《时代周刊》：2017十大最佳电影[1]

接近年关又到了如火如荼的年终盘点季，美国《时代》杂志近日也评选出了自己的2017年度十大最佳电影，《布达佩斯大饭店》、《少年时代》、《乐高大电影》和《超体》等影片上榜，你看过哪些？

10.Birdman

10.《鸟人》

Sixtyish actor Riggin Thomson (Michael Keaton) hates that he is remembered only for a comic-book movie hero, Birdman, that made him a star decades earlier. He figures that headlining and directing a Broadway play based on a Raymond Carver story will convince the world of his serioso chops. But when nearly everything goes wrong in previews, Riggin realizes he can trust only the Birdman voice in his head. Assembling a dynamite cast (Edward Norton, Naomi Watts, Zach Galifianakis, Emma Stone) and employingGravitycinematographer Emmanuel Lubezki to shoot the two-hour story as if it were one continuous take, director Alejandro G. Iñárritu turns a familiar backstage dramedy — say,All About EveplusAll That Jazztimes Fellini’s8½— into a spec-technical tour de farce. Keaton, who played Batman in two Tim Burton movies, locates Riggin’s frantic weariness, which could sag into suicidal defeat or ascend into mad apotheosis. Not to worry: the actor and the movie end up soaring.

60多岁的过气男演员瑞根·汤姆森9.Wild Tales

9.《荒蛮故事》

Passengers board a flight for which they have all received free tickets. Slowly they realize that their mysterious benefactor is a man named George Pasternak, whom each of them had wronged in some way — and that he is in the cockpit about to crash the plane. A hijacking story with a weirdly effervescent tang, this is the first of six short fables in an omnibus comedy from Argentinian writer-director Damián Szifron. Animosity simmers and boils hilariously in episodes set in a roadhouse diner, on the open highway, in a DMV office, among the corrupt members of a rich family and at a wedding ceremony where the bride learns her new husband has had affair with one of the guests. Produced by Pedro Almodóvar, and playing like a volume of short stories somehow coauthored by Ambrose Bierce and Roald Dahl,Wild Talesbuilds recognizable grudges into tales of apocalyptic revenge. It’s also the year’s most fearlessly funny film.

乘客们都免费登机后才慢慢意识到自己被骗了：提供机票的乔治·帕斯捷尔纳克8.Citizenfour

8.《第四公民》

Calling himself Citizenfour, Edward Snowden sent encrypted email messages to doc filmmaker Laura Poitras that hinted at extraordinary revelations about the National Security Agency’s database on U.S. citizens. In a Hong Kong hotel room in June 2013, the Booz Allen IT analyst met Poitras and journalists Glenn Greenwald and Ewen MacAskill to spill his and his computer’s guts. The subject of this fascinating, edifying and creepy film has a nerdish star quality: poised and articulate, he’s also more than a little anxious. Snowden correctly anticipates what’s in store for him — official pariah status in the U.S. — and makes clear that the need for the public to know the range of NSA eavesdropping is worth the price he will pay. The glare of Poitras’s camera gives the young man a ghostly pallor; he could be a specter reaching out from the other side to warn the living. A true-life spy thriller and horror movie,Citizenfouris also history in the making: a portrait of a man at the very moment he chooses to enrich and darken Americans’ understanding of what their government knows about them.

自称“第四公民”的爱德华·斯诺登将加密的电子邮件发给纪录片导演罗拉·柏翠丝，揭露了美国国家安全局监控美国民众的数据库，进而轰动全球。2013年6月，斯诺登在一家香港的宾馆里与柏翠丝和《卫报》记者格仑·格林沃德见面，全然吐露了“棱镜门”事件的7.Nightcrawler

7.《夜行者》

“Think of our news,” says a producer at an L.A. TV station, “as a screaming woman running down the street with her throat cut.” Lou Bloom, a freelance news cameraman played by Jake Gyllenhaal with the smiling stare of a deranged Boy Scout, takes that advice and shoots video of grieving widows, home-invasion casualties and human roadkill. You want to see this stuff, up-close and purple, do you not? Lou’s the guy who gets it for you. Imagine Travis Bickle fromTaxi Driverworming his way into Paddy Chayefsky’sNetworkand you have writer-director Dan Gilroy’s ’70s-going-on-right-now mix of psychological portrait and media satire. Prowling an after-dark L.A. brought to gorgeous, menacing life by ace cinematographer Robert Elswit, Gyllenhaal ratchets down his usual fretful-puppy winsomeness to create an ornate, eloquent vessel for Lou’s hollow charm, careering zeal and pestilential value system.

“想想这个资讯”，洛杉矶电视台的一个制片人说道，“一个被割喉的女人一边尖叫，一边在马路上狂跑”。卢·布鲁姆(杰克·吉伦哈尔饰)是个自由摄影师，他看着制片人，脸上浮现着空想家般的微笑，同意了这个提议，开始报道洛杉矶地下犯罪活动，像是悲伤的寡妇背后的故事，入室盗窃的伤亡情况以及路边杀人案。你想看看这种体裁的故事吗？卢·布鲁姆给你提供了这个机会。导演兼编剧丹·吉尔罗伊混合了70年代的心里描绘手法和对媒体的讽刺，一流的摄影师罗伯特·艾斯威特带你去看夜晚的洛杉矶是怎样的危险刺激，而吉伦哈尔不同于通常的迷人形象，诠释了一个充满职业狂热、有这瘟疫般价值观的空洞灵魂。

6.Jodorowsky’s Dune

6.《佐杜洛夫斯基的沙丘》

In sweeping gestures and urgent broken English, Alejandro Jodorowsky exclaims, “Movies have heart —boom,boom,boom! Have mind [he mimes lightning bolts from his brain]. Have power [he points to his genitals]. Have ambition! I want to do something like that. Why not?” At 84, four decades after he prepared a hallucinogenic adaptation of Frank Herbert’s science-fiction novelDune, the Chilean-born Mexican director is still heartbroken that the project died when his producer came up $5 million short on the $15-million budget. A few years later, George Lucas spent $11 million makingStar Wars, and the fantasy-film genre went retro instead of luxuriously wacko. Doc director Frank Pavich buttresses his profile of the still-vital and charismatic Jodorowsky with contributions from the oldDuneteam, including writer Dan O’Bannon and concept designers Chris Foss and H.R. Giger (all of whom world work on Ridley Scott’sAlien). The message to take from this love letter to the cinematic ambition of the ’70s: movies once had brains and balls, and lost them.

亚历桑德罗·佐杜洛夫斯基一边用手比划着，一边用蹩脚的英语急切地讲道，“电影是有心的，砰砰砰在跳动；电影有思想，有力量，有野心。我就想制作这样一部电影”。这位出生于智利的墨西哥导演已84岁高龄，仍惋惜四十年前制作人因缺1500万美元预算而放弃拍摄《沙丘》，这部改编自弗兰克·赫伯特科幻小说的惊天巨作。几年后，乔治·卢卡斯斥资1100万美元打造《星球大战》，科幻电影卷土重来。纪录片导演弗兰克·帕维奇联手《沙丘》制作团队，包括作家丹·欧班农、概念设计师克里斯·福斯和吉格尔5.Goodbye to Language

5.《再见语言》

In a banner year for 84-year-old visionaries, Jean-Luc Godard issued his first 3-D feature, a skeptical phantasmagoria that proves the unstoppable innovative verve of the auteur who set movies on their modernist course with his 1960Breathless. When most other directors stopped modernizing, Godard went further, into a film-essay form that lays his cantankerous ideas about life, love, politics and film history over the smidge of a story — here, the romantic debates of a youngish, often nude couple (Héloise Godet and Kamel Abdeli). As if he were making the first 3-D movie experiment, Godard shows nature in violent, supersaturated colors and, in one scene, plays with overlapping images: close one eye and see a man in the foreground, close the other and see the woman in the back. The real star is Godard’s dog Roxy, a mournful observer and a great natural actor who embodies Darwin’s observation that “A dog is the only thing on earth that loves you more than he loves himself.” This latest Godard may be hard to love, but it probes, confounds and exhilarates in equal and unique measure.

对84岁的预想家让-吕克·戈达尔来说，2017是有标志性意义的一年。这一年他推出了自己的首部3D电影《再见语言》。戈达尔1960年的电影《精疲力尽》4.Lucy

4.《超体》

Most big summer movies are handsome, muscular and dumb; in a word,Transformers. Luc Besson’s globe-trotting thriller, about a woman empowered and imperiled by the infusion of a powerful new drug into her nervous system, is different: it kicks assandtakes brains. Besson provides his usual fights and car crashes, before swerving toward a climax of Mensa movie madness in the spirit of a berserk2001. The French writer-director, who has often put women at the center of his action movies (La femme Nikita,The Professional,The Fifth Element), here creates a heroine whose rapidly expanding abilities make her the world’s most awesome weapon — in the process, promoting Scarlett Johansson from an indie-film icon and Marvel-universe sidekick to the movie superwoman she was destined to be. Taking place in less than a day, while simultaneously synopsizing three million years of human evolution in a hurtling 89 mins. of screen time,Lucyis the year’s best, coolest, juiciest, smartest action movie.

大部分暑期大片都是帅气硬汉的主场，《变形金刚》就是最好的例子。而导演吕克·贝松却在这部惊悚大片中讲述了一个年轻女人被注射入一种新型毒品，结果拥有超于常人的力量。情节引人入胜而又十分烧脑，打斗和撞车场景贯穿始终。这位法国导演兼编剧延续一贯的“女性人物主导”的动作片特色，在《超体》中塑造了一名无所不能的“女超人3.The LEGO Movie

3.《乐高大电影》

The challenge to directors and cowriters Phil Lord and Christopher Miller: transform the blocky LEGO figures, with painted faces and no arm or leg mobility, into charming or rapacious characters a viewer can instantly accept and believe in. That they did. Worker drone Emmet (voiced by Chris Pratt ofParks and RecreationandGuardians of the Galaxy) gets mistaken as the Special One, the Neo of the LEGO matrix, by a cadre of underground rebels bent on overthrowing the evil President Business (Will Ferrell). “Anti-capitalist” was the phrase that Brietbart.com applied to this comedy about the nightmare merger of big government and predatory commerce — somehow ignoring that it’s also a feature-length commercial for the world’s largest toy company. Politics aside,The LEGO Movieis a hoot, and a beaut. Shot in a CGI format that mimics stop-motion animation, it has an aptly rough, faux-primitive look, as if some brilliant kid had made a madly elaborate home movie the whole world could love. The sequel comes in 2018.

对于导演兼编剧菲尔·罗德和克里斯·米勒来说，最大的挑战无疑是如何将乐高中积木般毫无灵活性的角色变成魅力四射的人物，并被大众广为认可。2017年他们做到了！该影片讲述了一个普通乐高小人艾米特2.Boyhood

2.《少年时代》

In what might have been a gimmick but was really a stroke of genius, Richard Linklater began shootingBoyhoodwhen its leading actor, Ellar Coltrane, was a first-grader and each succeeding summer shot a new segment involving Coltrane’s Mason and his Texas family: mother Olivia (Patricia Arquette), father Mason Sr. (Ethan Hawke) and elder sister Samantha (the director’s daughter Lorelei). Mason’s evolving life has its difficulties but few extremities; it unfolds rather than exploding in reality-TV’s manufactured traumas. A home movie of a fictional home life, an epic assembled from vignettes,Boyhoodshimmers with unforced reality. To watch it is to page through a family album of folks you just met, yet feel you’ve known forever. This is life as most of us experience it, and which few movies document with such understated acuity. Embrace each moment, Linklater tells us, because it won’t come again — unless he is there to record it, shape it and turn it into an indelible movie.

这听起来像是耍花招，但是的确是神来之笔。编剧兼导演理查德·林克莱特历时12年拍摄此片，讲述了主人公梅森1.The Grand Budapest Hotel

1.《布达佩斯大饭店》

Monsieur Gustave H. (Ralph Fiennes) flawlessly executes his job as concierge at the Grand Budapest Hotel in the Republic of Zubrowka during the political upheavals of the 1930s. Intoning romantic poetry he may have made up on the spot, he attends to the sexual whims of his rich old-lady clients; or, as he says, “I go to bed with all my friends.” Amour and mortality, romance and horror, comedy and tragedy duel to a sumptuous draw in Wes Anderson’s richtorteof a movie — perhaps the most seductively European film ever made by a kid from Houston, Texas. A dizzyingly complex machine whose workings are a delight to behold, the movie has a wry smile for frailties, a watchful eye for tyranny and a heart that, under the circumstances of this dark, fanciful tale, must be called heroic. This is not just an amazing contraption, though it is that; it’s a real, funny, sad movie, whose performances (from Fiennes, Adrien Brody, Jeff Goldblum, Tilda Swinton and dozens of others) are as alert and elegantly composed as the décor. Grand isn’t good enough a word for thisBudapest Hotel. Great is more like it.

在20世纪30年代的欧洲，古斯塔夫先生 （