一:《醉乡民谣》(Inside Llewyn Davis)
‘Inside Llewyn Davis’ The musical performances — especially from Oscar Isaac, who plays the title character — are hauntingly lovely, and they anchor Joel and Ethan Coen’s exploration, at once mordant and melancholy, of the early-’60s New York folk scene. A ballad of bad luck and squandered talent that already seems, like the music it celebrates, to have been around forever.
《醉乡民谣》(Inside Llewyn Davis):片中的音乐表演——特别是主演奥斯卡·伊萨克(Oscar Isaac)的表演——特别可爱,十分难忘,它们给乔尔和伊桑·科恩(Joel and Ethan Coen)的这部讲述60年代早期纽约民谣境况的辛辣而忧伤的影片奠定了基础。这部关于坏运气和流浪天才的影片,就像它纪念的民谣一样,会一直萦绕在人们心头。

二:《为奴十二年》( 12 Years a Slave)
‘12 Years a Slave’ Its historical seriousness and topical resonance are considerable but should not distract attention from Steve McQueen’s artistry. Suspenseful and dramatic in the best Hollywood tradition — and full of first-rate performances — this story of bondage and the longing for freedom unfolds with startling clarity and immediacy.
《为奴十二年》( 12 Years a Slave):它的历史严肃性和主题共鸣当然十分重要,但是我们不能因此忽视史蒂夫·麦昆(Steve McQueen)的艺术性。秉承好莱坞的最佳传统,该片紧张悬疑,激动人心,充满一流的表演。这个关于奴役和渴望自由的故事以惊人的坦率和直接展现出来。

阿黛尔·艾克阿切波洛斯(左)和莱阿·塞杜(Léa Seydoux)在《阿黛尔的生活》中,导演是阿卜杜勒-拉蒂夫·柯奇许
三:《阿黛尔的生活》(Blue Is the Warmest Color)
‘Blue Is the Warmest Color’ Yes, the sex scenes are explicit, but they are both necessary to the love story and tangential to the film’s main ambition, which is to illuminate the life of its young protagonist, played by Adèle Exarchopoulos, in full. So yes, Abdellatif Kechiche’s Cannes prize winner is about sex, but it’s also about everything else: food, work, art, social class, education and, perhaps above all, France.
《阿黛尔的生活》(Blue Is the Warmest Color):是的,片中的**场面很直白,但是对这个爱情故事来说它们是必需的,对该片的主要目的来说则是间接相关的。该片的主要目的是全面展现阿黛尔·艾克阿切波洛斯(Adèle Exarchopoulos)扮演的年轻女主人公的生活。是的,阿卜杜勒-拉蒂夫·柯奇许(Abdellatif Kechiche)的这部获得戛纳奖的影片是关于**的,但它也是关于其他各种主题的:美食,工作,艺术,社会阶层和教育,也许最重要的是,关于法国。

詹姆斯·甘多尔菲尼和伊芙·休森(Eve Hewson)在《无须多言》中,导演是妮科尔·哈罗芬瑟(Nicole Holofcener)
四:《无须多言》(Enough Said)
‘Enough Said’ Nicole Holofcener’s midlife romantic comedy, starring Julia Louis-Dreyfus and James Gandolfini, spins what at first seems like an anecdotal premise into a rich and insightful examination of the peculiarities and contradictions of courtship and parenthood in 21st century America.
《无须多言》(Enough Said):妮科尔·哈罗芬瑟(Nicole Holofcener)的这部中年浪漫喜剧由朱莉娅·路易斯-德雷弗斯(Julia Louis-Dreyfus)和詹姆斯·甘多尔菲尼(James Gandolfini)主演,刚开始看上去像是一段轶事的背景介绍,后来演变为对21世纪美国人求爱和为人父母的独特和矛盾之处的审视,丰富而深刻。

五:《天注定》(A Touch of Sin)
‘A Touch of Sin’ Jia Zhangke’s angry, meticulous collection of violent vignettes paints a somber picture of modern China as a place of inequality, greed and indifference. And not only China.
《天注定》(A Touch of Sin):贾樟柯的这部电影愤怒而谨慎选择了几个暴力故事,描绘了现代中国不公、贪婪而冷漠的阴郁画面。这种情况其实不只在中国发生。

六:《一切尽失》(All Is Lost)
‘All Is Lost’ An old story — man against the elements — grandly and thrillingly told by J. C. Chandor. Robert Redford commands the screen with barely a word.
《一切尽失》(All Is Lost):一个关于人类对抗恶劣天气的古老故事,由J·C·尚多尔(J. C. Chandor)宏大而震撼地讲述出来。罗伯特·雷德福(Robert Redford)几乎没说一句话就掌控了整个画面。

七:《弗兰西丝·哈》(Frances Ha)
‘Frances Ha’ With its nouvelle vague black-and-white imagery and its eye for the pleasures and foibles of young-bohemian New York, Noah Baumbach’s lightest and loosest feature, written with and starring Greta Gerwig, is a sweet bedtime story for anxious millennials.
《弗兰西丝·哈》(Frances Ha):诺亚·鲍姆巴赫(Noah Baumbach)这部轻松、松散的故事片采用新浪潮的黑白画面,描绘了**不羁的纽约年轻人的快乐和癖好。格蕾塔·葛韦格(Greta Gerwig)是该片的联合编剧和主演。对焦虑的千禧一代来说,该片是个甜蜜的睡前故事。

芭芭拉·苏科瓦(Barbara Sukowa)在《汉娜·阿伦特》中,导演是玛格丽特·冯·特罗塔(Margarethe von Trotta)
八:《汉娜·阿伦特》(Hannah Arendt)
‘Hannah Arendt’ Those who complain that movies can’t think don’t really know how to think about movies. This one, focusing on the controversy surrounding its subject’s 1963 book “Eichmann in Jerusalem,” brilliantly dramatizes the imperative at the center of her life as a writer and philosopher, which was to compel the world to yield to the force of the mind.
《汉娜·阿伦特》(Hannah Arendt):那些抱怨电影不能思考的人并不真正懂得如何去思考电影。这部电影把重点放在主人公1963年出版的图书《艾希曼在耶路撒冷》(Eichmann in Jerusalem)引发的争论上,巧妙地把这位作家和哲学家人生中至关重要的事——迫使这个世界屈服于思想的力量——改编成了剧本。

《白宫管家》,主演是弗雷斯特·惠特克(Forest Whitaker)
九:《白宫管家》(Lee Daniels’ The Butler)
‘Lee Daniels’ The Butler’ Movies about American history tend to be somber, responsible and pious, even as the history itself is completely crazy — violent, tragic, ridiculous and contradictory. Lee Daniels, never known for his restraint, turns America’s most agonized and contentious subject (that would be race) into an opera of wild melodrama, canny naturalism and political camp. None of it should have worked, and yet nearly all of it does.
《白宫管家》(Lee Daniels’ The Butler):关于美国历史的电影总是阴郁的、有责任感的、虔诚的,尽管美国历史本身是彻底的疯狂——充满暴力和悲剧,荒谬,自相矛盾。从不以克制闻名的李·丹尼尔斯(Lee Daniels)把美国最痛苦而有争议的主题(种族问题)变成了疯狂的传奇剧、精明的自然主义和政治坎普的结合体。所有这些好像都行不通,但是它们几乎都做到了。

莱昂纳多·迪卡普里奥(Leonardo DiCaprio)在《了不起的盖茨比》中,导演是巴兹·鲁赫曼(Baz Luhrmann)
十:《了不起的盖茨比》(The Great Gatsby)
‘The Great Gatsby’/‘The Wolf of Wall Street’/‘The Bling Ring’/‘Spring Breakers’/‘Pain and Gain’/‘American Hustle’ Six variations on the big theme of our times: “Just look at all my stuff!” It’s capitalism, baby! Grab what (and who) you can, and do whatever feels good. We’re all going to hell (or jail, or Florida) anyway.
《了不起的盖茨比》(The Great Gatsby)/《华尔街之狼》(The Wolf of Wall Street)/《珠光宝气》(The Bling Ring)/《春假》(Spring Breakers)/《付出与收获》(Pain and Gain)/《美国骗局》(American Hustle):这六部电影讲述的都是我们这个时代的一个重大主题:“看看我拥有的所有这些东吧西!”这就是资本主义,宝贝!攫取所有你能攫取的东西(或者人),做你想做的任何事情。反正我们都要去地狱(或者监狱,或者佛罗里达)。