother to throw in a few random songs unless it's to sell more CDs, to get Collins an Oscar nomination, or both?
The animation is middle-of-the-road: not as gorgeous as Disney's best, but far more visually appealing than the quickie jobs of movies like Lilo and Stich or The Jungle Book 2. The directors, first-timers Aaron Blaise and Bob Walker, cut their teeth working in Disney's animation shop, so they know their stuff. Brother Bear relies upon traditional, hand-drawn animation. There may be occasions when computers are employed, but the results are not showy or obvious. And there are some truly lovely sequences, such as the long-range shots of the bears fishing for dinner during the salmon run.
It has been widely publicized that Disney intends to abandon traditional animation in favor of the three-dimensional, computer-generated type. If this happens, Brother Bear will be one of the last of its kind. So, although the movie lacks the depth and magic that have characterized the best of Disney animation, it is a strong enough effort that we may find ourselves looking back on it with a certain nostalgic wistfulness years from now, when this kind of motion picture has passed into the realm of things filmmakers used to do.
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