19

瘋狂的麥克斯：狂暴之路

Mad Max: Fury Road

導(dǎo)演：?jiǎn)讨巍っ桌眨℅eorge Miller）

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With Mad Max: Fury Road, George Miller dialed up the modern blockbuster to full blast. A cohesive vision with a structured journey built around themes of survival and endurance, the fourth entry in the dystopian franchise showcased what is otherwise the narrative and thematic drought within the Hollywood blockbuster machine. Without resorting to cheap cynicism and faux-grittiness, Miller zeroes in on the sensuality of the environments, the carefully crafted machines and scorched landscapes.
喬治·米勒用《瘋狂的麥克斯：狂暴之路》燃爆了一顆現(xiàn)代商業(yè)大片的炸彈。這個(gè)反烏托邦系列的第四部作品不同于其他平鋪直敘的好萊塢大片，而是用有凝聚力的視野和有組織的旅程講述了生存和忍耐的主題。米勒沒有用廉價(jià)的憤世嫉俗來(lái)講故事，也沒有刻意塑造堅(jiān)毅果敢的人物性格，而是把注意力放在營(yíng)造環(huán)境的刺激上，比如精心制作的機(jī)器、太陽(yáng)炙烤的大地等等。

– Justine A Smith, Freelance, Canada

20

紐約提喻法

Synecdoche, New York

導(dǎo)演：查理·考夫曼（Charlie Kaufman）

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Synecdoche, New York is every deep-seated fear you've ever had, writ large: you've disappointed your spouse and failed your children, you've let your loved ones die lonely, excruciating deaths, and you'll never complete the work you were put here to do because you, too, will reach the end before you know it. And that, paradoxically, is what makes it so affirming. Kaufman's masterpiece isn't joyful, but it's bursting at the seams with wild ambition and brimming with empathy. It's a reminder that even at our lowest and darkest, we are not alone.
《紐約提喻法》講的是我們每個(gè)人都有過的深層恐懼，顯而易見：你的配偶和孩子對(duì)你失望，你愛的人孤獨(dú)痛苦地死去，你永遠(yuǎn)完成不了自己的作品，因?yàn)槟阋部焖懒耍阕约哼€渾然不覺。但矛盾的是，這些恐懼反而是一種肯定。考夫曼的作品并不歡樂，而是充斥著野心和同情心，它提醒我們，即使在最失落最黑暗的時(shí)刻，我們也并不孤單。

– Angie Han, Slashfilm, US

21

布達(dá)佩斯大飯店

The Grand Budapest Hotel

導(dǎo)演：韋斯·安德森（Wes Anderson）

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The Grand Budapest Hotel is the 21st Century's farewell salute to the century before. It vaults backwards in time from today to 1985 to 1968 to 1932. We know Gustave's immaculate world is ticking towards destruction, first by war, then by decades of neglect. Inevitably, the lazy and impersonal present will win, mass-producing not just our hotels, but our cinemas and the blockbusters on their screens. Wes Anderson has spent his career fussing over wallpapers. The Grand Budapest Hotel ennobles his craftsmanship.
《布達(dá)佩斯大飯店》是21世紀(jì)向上個(gè)世紀(jì)的告別致敬之作。本片的時(shí)間軸從當(dāng)下開始，之后跳躍到了1985年、1968年和1932年。我們知道，古斯塔夫的完美世界正一點(diǎn)點(diǎn)走向毀滅，先是因?yàn)閼?zhàn)爭(zhēng)，接著則是幾十年的漠視。不可避免地，這個(gè)懶惰且毫無(wú)個(gè)性的當(dāng)今世界會(huì)戰(zhàn)勝過去，在當(dāng)下，被大規(guī)模批量制造出來(lái)的不只是飯店，還有我們的電影院，以及影院里的大片。韋斯·安德森以整個(gè)職業(yè)生涯苦心孤詣地打造壁紙般唯美的鏡頭，《布達(dá)佩斯大飯店》使他精妙的技藝展露無(wú)遺。

– Amy Nicholson, MTV, US