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Bridesmaids (2011)

最爆伴娘团

It's full of expletives and bodily fluids. It glorifies a vast array of spectacularly questionable life choices, from drunkenness to dangerous driving. It also has spirit, originality, heart, indelibly career-making performances, two Oscar and two Bafta nominations, and, just for a bonus, it passes the Bechdel test with flying colors.

这是一部充满咒骂和体液的电影。从醉酒到危险驾驶,它美化了大量有疑问的人生选择。它同样有精神、独创性、感情和不可磨灭的职业生涯表演,获得了两项奥斯卡奖和两个Bafta提名,另外,它还出色地通过了Bechdel测试(1. 电影中必须出现至少2名女演员。而且她们必须有名字。2. 这些女演员之间必须有对话。3. 对话主题不能涉及男性。)。

Unfortunately, with its pummeling array of jokes, Bridesmaids suffers the eternal fate of so many stellar comedies — it's routinely dismissed as too enjoyable, too successful, to be ‘great’. Don't ignore it because it makes you laugh — director Paul Feig's 2011 hit deserves as much respect as any somber, wintry, subtitled drama.

不幸的是,由于它大量的玩笑话,《最爆伴娘团》主要的喜剧性遭受了没完没了的命运——它通常被认为太过娱乐化,太成功而不能被称为“好电影”。不要因为它让你开怀大笑而忽略了它——总监保罗·法伊格在2011年引起的这场轩然大波与其他任何忧郁、寒冷、次要的戏剧一样值得尊重。
 

Interstellar (2014)

星际穿越

I’m a big believer in directorial overreach. Christopher Nolan’s Interstellar is a story about love, unfolding in the vast, lonely emptiness of space. It places a father and daughter in different galaxies just to see how far one person will go to keep a promise.

我是导演穿越的信徒。克里斯托弗·诺兰的星际穿越是一个有关在广阔、寂寞而又空旷的宇宙中慢慢展开的爱的故事。它将一对父女放进了不同的星系,只为了解一个人为了信守承诺会走多远。

A terrestrial obsession with human connection (the heart of the film is a scene in which Matthew McConaughey’s cosmic voyager sees twenty-three years of his children’s lives slip away in a matter of minutes) gives Interstellar an unusually soft underbelly, ripe for critical prodding.

由人与人之间羁绊组成的对地面的痴迷(这部影片的中心是马修·麦康格饰演的宇宙旅行者看到了他孩子23年的人生在几分钟内溜走的场景)给予了《星际穿越》不同寻常的软肋,足够应对关键的刺激。

But, like Steven Spielberg’s AI: Artificial Intelligence, now one of BBC Culture’s greatest films of the 21st Century, I suspect Interstellar will weather the next 15 years of critical scrutiny and find its way onto a future list. Time’s funny that way.

但是,就像斯蒂文·斯皮尔伯格的《人工智能》,这部被当今BBC文化频道评为21世纪最好的几部电影之一,我怀疑《星际穿越》能通过接下来15年的严格审查,成为未来电影的其中一员。到那时一定很有趣。
 

Drive (2011)

亡命驾驶

Drive should have made the Top 100 films of the 21st Century so far as it is beautifully shot and has an amazing soundtrack. It's got a calm and tender anti-hero in Ryan Gosling, and features moments of violence that stay with you long after the credits roll.

《亡命驾驶》由于它精心的拍摄和令人耳目一新的配乐,成为了21世纪最好的100部电影之一。它有着一位平静而温柔的反英雄主义者瑞恩·高斯林,和起主要作用的片头字幕之后长期陪着你的暴力镜头。
 

House of Flying Daggers (2004)

十面埋伏

House of Flying Daggers is the definition of filmic eye candy. It’s an orgy of mesmerising colour and choreography. Two lawmen, Leo and Jin lead pursuit of the Flying Daggers, a rebel group battling the corrupt government during the Tang Dynasty in China.

《十面埋伏》定义了花瓶电影的含义。它是一场迷幻色彩和舞蹈的狂欢。两名警察,刘德华和金城武主演的《十面埋伏》,讲述了一个叛乱组织在中国唐代对抗腐败政府的故事。

Mei, a stunning blind dancer suspected to be the daughter of the former leader, becomes the focus of their assignment and the object of both their affections. The Echo Game dance is a masterclass in cinematic grace – and the film, like Mei, is a rare beauty.

梅,一名出色的盲人舞者被怀疑是前领导人的女儿,她成为了他们任务的重点,也成为了双方情感寄托的对象。那场回声游戏舞蹈有着殿堂级别的电影之美——这部电影,和梅一样,是难得的美。
 

The Lord of the Rings Trilogy (2001-2003)

指环王三部曲

The Lord of the Rings trilogy is a groundbreaking piece of filmmaking. From the beauty of the score and its breathtaking visual effects, to the perfect casting and extraordinary commitment of Peter Jackson in bringing Tolkien's Middle Earth to life, the films did what was deemed impossible: to bring to the big screen one of the most epic tales ever written. This incredible attention to detail means that The Lord of the Rings will forever remain one of the most perfect movie series of all time.

《指环王三部曲》是一系列开创性的电影。从它得的高分和其惊人的视觉效果,到完美的选角和由彼得·杰克逊出色呈现的托尔金的中土世界,这部电影完成了看似不可能的事:把从未有过的史诗级的故事之一搬上了大荧幕。如此的精益求精说明了指环王永远都会是最完美的电影系列之一。
 

Lagaan (2001)

印度往事

Despite having all the essential elements of an Indian film, like song, dance and melodrama, Lagaan had a particularly extraordinary storyline ¬–and was a risky commercial proposition.

除了含有所有印度电影必要的元素,比如歌曲、舞蹈和情景剧之外,《印度往事》有着尤其出色的故事线——也是一种有风险的商业主张。

Shot with exacting production standards, the film won the hearts of both critics and general audiences alike. It also scored a nomination for best foreign language film at the 2002 Academy Awards, unfortunately losing out to Bosnia-Herzegovina’s No Man's Land.

由严格的制作标准拍摄,这部电影俘获了所有挑剔和普通的观众。它同样被提名为2002年奥斯卡金像奖最佳外语电影,却不幸输给了波斯尼亚和黑塞哥维那的《无主之地》。

The film has also had an unusual legacy –corporate institutions regularly use scenes from the film to give examples of good leadership qualities.

这部电影也同样是一场不寻常的馈赠——合作机构定期地使用电影里的场景来举例说明好的领导力该具有哪些品质。
 

Blackfish (2013)

黑鲸

Blackfish demonstrates how film can change the way we think. Gabriela Cowperthwaite bravely took on SeaWorld, exposing the way they treated their whales through meticulous research.

《黑鲸》讲述了电影如何改变我们的思维方式。盖贝拉·考珀斯维特勇敢地呈现了圣地亚哥海洋世界,通过细致的研究展现了他们对待他们的鲸鱼的方式。

The film’s far-reaching impact has seen SeaWorld’s share prices plummet, leisure patterns change as customers stopped visiting their parks, and the company ultimately forced to change their cruel practices. All thanks to one film.

这部电影的深远影响见证了圣地亚哥海洋世界的股价暴跌,随着游客停止参观他们的公园而改变的娱乐方式,这间公司最后也被迫改变了他们残忍的训练模式。这一切都归功于一部电影。
 

The Pearl Button (2015)

珍珠纽扣

It is impossible to do justice to the power of this film. It had the cosmic cinematography of Terence Malick, the dystopian social criticism of Aldous Huxley's Brave New World, and a poetic, detached yet visceral indignation in the face of political barbarity. The film reminded me both of the Argentine film Garage Olimpo or even the literary works of WG Sebald, such as Austerlitz and The Emigrants. It is simply spectacular.

这部电影的力量是无法估量的。它有着泰伦斯•马利克极广阔的电影摄影手法,阿道司·赫胥黎的《美丽新世界》的反乌托邦式的社会批评,和面对政治野蛮时诗意、独立却发自内心的愤慨。这部电影让我想起了阿根廷电影《奥林波车库》,甚至是泽尔巴德的著作,如《拿破仑光荣史》和《移民》。简单却壮观。
 

We Need to Talk about Kevin (2011)

凯文怎么了

We Need to Talk About Kevin eschews the epistolary format of its source material for more fragmented, sensual storytelling. The result assaults the viewer with a collage of blood-red imagery and sound design that provides the soundtrack for each crack in Tilda Swinton’s deteriorating mind.

为了更碎片化和感性的故事讲述,《凯文怎么了》避开了来源资料的书信体格式。结局用血红场景的拼贴和展现出蒂尔达·斯文顿日渐脆弱的心灵每一次垮裂的音效设计,震撼着观看者。

In a time of Aurora, Sandy Hook, and Orlando, director Lynne Ramsay’s decision to tilt this distinctly into the realm of nightmare feels right. There should be no normal response to the horror Swinton’s demon son (a chilling Ezra Miller) commits.

在奥罗拉、桑迪胡克和奥兰多的那些日子,总监琳恩·拉姆塞让它们明显坠进噩梦领域的决定看来是正确的。面对斯文顿可怕的魔鬼般的儿子(一位骇人的埃兹拉·米勒)是不可能保持冷静的。

And through Swinton’s peerless performance and Ramsay’s thrilling virtuosity, we become enveloped in a tomb of shell-shocked trauma and paralysing guilt, which serves as an aggressive re-buke to the growing complacency its subject matter has provoked. The dread seeps into your bones and stays there. As it should.

而且通过斯文顿无与伦比的表演和拉姆齐精湛的技巧,我们被极度震惊的创伤坟墓和瘫痪的愧疚感所笼罩,这些都侵略性地激起了日益增长的自满,主题也已经显现。恐惧渗透了你的骨头并停留在了那里。也理应如此。

 

图文来源:沪江英语

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