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2013年度清点:《期间杂志》评比出2013十佳影戏

kira86 于2013-12-20公布 l 已有人阅读
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《期间杂志》评比出2013十佳影戏,你看过几部?

1. Gravity地心引力地心引力

When NASA travellers Sandra Bullock and George Clooney get lost in space, all awe breaks loose. Losing contact with Mission Control, as well as access to their oxygen supply, they are alone together, with time and options running out. An epic of desperate peril and profound wonder, Alfonso Cuar‪ón’s thrilling 3-D drama is a testament to human grit and groundbreaking technical ingenuity. It deserves to be seen once for the wow factor and a second time to try to figure out how Cuar‪ón and his digital savants managed to make the impossible seem so cinematically plausible. No one had dared even to imagine this stuff — like the astounding 13-minute take that opens the movie — yet here it all is, vividly and sumptuously realized. In depicting the fearful, beautiful reality of the space world above our world, Gravity reveals the glory of cinema’s future; it thrills on so many levels. And because Cuar‪ón is a movie visionary of the highest order, you truly can’t beat the view.
影片中,当NASA宇航员的两位饰演者---桑德拉.布洛克和乔治.克鲁尼在太空中迷失的那一刻,我们一切人都倒吸一口冷气。和空中指挥中央得到联络,氧气供给隔绝,工夫和选择都在一步步耗尽,他们一切的,只要他们本人。这一部如史诗般的作品,让人们看到深陷绝望的窘境,也让人堕入沉思。阿方索.卡隆的这一部惊险的3D影片,充溢对人类勇气的查验,也是在技能上的一次打破性探究。这是一部值得二次观影的影片,第一次可以体验影片的安慰结果,第二遍看看卡隆和他的数码团队们,是怎样把这些在影戏制造上不行能做到的局面,描画的云云使人服气。影片以无连续的13分钟镜头收场,这种伎俩是后人想都不敢想的,卡隆做到了,并且局面生动抽象,蔚为大观。《地心引力》描画了在你我上方谁人空间里,优美与惊慌并存的理想,也翻开了影戏期间光芒将来的帷幕;它也给我们的惊慌也是云云多层面的。别的,导演卡隆也是一线阵容中的影戏空想家,以是这部影戏确实不容错过。

2. The Great Beauty / La grande bellezza绝美之城

“What’s the matter with nostalgia?” asks an aging poet in this masterpiece of divine decadence. “It’s the only thing left for those of us who have no faith in the future.” Writer-director Paolo Sorrentino, whose Il Divo blended political bio-pic and Ovidian satire, views modern Rome in all its excess through the jaded eyes of “the king of the socialites,” journalist Jep Gambardella (Il Divo’s Toni Servillo) — and, further back, more than a half-century, to the Eternal City as seen by Federico Fellini in La Dolce Vita. This profligately cinematic achievement shows an affection for nearly all of its outsize characters, and a melancholy that the flaming creatures of Jep’s acquaintance will soon burn out. Giving even the cynics a faith in the vibrancy of movies, The Great Beauty is the year’s grandest, most exhilarating film that takes place on Earth.
“怀旧有什么好非议的?”这部报告一场浩大蜕化的大作中,一位年轻的墨客如许问道。“这关于我们这些对将来不抱信心的人来说,便是独一。“编剧兼导演---保罗.索诺提诺,曾拍摄过影片《大牌明星》,该片是政治列传和奥德维式挖苦交融的集大成者,在《绝美之城》中,他从“社会下流人士的国王“---记者杰普.甘巴尔贝拉(《大牌明星》中的托尼.瑟诺威)疲乏的眼睛里,全方位的察看古代的罗马。工夫再倒回到半个多世纪曩昔,回到《甘美生存》中费德里克.费里尼眼里的罗马---谁人永久之城。这部影片是一部放纵不羁的影戏佳构,影片体现了对罗马这座都会的一切明显特点的经心酷爱,全片都覆盖在一片极重繁重的担心中---杰普所看法的那些“热血造物”都市很快在理想中陨落。该片让批判界都重燃影戏业复兴的希冀,《绝美之城》当之无愧是今年度最绚丽最令人拍案喝采的影片。

3. American Hustle美国骗局

History remade as sparkling farce: the FBI’s late-70’s Abscam investigation of political corruption, which led to the conviction of a U.S. Senator and seven Congressmen, becomes this headlong tale of romance and recklessness. In director David O. Russell’s third consecutive movie about mismatched couples and their crazy families, after The Fighter and Silver Linings Playbook, A New York con artist (Christian Bale) juggles a mouthy wife (Jennifer Lawrence) and a cunning girl friend (Amy Adams) while reluctantly cooperating with the sting — supervised by a federal agent (Bradley Cooper) — of a New Jersey mayor (Jeremy Renner). “Some of this actually happened,” reads the movie’s opening text; but Russell and cowriter Eric Warren Singer aren’t going for verisimilitude. This portrait of the ’70s revels in the decade’s gaudiness — its disco dancing and casino dreams, its ugly coiffures and facial hair — and in the eternal abrasion of sexy women and covetous men. The five stars form a fabulous ensemble cast, in the year’s most knowing explosion of flat-out fun.
80年月,美国联邦观察局睁开了一场针对公职职员的政治糜烂观察,这次观察揭破了一名国集会员和七名议职员的糜烂举动,这一段真实的汗青如今被改编成了一出华美的闹剧---一个充溢戏谑滋味,而又无厘头的传奇故事。该片是继导演大卫.奥.拉塞尔,报告错配情侣和他们的猖獗家庭系列影戏的第三部,以及《斗士》和《乌云面前的幸福线》之后的全新力作,一位纽约的行骗妙手(克里斯汀.贝尔扮演)和他多嘴的老婆(詹妮弗.劳伦斯扮演),另有委曲和这位大骗子协作的狡诈女友(艾米.亚当斯),在一位联邦特工(布莱德利.库伯扮演)的监视下,和一名新泽西市长配合施行的一场骗局。影片开端写着如许一行字,“本片中局部情节失实”;但是导演拉塞尔和协作编剧埃里克.沃伦并不计划再现史实。这一部对80年月的描写作品自得于于再现这个时期的俗丽---的士高舞曲,赌场戏梦,漂亮的发式和假发---以及一向的对撩人女性和贪心之徒的贬损。在今年度最广为人知的悲剧影戏中,该片五位主演的全明星阵容可谓奢华。

4. Her她

In a future Los Angeles so near-Utopian that no scene takes place in a car, Theodore Twombly (Joaquin Phoenix) has a job composing love letters for other people. Profligately romantic, bruised by the failure of his marriage to Catherine (Rooney Mara), he has enough sentiment left over to fall truly, madly, deeply in love with a computer operating system who calls herself Samantha (Scarlett Johansson). Their virtual affair might be the springboard to satire, but writer-director Spike Jonze instead creates a splendid anachronism: a modern rom-com that is laugh-and-cry and warm all over, totally sweet and utterly serious. Or, if you will, utterly Siri. Phoenix corrals the dulcet melancholy of a man whose emotional pain finds refuge in Samantha’s embrace, in a love that, to misquote Phillip K. Dick, is “more human than human.” Phoenix and Jonze show what it’s like when a mourning heart comes alive — because he, Theodore, loves Her. And I, Richard, loved her.
该片发作在将来的洛杉矶,一个云云靠近乌托邦的中央。西奥多.通布利(杰昆.菲尼克斯扮演)在剧中的职业是为别人代写情书。他放纵不羁的浪漫情怀,由于和凯瑟琳(鲁尼.玛拉扮演)的失败婚姻而蒙受重创,他将剩下的全部情绪都给了一个叫做萨曼莎(斯嘉丽.约翰逊扮演)的电脑零碎 ,真诚,猖獗,深入的爱上了“她”。他们假造的恋爱大概可以作为一个拿来戏谑,但是剧作家兼导演的斯派克.琼斯却出其预料地制造了一个绚丽的期间错误:一个会哭会笑,满身分发情面味儿,声响甜蜜,态度仔细的古代电脑零碎。假如你情愿,你大可以把“她”假想成Siri,菲尼克斯将他的愁思和情绪上的痛苦悲伤诉诸与萨曼莎,并在萨曼莎的度量中找到了救赎。菲尼克斯和琼斯给我们展现了--- 一颗破裂的心是怎样重新苏醒。由于西奥多爱“她”,以是,我,理查,爱“她”。

5. The Grandmaster一代宗师

Running at 2 hours and 10 minutes in its world premiere at the Berlin Film Festival, Wong Kaw-wai’s dreamy biopic of martial arts master Ip Man was cut by 22 minutes — one-fifth of its running time — by U.S. distributor The Weinstein Company. That’s a crime akin to cutting random holes in a Bosch or Breughel painting; but what’s left is choice. The Hong Kong director makes superb movies (Chungking Express, In the Mood for Love, 2046) that ignore narrative drive for tales of romance and regret in a rapturous visual style of slo-mo imagery and hazy closeups of wistful stars. Tony Leung Chiu-wai, who looks like a more beautiful Obama, plays Ip Man as a poet of gestural precision, in combat scenes choreographed by the great Yuen Wo-ping (The Matrix, Kill Bill). Leung’s partner in reverie is a female doctor, daughter and martial artist played by Zhang Ziyi (Crouching Tiger, Hidden Dragon); she exudes a goddess’s solemn grandeur and is given a diva’s final aria — a fittingly elegiac climax for a world-class filmmaker who’s always in the mood for lost love.
该片由王家卫导演的,关于一代武术巨匠叶问的列传影戏。在柏林影戏节上展出时,总时长2小时10分钟,有22分钟的情节(长达该片总时长的五分之一)被美国经销商韦恩斯坦兄弟影戏公司删减。这一删减就像在博世或许勃鲁盖尔的画作上恣意地捅上几个洞穴,无须置疑是不行宽恕的罪过行径。但是却留下了很多选择。这名香港导演制造了一系列顶级影片(《重庆丛林》,《把戏光阴》,《2046》),这些影片并不注意一向接纳的用叙事推进浪漫故事的情节,他运用慢镜头展现一种狂喜的视觉作风,运用含糊特写捕获深思中的脚色。叶问的扮演者梁朝伟,和奥巴马有几分类似,但更为帅气,影片中他精准地塑造了人物,打架局面是由袁战争(《黑客帝国》,《杀去世比尔》的武术指点)经心设计。梁的伙伴是一名女大夫,为一武林妙手之女,并失掉父亲的真传,由章子怡扮演(曾出演过《卧虎藏龙》)。她满身分发着西方玉人的庄严和冷傲,最初的一段独白更是这位天下级影戏制造者,别开生面的一首咏叹调,将影戏推向低潮,而这位导演也不断在找寻他得到的把戏光阴。

6. Furious 6 速率与豪情6

Planes, trains and automobiles collide spectacularly in the fourth Fast & Furious movie to be directed by Justin Lin and written by Chris Morgan. In a reunion of Vin Diesel, the late Paul Walker, their gang and girlfriends and DEA agent Dwayne Johnson, Furious 6 vrooms from Tenerife to Moscow to London, with astounding stunts in each location, and hitches a ride on a military cargo plane for the final brawl. Where Fast Five heralded the New Hollywood’s exaltation of sensational action over subtle character, Furious 6 revs everything up, purifies and improves it to a level even cooler and more aerodynamically delirious than its predecessor, if such a thing is even mathematically possible. This adrenaline-stoking series is addictive, for its chases, crashes, crushes — and for its poetic limning of the closest camaraderie many men can ever know: with their cars. Owning one, some auto-holic says, is like a marriage. “Yeah,” another guy replies, “but when you break up they don’t take half your shit.”
由林诣彬导演,克里斯.摩根担纲编剧的《速率有豪情4》中,飞机,火车,汽车相撞的壮观局面仍记忆犹新。全新出品的《速率与豪情6》中,范.迪塞尔,保罗.沃克和他们的团伙,女友们,以及DEA(禁药取缔构造)探员道恩.强森重新聚首,从特纳利夫岛到莫斯科,再到伦敦,到处演出惊险局面,最初一战中更是用到了军用运输机。《速率与豪情5》曾经预示了好莱坞从过细人物描写到令人高兴和震惊的局面描画的转型,假如技能上可行,与前几部相比,第六部将把这一结果发扬到极致,将局面进步到更炫酷,更血脉喷张的境地。这一系列令人肾上腺激素激增的剧集引人入胜,连忙追车,惊险擦车,猛烈碰撞—另有诗化描绘的同道之爱,这个同道不是他人,而是很多男子所熟识的,他们的车。一些机动车留恋者说,拥有一台爱车,就像拥有了一场婚姻。“没错。”另一个答复,“但是一旦离开,二者又互不相欠。”

7. Frozen 冰雪大冒险

Princess Elsa has powers of sorcery beyond her control: she can and does cast a nuclear winter on her northern kingdom. Her sister Anna is the normal one, falling in love at the first sight of any eligible male, yet bound to confront her sister and save their realm. The first animated feature in the Walt Disney studio’s glorious history to offer two princess heroines, Frozen transforms Hans Christian Andersen’s “The Snow Queen” into a fable of modern, timeless sisterhood. For this full-musical enchantment, Writer Jennifer Lee and co-director Chris Buck tapped some of the Broadway musical’s brightest lights — composers Robert Lopez and Kristen Anderson-Lopez and actor-singers Idina Menzel (Elsa), Kristen Bell (Anna) and Jonathan Groff (as the gruff mountain man Kristoff) — and poured all comic inspiration into the snowman character Olaf (voiced with irrepressible enthusi-woozy-asm by The Book of Mormon’s Josh Gad). His show-stopping set piece “In Summer” provides the finest two minutes of cinema you’ll seer this year.
公主爱莎拥有本人无法控制的巫术,她对本人北部的王国下了咒骂,让这个中央堕入永久的冬天。她的妹妹安娜,是正凡人,对任何适宜的男性都市一见钟情,但是运气注定她要与她的姐姐停止妥协并挽救她的王国。这是沃特.迪士尼任务室的光芒汗青中,第一次同时呈现两位公主好汉,《冰雪大冒险》是依据安徒生童话《白雪皇后》 改编的一个古代寓言故事。为了剧集的全方位音乐结果,编剧珍妮弗.李,导演之一克里斯.巴克积累了一干百老汇音乐界的奇才---作曲家罗伯特.洛佩兹和克里斯汀.安德森,洛佩兹和歌手和演员双重身份的依迪娜.门泽尔为爱莎公主配音,克里斯汀.贝尔为安娜公主配音,乔纳森.格罗夫为硬汉山民克里斯多夫配音,雪人奥拉夫为该剧增加了很多悲剧结果,在剧中,由到场过《摩尔门经》的乔什.盖元配音。他数次被热烈掌声打断的上演---“In Summer”的两分钟片断,往年也会与各人晤面。

8. The Act of Killing 屠戮归纳

In 1965, the thug Anwar Congo was hired by the Indonesian government to stamp out the threat of Communism; he and his fellow gangsters formed paramilitary squads that tortured and killed thousands of innocents. Nearly a half-century later, Anwar and many of his colleagues are still around, still protected by the politicians in charge, and ready to reenact their atrocities. Joshua Oppenheimer’s amazing documentary gives that opportunity to men who grew up idolizing Brando and Pacino and are pleased to star in their own crude biopics. To more closely resemble his young self, Anwar dyes his hair and gets new teeth. He rehearses garroting a man with a wire, to the laughter and applause of the women watching. Making the movies, which vault from film noir to bizarre musical, eventually gets under Anwar’s skin and into his dreams; the pearly killer is finally afflicted with nightmares. For any viewer, the effect is no less haunting.
1965年,刺客安瓦尔.刚果被印度尼西亚当局雇佣,以铲平共产主义的要挟。于是,他伙同他的一帮同道构成了一队准军事团伙,对数以万万计的无辜大众停止了折磨和屠戮。在这之后的半个世纪以来,安瓦尔和他的很多同事的人仍然逃出法网,而且遭到了政府的维护,更有甚者预备再度饰演他们的恶行。约书亚.奥本海默的这部令人震惊的记录片,让那些在崇敬白兰多和帕西诺中长大的人们可以无机会再次重演他们当年的严酷行迹。为了使本人更像当年的本人,安瓦尔染了头发,装上了新牙。为了赢得女性观众的笑声和喝采,他排演怎样用一根铁丝绞去世人。制造影片中,从暗中悲情的基调到诡异的音乐,终极激愤了安瓦尔,并且影戏场景还深化他的梦乡中。这个冷漠的杀手终于为噩梦所扰。关于一切观影者来说,这种结果也是挥之不去的。

9. 12 Years a Slave 为奴十二载

Southern whites of the pre-Civil War plantation aristocracy believed themselves God’s chosen, and their slaves inhuman. As shown in this searing film document — an anti-Gone With the Wind — the masters were the madmen, inferior but in charge. The first two feature films of Anglo-African director Steve McQueen, whose first two features, Hunger and Shame, proved him a picture poet of physical degradation. Here, working from John Ridley’s script based on the 1853 memoir of Solomon Northup, a free black New Yorker abducted into servitude, McQueen immerses viewers in the magnolia-scented hell to which Northup (Chiwetel Ejiofor) was exiled. You will recoil at every punishment, feel each slur, with an immediacy that makes the long-ago, “peculiar institution” of slavery sting like a whiplash. To this hot content, McQueen applies cool imagery. The movie has the eerie impact of a museum exhibit; it is a diorama of atrocity, populated by varying forms of monstrosity (Michael Fassbender and Benedict Cumberbatch as the main slave-owners) and benevolence (Brad Pitt as a Canadian abolitionist), and humanized by the smoldering restraint of Ejiofor’s performance.
在内战之前,北方的白人莳植园贵族们,置信他们是天主的选民,而他们的仆从便是畜生。异样属于这一抢手题材的《浊世才子》中,主人公是一个猖獗,低下,但是握有自主权的人。开始拍摄两部盎格鲁-非洲故事片的导演---史蒂夫.麦奎因,他的头两部故事片--《饥饿》和《耻辱》展示了他在塑造人们纵容爱欲画面上的诗化才干。本片依据约翰.雷德利在1853年攒写的所罗门.诺瑟普自传拍摄,报告了一个纽约的自在自在黑人被绑架成为仆从,麦奎因让观影者沉溺于诺瑟普(切瓦特.埃加福特扮演)放逐的天堂,一个混淆着玉兰香味的中央。影片中对诺瑟普的每一次处罚都市让你感触瑟缩,感触羞耻,那长远的“黑奴制度”像一记记鞭子狠狠地间接打在你的身上。关于这一热门题材,麦奎因接纳了冷意象来表达。这部影戏对博物馆的展会也发生了独特的影响。它平面的再现了暴行,由差别方式的残酷所充满(迈克尔.法斯宾德和本尼迪克特.康伯巴奇在影片中扮演次要的仆从主),也包括了残忍(布拉德.皮特扮演加拿大废奴主义者),还由于挨杰奥夫郁积的出演而更具兽性意味。

10. The Hobbit: The Desolation of Smaug 霍比特人:史矛革荒原

Who could guess, after the meandering first feature in a seemingly unnecessary eight-hour trilogy of films based on a novel of less than 300 pages, that Peter Jackson had such a vigorous and thrilling middle episode in store? With Bilbo (Martin Freeman), Gandalf (Ian McKellen) and the dwarves finally done with introductory dawdling, they dive into a nonstop adventure among the noble Elves, the rough-hewn humans of Laketown and the ferocious dragon Smaug (voiced by Benedict Cumberbatch). This time, Andy Serkis has not lent his presence to Gollum, but his work as second-unit director is spectacular. Each complex encounter, especially a flume-ride escape of the dwarves, boasts a teeming ingenuity of action and character. A bonus: the budding romance of the warrior Elf Tauriel (Evangeline Lilly) and the dwarf hunk Kili (Aidan Turner). In all, this is a splendid achievement, close to the grandeur of Jackson’s Lord of the Rings films.
彼得.杰克森依据一个全篇300页的小说,拍摄了第一个系列的故事片---一个看似不用要的,但情节转弯抹角的长达八小时的三部曲。而在这之后,他居然还藏着一个情节丰厚,令人高兴的中篇故事,这是谁都没有预想到的。后面的配景引见情节终于告一段落,比尔博(马丁.弗瑞曼扮演)和甘道夫(伊安.麦克莱恩扮演),以及矮人们投入到再接再励在高尚的精灵,Laketown的蛮横人族,残暴的龙史矛戈(由本尼迪克特.康伯巴奇配音)中睁开冒险。这一次安迪.瑟金斯的进场并不是出演咕噜,但是他作为该片的第二导演的确让人面前目今一亮。每一次和朋友庞大的冤家路窄,尤其是矮人们急流中逃跑的片断,其首创性和特征性令人称誉。新看点:精灵保护队长塔瑞尔(伊万杰琳.丽莉扮演)和矮人基利(艾丹.特纳扮演)之间萌发爱意。总之,这部影戏是一部令人称誉的大作,简直可以与杰克森的指环王系列影戏相媲美。
 

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