雙語：2014年度十大最佳電影（TOP1-TOP5）

2014年度最佳電影TOP10 （2）：TOP1~ TOP5

5.Goodbye to Language 《再見語言》

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.

對84歲的預(yù)想家讓-呂克·戈達爾來說，2014是有標(biāo)志性意義的一年。這一年他推出了自己的首部3D電影《再見語言》。戈達爾1960年的電影《精疲力盡》（Breathless）奠定了法國新浪潮電影流派的基調(diào)，而幻覺效應(yīng)貫穿始終的《再見語言》延續(xù)了他創(chuàng)新出奇的風(fēng)格。如今大部分導(dǎo)演不再追求現(xiàn)代化，而戈達爾卻進一步反其道而行之，創(chuàng)造了“電影小說”的新形式。他通過敘述一對年輕夫婦和一條狗的奇幻故事，表達了自己對生活、愛情、政治和電影歷史的看法。在探索3D電影的過程中，戈達爾展現(xiàn)了沖突和超飽和色彩的本質(zhì)，還在一個場景中運用重疊圖像的手法：閉上一只眼，你看到前面有位男士；轉(zhuǎn)而閉上另一只眼，你會看到后面有位女士。影片明星是那條名叫羅克西的小狗，它悲痛地旁觀著一切，最佳詮釋了達爾文的那句名言：“狗是世界上唯一愛你比愛它自己多的生物”。盡管戈達爾最近讓人有些晦澀難懂，但他會通過獨特的方式讓你受益匪淺、欣喜若狂。

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4.Lucy 《超體》

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帥氣硬漢的主場，《變形金剛》就是最好的例子。而導(dǎo)演呂克·貝松卻在這部驚悚大片中講述了一個年輕女人被注射入一種新型毒品，結(jié)果擁有超于常人的力量。情節(jié)引人入勝而又十分燒腦，打斗和撞車場景貫穿始終。這位法國導(dǎo)演兼編劇延續(xù)一貫的“女性人物主導(dǎo)”的動作片特色，在《超體》中塑造了一名無所不能的“女超人（斯嘉麗·約翰遜飾），堪稱世上最有殺傷力的武器。影片用89分鐘概述了300萬年的人類進化史�！冻�體》無疑是2014年熒幕上最酷炫最刺激最精彩的動作大片。

3.The LEGO Movie 《樂高大電影》

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 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.

對于導(dǎo)演兼編劇菲爾·羅德和克里斯·米勒來說，最大的挑戰(zhàn)無疑是如何將樂高中積木般毫無靈活性的角色變成魅力四射的人物，并被大眾廣為認可。2014年他們做到了！該影片講述了一個普通樂高小人艾米特（克里斯·帕拉特配音）被錯當(dāng)成了“大師建造者”而加入進一支地下反抗組織，力圖阻止樂高世界邪惡暴君“商業(yè)總統(tǒng)”的陰險計劃。這一喜劇動畫片打著“反資本主義”的口號來反映政府兼并和掠奪式商業(yè)——似乎制作商忽視了一點：影片也映射到這個世界上最大型玩具公司自己的商業(yè)運作。該影片運用定格動畫技術(shù)，呈現(xiàn)了一種“粗制”和“仿”原始的風(fēng)格，仿佛是幾個聰明的小孩子自己制作的家庭影片，但卻得到了全世界觀眾的喜愛。該片續(xù)集將于2018年上映。

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2.Boyhood 《少年時代》

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.

這聽起來像是�；ㄕ校�但是的確是神來之筆。編劇兼導(dǎo)演理查德·林克萊特歷時12年拍攝此片，講述了主人公梅森（艾拉·科爾特蘭飾）從6歲到18歲的成長歷程。艾拉從一年級起，每個暑假都會拍攝一段影片，包括他、姐姐和父母。主人公梅森的成長歷程雖未大起大落，但困難時有發(fā)生。觀看這部影片就像是你在翻閱一個你一見如故的家庭的影集。故事情節(jié)每個人都親身經(jīng)歷過，但沒有幾部影片能如此敏銳地捕捉到這些。林克萊特用這部影片告訴我們：童年和青春一去不復(fù)返，除非像他那樣精心記錄下每個成長的時刻，拍攝成一部難忘的電影。

 1.The Grand Budapest Hotel 《布達佩斯大飯店》

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世紀30年代的歐洲，古斯塔夫先生（拉爾夫·費因斯飾）盡職盡責(zé)地履行著布達佩斯大飯店看門員的職責(zé)。他一邊吟誦著自己當(dāng)場編造的詩句，一邊幻想著和闊太太們發(fā)生一夜情。這部愛恨交加的影片出自導(dǎo)演韋斯·安德森之手，愛情和道德、浪漫和恐懼相互交織。這位出生于德克薩斯州休斯敦市的老頑童打造了一部堪稱史上最誘人的歐洲影片。

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