年時報影評人心中的最佳電影(4)
The film critics of The New York Times — Manohla Dargis and A. O. Scott — share their picks for the best movies of the year.
時報影評人曼諾拉·達吉斯(Manohla Dargis)與A·O·斯科特(A. O. Scott)分享他們挑選的年度最佳電影。
8. “Mad Max: Fury Road”(George Miller)
8. 《瘋狂的麥克斯4：狂暴之路》，導演：喬治·米勒。
A master class in old-school, super-linear action filmmaking, full of nasty, punk-rock, dystopian Australian humor. Also the best recent eco-feminist-socialist allegory that isn’t a novel by Margaret Atwood. (Read the review)
大師級別的老式、線性的動作電影拍攝，充滿污穢、朋克、反烏托邦的澳大利亞式幽默。也是最近除瑪格麗特·阿斯特伍德(Margaret Atwood)的小說之外，最好的生態-女權-社會主義作品。
9. “Creed”(Ryan Coogler)
9. 《奎迪》(Creed)，導演：瑞恩·庫格勒(Ryan Coogler)。
If any movie can bridge the deep racial, generational and class divides in American life — at least for a couple of hours — it would have to be this revival of the ancient “Rocky” franchise. Sylvester Stallone, shuffling into the wise old trainer role, gives perhaps the loosest, warmest performance of his career. Michael B. Jordan, as Adonis Johnson, Rocky’s protégé (and the illegitimate son of his onetime rival and long-lost friend, Apollo Creed), continues his emergence as one of the vital movie stars of our moment. As for Mr. Coogler, with his second feature as a director he proves himself to be a true contender. (Read the review)
如果有什麼電影能夠至少在兩個小時裏，爲美國生活中深刻的種族、代際與階層鴻溝架起橋樑，那可能就是這部古老的《洛基》(Rocky)系列的復活影片。西爾維斯特·史泰龍(Sylvester Stallone)拖着腳步，飾演這個聰明的老教練角色，給出了他演藝生涯中或許是最鬆弛、最溫暖的表演。邁克爾·B·喬丹飾演洛基的被保護人阿多尼斯·約翰遜(Adonis Johnson)，他也是洛基一度的競爭對手和早已喪失的朋友阿波羅·奎迪(Apollo Creed)的私生子，他成了我們這個時代重要的影星。至於庫格勒，這是他執導的第二部唱片，證明他是一個真正的鬥士。
10. “Results” (Andrew Bujalski)
10. 《結果》(Results)，導演：安德魯·布西內斯克(Andrew Bujalski)。
“Welcome to Me” (Shira Piven)
《歡迎來到我的世界》(Welcome to Me)，導演：舍拉·皮文(Shira Piven)。
A pair of post-mumblecore comedies about self-realization and its limits. Mr. Bujalski’s is a flawless screwball triangle (with Guy Pearce, Cobie Smulders and Kevin Corrigan as the sides) masquerading as an easygoing hangout with the oddballs of Austin, Tex. Ms. Piven surveys the darker territory of mental illness and daytime television. Thanks to Kristen Wiig’s astounding performance (as a lottery winner named Alice Klieg), “Welcome to Me” is a portrait of an American dreamer that is unsettling and inspiring in equal measure.
這是兩部後自語核(post-mumblecore)喜劇，講述自我認知及其邊界的故事。布西內斯克的影片是完美的怪人三角，三條邊分別是蓋·皮爾斯(Guy Pearce)、寇碧·史莫德斯(Cobie Smulders)和凱文·科利根(Kevin Corrigan)，以德克薩斯州奧斯汀怪人們輕鬆胡混的僞裝出現。皮文的影片探索精神病以及日間電視節目的的黑暗疆域。由於克里斯汀·韋格(Kristen Wiig)的精彩演出（她飾演一個名叫愛麗絲·克里格的彩票得主），《歡迎來到我的世界》成了關於美國夢想者的精彩肖像，既令人不安，也鼓舞人心。
11. “The Black Panthers: Vanguard of the Revolution” (Stanley Nelson)
11. 《黑豹黨：革命先鋒》(The Black Panthers: Vanguard of the Revolution)，導演：斯坦利?尼爾森(Stanley Nelson)。
“What Happened, Miss Simone?” (Liz Garbus)
《發生什麼了，西蒙妮小姐?》(What Happened, Miss Simone?)，導演：利茲·加布斯(Liz Garbus)。
These documentaries use the standard tools — archival footage, talking-head interviews, carefully selected musical cues — to write history in the present tense. In the era of Black Lives Matter, the stories of the Black Panthers and the jazz singer and activist Nina Simone could hardly be more relevant. Mr. Nelson and Ms. Garbus tell them beautifully.
這兩部紀錄片都使用標準工具——資料影像、人物採訪，悉心選擇的音樂資料——在目前的緊張局勢中書寫歷史。在“黑人的命也是命”(Black Lives Matter)的時代，關於黑豹黨和爵士歌手兼行動分子妮娜·西蒙妮的影片確實意義重大。尼爾遜和賈巴斯精彩地講述了他們的故事。
12. “The Kindergarten Teacher” (Nadav Lapid)
12. 《教師》，導演：那達夫·拉皮德。
This quiet, intense Israeli film unfolds like a psychological thriller. A poetry-loving teacher discovers that one of her young pupils is a literary prodigy, and takes increasingly extreme measures to protect his gift from an indifferent world. As the story unfolds, it becomes clear that Mr. Lapid is engaged in a stealthy, ferocious critique of a society that has sacrificed its spiritual values and its cultural inheritance on the altar of power and materialism.
這部安靜而又激烈的以色列電影最後呈現爲一部心理驚悚劇。一個熱愛詩歌的教師發現自己的一個年輕學生是文學申通，她採取日益極端的措施，在這個冷漠的世界上保護他的天分。隨着故事展開，顯然，拉皮德想對這個在權力與拜金的祭壇上犧牲靈性價值和文化遺產的社會進行一番隱祕而激烈的批判。
13. “Girlhood” (Céline Sciamma)
13. 《女孩幫》(Girlhood)，導演：瑟琳·席安瑪(Céline Sciamma)。
“The Diary of a Teenage Girl” (Marielle Heller)
《少女日記》，導演瑪麗爾·海勒。
Coming of age: in the modern banlieues of Paris and in San Francisco in the 1970s. These movies dramatize the harrowing, thrilling passage to womanhood with unsparing honesty and infinite compassion.
成長的故事：現代的巴黎郊區與20世紀70年代的舊金山，這兩部影片以殘酷的城市和無盡的熱情，把成長爲女人的可怕驚險之路變得戲劇化。
14. “Grandma” (Paul Weitz)
14. 《與外婆同行》(Grandma)，導演：保羅·韋茲(Paul Weitz)。
“Tangerine” (Sean Baker)
《橘色》，導演：肖恩·貝克(Sean Baker)。
Two against-the-clock tours of Los Angeles. Two celebrations of the sometimes prickly solidarity among women. Four tremendous performances, from Kitana Kiki Rodriguez, Mya Taylor, Julia Garner and the great Lily Tomlin. “Grandma” is the work of a studio veteran. “Tangerine” was shot on iPhones. Anyone prone to lamenting the death of movies needs to shut up and watch these.
兩次發生在洛杉磯的反抗時間之旅。兩次對女人之間時而棘手的團結的讚頌。四位演員的精彩表演，來自吉塔娜·基基·羅德里格斯(Kitana Kiki Rodriguez)、米婭·泰勒(Mya Taylor)、茱莉亞·加納，以及了不起的莉莉·湯姆林。《與外婆同行》是製片公司資深導演的作品，《橘色》是用iPhone手機拍攝。任何哀悼電影已死的人，都應該閉上嘴巴，看看這兩部影片。
15. “The End of the Tour” (James Ponsoldt)
15. 《旅行終點》(The End of the Tour) ，導演：詹姆斯·龐索特(James Ponsoldt)。
Widely misunderstood as a biopic about the novelist David Foster Wallace, Mr. Ponsoldt’s film is a comedy of journalistic bad manners and a bitter, knowing satire of the machinery of literary fame. Jesse Eisenberg and Jason Segel use the conventions of the buddy movie to perfect a new subgenre: the frenemy film.
它被廣泛誤解爲一部關於小說家大衛·福斯特·華萊士(David Foster Wallace)的傳記電影，其實龐索特的這部影片是一部關於新聞的壞方法的喜劇，以及對文學名譽機制充滿了解的辛酸諷刺。傑西·艾森伯格(Jesse Eisenberg)與傑森·西格爾(Jason Segel)使用“男人老友電影”(buddy movie)的傳統方式，完美地呈現出一個新的子類：亦敵亦友電影。
