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双语:2014年《时代周刊》评选的十大电影

2014-12-24    来源:chinadaily    【      美国外教 在线口语培训

双语:2014年《时代周刊》评选的十大电影

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2014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(迈克尔·基顿饰)讨厌别人只记得自己扮演过漫画电影英雄“鸟人”。他决定通过大力宣传自己导演的百老汇舞台剧来重拾昔日的辉煌。这部改编自雷蒙德•卡佛小说的舞台剧在预演时进展糟糕,这使他意识到唯一可信的就是自己头脑中的“鸟人”。该影片大腕云集,包括爱德华·诺顿、娜奥米·沃茨、扎克·加利费安纳基斯和艾玛·斯通。这部特技闹剧由《地心引力》摄影师艾曼努尔·卢贝兹基拍摄,亚利桑德罗·冈萨雷斯·伊纳里图导演。主演基顿曾两次在蒂姆·伯顿的影片中饰演“蝙蝠侠”这一角色,此番他在《鸟人》中完美诠释了男主人公瑞根内心的厌倦。这种近乎疯狂的情感要么导致瑞根的自我毁灭,要么让他成为疯狂的全民偶像。你无需担心,因为影片有个圆满结局。

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(里卡杜-达林饰)正坐在驾驶舱里准备坠毁这辆客机。这个不乏欢腾搞笑的劫机故事取自于阿根廷作家达米安·斯兹弗隆寓言文集的第一篇。电影取景多样,包括在公路边的房屋里共进晚餐,在宽阔的马路上驰骋,富豪家腐败的成员们聚集一堂,婚礼上新娘发现新郎竟然与一位来宾发生恋情。该片由佩德罗·阿莫多瓦担任制片人,刻画了复仇路上的恩怨情仇,引人深思。影片还给观众一种读安布罗斯·贝尔士和罗尔德·达尔合著的系列短篇小说的感觉,堪称年度“最冒险”喜剧片。

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”事件的来源去脉。这部影片精彩又不失启迪,但也让人有些毛骨悚然。平静镇定和能言善辩的斯诺登在该片中显得十分担忧,展现了一丝“极客”的呆气。他正确预测了自己将在美国政界遭受四面楚歌的命运,还清楚地表示,为了能够让美国民众了解他们被国家安全局窃听的范围之广,他付出任何代价都是值得的。斯诺登在摄像机的光下显得幽灵般的苍白,好似一个从另一个时空穿越而来,警示着芸芸众生。《第四公民》不仅是一部真实的谍战片,更是一部正在发生着的历史。它刻画了一个男人,在关键的节点义无反顾地选择了曝光政府行为。斯诺登的选择,让每个美国人明白了政府实际上有多“了解”他们,并跌入了失望的深渊。

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.
“想想这个新闻”,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(这些人都参与过《异形》拍摄),塑造超凡魅力的“佐杜洛夫斯基”形象。他从70年代延续至今的电影野心告诉我们:电影曾经兼有智慧和勇气,但如今已不复存在。

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,2014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》(Breathless)奠定了法国新浪潮电影流派的基调,而幻觉效应贯穿始终的《再见语言》延续了他创新出奇的风格。如今大部分导演不再追求现代化,而戈达尔却进一步反其道而行之,创造了“电影小说”的新形式。他通过叙述一对年轻夫妇和一条狗的奇幻故事,表达了自己对生活、爱情、政治和电影历史的看法。在探索3D电影的过程中,戈达尔展现了冲突和超饱和色彩的本质,还在一个场景中运用重叠图像的手法:闭上一只眼,你看到前面有位男士;转而闭上另一只眼,你会看到后面有位女士。影片明星是那条名叫罗克西的小狗,它悲痛地旁观着一切,最佳诠释了达尔文的那句名言:“狗是世界上唯一爱你比爱它自己多的生物”。尽管戈达尔最近让人有些晦涩难懂,但他会通过独特的方式让你受益匪浅、欣喜若狂。


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(斯嘉丽·约翰逊饰),堪称世上最有杀伤力的武器。影片用89分钟概述了300万年的人类进化史。《超体》无疑是2014年荧幕上最酷炫最刺激最精彩的动作大片。

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。2014年他们做到了!该影片讲述了一个普通乐高小人艾米特(克里斯·帕拉特配音)被错当成了“大师建造者”而加入进一支地下反抗组织,力图阻止乐高世界邪恶暴君“商业总统”的阴险计划。这一喜剧动画片打着“反资本主义”的口号来反映政府兼并和掠夺式商业——似乎制作商忽视了一点:影片也映射到这个世界上最大型玩具公司自己的商业运作。该影片运用定格动画技术,呈现了一种“粗制”和“仿”原始的风格,仿佛是几个聪明的小孩子自己制作的家庭影片,但却得到了全世界观众的喜爱。该片续集将于2018年上映。

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(艾拉·科尔特兰饰)从6岁到18岁的成长历程。艾拉从一年级起,每个暑假都会拍摄一段影片,包括他、姐姐和父母。主人公梅森的成长历程虽未大起大落,但困难时有发生。观看这部影片就像是你在翻阅一个你一见如故的家庭的影集。故事情节每个人都亲身经历过,但没有几部影片能如此敏锐地捕捉到这些。林克莱特用这部影片告诉我们:童年和青春一去不复返,除非像他那样精心记录下每个成长的时刻,拍摄成一部难忘的电影。

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(拉尔夫·费因斯饰)尽职尽责地履行着布达佩斯大饭店看门员的职责。他一边吟诵着自己当场编造的诗句,一边幻想着和阔太太们发生一夜情。这部爱恨交加的影片出自导演韦斯·安德森之手,爱情和道德、浪漫和恐惧相互交织。这位出生于德克萨斯州休斯敦市的老顽童打造了一部堪称史上最诱人的欧洲影片。


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