影評人Roger Ebert的年度TOP20 - 藝術電影
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※ [本文轉錄自 movie 看板 #1Ewr9OEf ]
作者: orzisme (EM) 看板: movie
標題: [情報] 影評人Roger Ebert的年度TOP20
時間: Fri Dec 16 22:14:45 2011
芝加哥太陽報的權威影評人Roger Ebert出了他的2011榜單啦~
http://blogs.suntimes.com/ebert/2011/12/the_best_films_of_2011.html
1.分居風暴(A Separation)/阿斯哈法哈蒂(Asghar Farhadi)
This Iranian film won't open in Chicago until Jan. 27. It won the Golden Bear
at Berlin and was just named the year's best foreign film by the New York
Film Critics Circle. It is specifically Iranian, but I believe the more
specific a film is about human experience, the more universal it is. On the
other hand, movies "for everybody" seem to be for nobody in particular. This
film combines a plot worthy of a great novel with the emotional impact of a
great melodrama. It involves a struggle for child custody, the challenge of a
parent with Alzheimer's, the intricacies of the law, and the enigma of
discovering the truth. In its reconstruction of several versions of a
significant event, it is as baffling as "Rashomon."
A modern Iranian couple considers emigrating to Europe to find better
opportunities for their daughter. The mother wants to leave quickly. The
father delays because his father has Alzheimer's and needs care. "Your father
no longer knows you!" his wife says during a hearing in divorce court. "But I
know him!" says her husband. We can identify with both statements.
A caregiver is hired but cannot come, and his wife secretly substitutes for
him. It's against her religious principles for her to touch any man not her
husband, but her family needs the money. This leads to events which create a
deep moral tangle. Asghar Farhadi's real subject is Truth, when it is
disagreed about by people we respect even though we know most of the facts.
"A Separation" will become one of those enduring masterpieces watched decades
from now.
2.性愛成癮的男人(Shame)/史提夫麥昆(Steve McQueen)
Michael Fassbender's brave, uncompromising performance is at the center of
Steve McQueen's merciless film about sex addiction. He's a loner with a good
job, who avoids relationships because of his obsession with sex. He is driven
to experience multiple orgasms every day. His shame is masked in privacy. He
wants no witnesses to his hookers, his pornography, his masturbation. Does he
fear he is incapable of ordinary human contact?
There isn't the slightest suggestion he experiences pleasure. Sex is his
cross to bear. The film opens with a close-up of Fassbender's face showing
pain, grief and anger. His character is having an orgasm. He is enduring a
sexual function that has long since stopped giving him any pleasure and is
self-abuse in the most profound way.
Carey Mulligan co-stars as his sister. She is as passionate and uninhibited
as he is the opposite. She needs him desperately. He fears need. He flies at
her in a rage, telling her to get out. She has nowhere to go. He doesn't
care. Childhood has damaged them. "Shame" is a great act of filmmaking and
acting. I don't believe I would be able to see it twice.
3.永生樹(The Tree of Life)/泰倫斯馬力克(Terrence Malick)
A film of vast ambition and deep humility, attempting no less than to
encompass all of existence and view it through the prism of a few
infinitesimal lives. Terrence Malick's film begins with the Big Bang that
created our universe, and ends after the characters have left the realm of
time. In between, it zooms in on a moment, surrounded by infinity.
Scenes portray a childhood in a town in the American midlands, where life
flows in and out through open windows. There is a father who maintains
discipline and a mother who exudes forgiveness, and long summer days of play
and idleness and urgent unsaid questions about the meaning of things. Three
boys in the 1950s American Midwest are browned by the sun, scuffed by play,
disturbed by glimpses of adult secrets, filled with a great urgency to grow
up and discover who they are.
Listen to an acute exchange of dialogue between the son Jack (Hunter
McCracken) and his father (Brad Pitt). "I was a little hard on you
sometimes," Mr. Brien says, and Jack replies: "It's your house. You can do
what you want to." Jack is defending his father against himself. That's how
you grow up. And it all happens in this blink of a lifetime, surrounded by
the realms of unimaginable time and space.
4.雨果的冒險(Hugo)/馬丁史柯西斯(Martin Scorsese)
In the guise of a delightful 3D family film, Martin Scorsese makes a love
letter to the cinema. His hero Hugo (Asa Butterfield) had an uncle who was in
charge of the clocks at a Parisian train station. His father's dream was to
complete an automated man he found in a museum. He died with it left
unperfected. Rather than be treated as an orphan, the boy hides himself in
the maze of ladders, catwalks, passages and gears of the clockworks
themselves, feeding himself with croissants snatched from station shops, and
begins to sneak off to the movies.
His life in the station is complicated by a toy shop owner named Georges Méli
ès. Yes, this grumpy old man, played by Ben Kingsley, is none other than the
immortal French film pioneer, who was also the original inventor of the
automaton. Hugo has no idea of this. The real Méliès was a magician who
made his first movies to play tricks on his audiences.
Without our quite realizing it, Hugo's changing relationship with the old man
becomes the story of the invention of the movies, and the preservation of our
film heritage. Could anyone but Scorsese have made this subject to magical
and enchanting? Although I believe that 3D is usually an unnecessary
annoyance, the way Scorsese employs it here is quite successful; in calling
attention to itself, 3D subtly calls attention to film itself.
5.尋求庇護(Take Shelter)/傑夫尼古拉斯(Jeff Nichols)
Curtis LaForche (Michael Shannon) appears to be a stable husband and father
with a good job in construction, but he also can evoke by his eyes and manner
a deep unease. Curtis has what he needs to be happy. He fears he will lose
it. His dreams are visited by unusually vivid nightmares: The family dog
attacks him, or storms destroy his home. They live on the outskirts of town,
in an area which is swept from time to time with tornadoes.
Director Jeff Nichols builds his suspense carefully. Curtis is tormented but
intelligent; fearing the family's history of mental illness, he visits his
schizophrenic mother (Kathy Baker) to ask if she was ever troubled by bad
dreams. He turns to the area's obviously inadequate public health facilities.
And he also acts as if his warnings should be taken seriously. He borrows
money from the bank and equipment from work to greatly expand an old storm
shelter in his backyard. His wife (Jessica Chastain) is frightened by his
behavior. His job and health insurance are threatened. People begin to talk.
And then a storm comes. It leads to a searing scene in which the man and his
wife must confront their fears about the weather--and about each other.
6.所有盧安達人(Kinyarwanda)/Alrick Brown
I was moved by "Hotel Rwanda" (2004), but not really shaken this deeply.
After seeing "Kinyarwanda," I have a different kind of feeling about the
genocide that took place in Rwanda in 1994. The film approaches it not as a
story line but as a series of intense personal moments.
In an independent film of great emotional impact, the film's director, a
Jamaican named Alrick Brown, establishes a vivid group of characters. A young
couple from different tribes who are in love. The female head of a military
unit trained in Uganda, hoping to bring peace. A Catholic priest. The Mufti
of Rwanda. Most memorable, a small boy named Ishmael. Their personal stories
are entangled in the ancient conflict between tribes, while the UN regards
the genocide from afar. The title may put some people off. It is the name of
the language both tribes speak, although the film is largely in English. I'm
inviting "Kinyarwanda" to Ebertfest 2012.
7.落日車神(Drive)/尼可拉溫迪黑芬(Nicolas Winding Refn)
The Driver drives for hire. He has no other name and no other life. When we
meet him, he's the wheelman for a getaway car, who runs from police pursuit
not by speed, but by coolly exploiting the street terrain and outsmarting his
pursuers. By day, he's a stunt driver for action movies. The two jobs
represent no conflict for him: He drives. He has no family, no history and
seemingly few emotions. Whatever happened to him drove any personality deep
beneath the surface. Played by Ryan Gosling, he is an existential hero,
defined entirely by his behavior.
The director, Nicolas Winding Refn, peoples his story with characters who
bring lifetimes onto the screen--in contrast to the Driver, who brings as
little as possible. Ron Perlman is a big-time operator working out of a
pizzeria in a strip mall. Albert Brooks plays a producer of the kinds of B
movies the Driver does stunt driving for; he also has a sideline in crime.
These people are ruthless. "Drive" looks like one kind of thriller in the
ads, and it is that kind of thriller, but also another and a rebuke to most
of the movies it looks like.
8.午夜巴黎(Midnight in Paris)/伍迪艾倫(Woody Allen)
A fabulous daydream for American lit majors, Woody Allen's charming comedy
opens with a couple on holiday in Paris. Gil (Owen Wilson) and Inez (Rachel
McAdams) are officially in love, but what Gil really loves is Paris in the
springtime. He's a hack screenwriter from Hollywood who still harbors the
dream of someday writing a good novel and joining the pantheon of American
writers whose ghosts seem to linger in the very air he breathes: Fitzgerald,
Hemingway and the other legends of Paris in the 1920s.
By (wisely) unexplained means, each midnight he finds himself magically
transported back in time to the legendary salon presided over by Gertrude
Stein. He meets Scott and Zelda, Ernest, Picasso, Dali, Cole Porter, Luis
Bunuel and, yes, "Tom Eliot." He even gives Bunuel the idea for his film "The
Exterminating Angel." Kathy Bates makes an authoritative Miss Stein, and
Marion Cotillard plays Adriana, who has already been the mistress of Braque
and Modigliani, is now Picasso's lover, and may soon -- be still, my heart!
-- fall in love with Gil.
9.溫心港灣(Le Havre)/ 阿基郭利斯馬基(Aki Kaurismäki)
Aki Kaurismaki is a Finnish director who makes dour, deadpan comedies about
people who shrug their way through misfortune. They have a hypnotic
fascination for me. "Le Havre" is the sunniest film of his I've seen. Set in
the French port city, it involves young Idrissa (Blondin Miguel), an illegal
immigrant from Gabon, solemn, shy, appealing. The hero, Marcel Marx (Andre
Wilms), fishing near a pier, sees the boy hiding waist-deep in the water. He
leaves out some food and finds it gone the next day. And so, with no plan in
mind, Marcel becomes in charge of protecting the boy from arrest.
The whole neighborhood gets involved in hiding the boy from the port
inspector. This involves low-key comedy that occasionally shifts into high,
as with a local rock singer named Little Bob (Roberto Piazza), whose act is
unlike any you have ever seen. Young Marcel finds himself in the center of a
miraculous episode between Marcel and his wife, which may not be believable
but is certainly satisfying.
10.大藝術家(The Artist)/米歇爾哈札納維西斯(Michel Hazanavicius)
What audacity to make a silent film in black and white in 2011, and what a
film Michel Hazanavicius has made! Jean Dujardin won the Best Actor award at
Cannes for his work as a silent star who is cast aside with the advent of the
talkies. His career is rescued by a young dancer (Bérénice Bejo) he was
kind to when he was at the top. This wonderful film is many things: Comedy,
pathos, melodrama. For many people, this will be their introduction to silent
movies, and cause them to reconsider if they really dislike black and white.
It's an audience pleaser, and many in the audience won't be expecting that.
It also seems to be leading the year-end lists of award nominees, and could
even become the first silent film to win an Oscar as Best Picture since
"Wings" (1927).
11.驚悚末日(Melancholia)/拉斯馮提爾(Lars von Trier)
This film about the end of the world is, Lars von Trier assured us, his first
with a happy ending. I think I see what he means. At least his poor
characters need suffer no longer. If I were choosing a director to make a
film about the subject, von Trier the gloomy Dane might be my first choice.
The only other name that comes to mind is Werner Herzog's. Both understand
that at such a time silly little romantic subplots take on a vast irrelevance.
That's even the case in "Melancholia," which actually takes place at a
wedding party for newlyweds. In the sky, another planet looms ever larger,
but life carries on all the same here below. Kirsten Dunst is the new bride,
and Charlotte Gainsbourg plays her sister. The two seem to exchange
personalities. The details matter less than the grand overarching mood.
12.胖寶的春天(Terri)/阿薩佐賈克柏(Azazel Jacobs)
Tells the story the story of a fat kid who is mocked in high school. Terri
(Jacob Wysocki) is smart, gentle and instinctively wise. His decision to wear
pajamas to school "because they fit" may be an indication that later in life
he will amount to a great deal. He has character. He's been missing a lot of
school and is called in by the assistant principal (John C. Reilly), a school
administrator unlike those we usually see, offering kindness, anger and
hard-won lessons learned in his own difficult life. He and Terri slowly begin
to communicate person to person.
Chad (Bridger Zadina) is another of the administrator's problem children, a
morose, slouching outsider driven to pluck hairs from his head. Heather
(Olivia Crocicchia) is a pretty young student who is threatened with
expulsion, Terri steps up and defends her, in a way that shows he respects
her and empathizes. He may be a kid who is fat and weird, but he's much more
than fat and weird. This film has also been invited to Ebertfest 2012.
13.繼承人生(The Descendants)/亞歷山大潘恩(Alexander Payne)
George Clooney in one of his best performances as a descendant of one of
Hawaii's first white land-owning families, who must decide whether to open up
a vast tract of virgin forest on Kauai to tourist and condo development. This
decision comes at the same time his wife has has a boating accident and is in
a coma. Having devoted most of his attention to business, he now must learn
to be a single parent of two daughters while also dealing with the King
family's urgent desire to close the multi-million-dollar land deal.
Leading the push for the King family is Cousin Hugh (Beau Bridges). As
affable as Bridges can be, he doesn't want to listen to any woo-woo Green
nonsense about not selling. The film follows Clooney's legal, family and
emotional troubles in careful detail, until director alexander Payne shows
us, without forcing it, that they are all coiled together. We get vested in
the lives of the characters. We come to understand how they think, and care
about what they decide about the substantial moral problems underlying the
plot.
14.瑪格麗特(Margaret)/肯尼斯洛勒根(Kenneth Lonergan)
Kenneth Lonergan's film begins with a young woman (Anna Paquin) thinking she
may have contributed to a fatal bus accident through her own foolishness. She
decides the bus driver (Mark Ruffalo) should also be held accountable, and
makes it her business to see that he is. This story cross-cuts with others,
including Jean Reno and J. Smith-Cameron in a sweet mid-life romance. The
film inspired an online conspiracy theory when Fox Searchlight was accused of
being shy about its 9/11 material. Actually, 9/11 figures only marginally;
what's important is the conflict between the young woman's perfectionism and
things as they are.
(看到忽然青春許多的安娜帕昆別驚訝,因為此片其實05年就拍了
但後期剪輯拖得太久
導致導演(拍過"你辦事我放心You Can Count on Me")跟製片公司對簿公堂
最後是跟片中演員馬修鮑德瑞克借錢才完成的
結果拖到2011才上映.....)
15.迷懵夢寐(Martha Marcy May Marlene)/尚德金(Sean Durkin)
Those are four names that apply at various times in the life of a young woman
played by Elizabeth Olsen. "Martha" is her name. "Marcy May" is the name
given to her by the leader of a cult group she falls into. "Marlene" is the
name all the women in the group use to answer the telephone. The cult leader
is an evil and mesmeric figure played with great effect by John Hawkes. Her
experience in the cult causes her confusion about her identity after she
escapes into the relative safety of the home of her sister (Sarah Paulson).
Sean Durkin's film builds on the strong Elizabeth Olsen to show how easily
groups can control their members.
16.哈利波特7:死神的聖物2(Harry Potter and the Deathly Hallows, Part 2)
The second installment in the last chapter of the legendary saga comes to a
solid and satisfying conclusion, conjuring up enough awe and solemnity to
serve as an appropriate finale and a dramatic contrast to the lighthearted
(relative) innocence of "Harry Potter and the Sorcerer's Stone" all those
magical years ago.
17.信任(Trust)/大衛史威莫(David Schwimmer)
The bravest thing about David Schwimmer's "Trust" is that it doesn't try to
simplify. It tells its story of a 14-year-old girl and a predatory pedophile
as a series of repercussions in which rape is only the first, and possibly
not the worst, tragedy to strike its naive and vulnerable victim. Liana
Liberato stars as a "good girl" who isn't advanced, who feels uncomfortable
at a party where "popular girls" fake sophistication. She's never had a
boyfriend when she meets Charlie (Chris Henry Coffey) in an online chat room.
Charlie is in high school. Like her, he plays volleyball. He's a nice kid,
too. He understands her. She grows closer to Charlie than any boy she's ever
known. They talk for hours on the phone. But Charlie is not what he seems.
18.生命的重量(Life, Above All)/奧立佛舒密茲(Oliver Schmitz)
This South African feature centers on a 12-year-old named Chanda (Khomotso
Manyaka), who takes on the responsibility of holding her family together
after her baby sister dies. Family members are suspected of having AIDS; the
community ostracizes them, until a courageous neighbor finally steps in. An
opening scene shows Chanda choosing a coffin for her baby sister. The
seriousness and solemnity with which she performs this task is heart-rending
and heart-warming. Both director Oliver Schmitz and the gifted Miss Manyaka
attended Ebertfest 2011.
19.磨坊與十字架(The Mill and the Cross)/萊徹馬杰斯基(Lech Majewski)
Any description would be an injustice. It opens on a carefully-composed
landscape based on a famous painting, "The Way to Calvary" (1564), by the
Flemish master Pieter Bruegel the Elder. Within the painting, a few figures
move and walk. We might easily miss the figure of Christ among the 500 in the
vast landscape. Others are going about their everyday lives. The film is an
extraordinary mixture of live action, special effects, green screen work and
even an actual copy of the painting itself (by Lech Majewski, the film's
Polish director). Set not in the Biblical lands but in Flanders, it uses
Belgians as Jews and the Spanish as Romans, in an allegorical parallel which
also breaks down into fragments of lives. It is a film before which words
fall silent.
20.另一個地球(Another Earth)/麥可凱西爾(Mike Cahill)
Joins "Melancholia" as a second 2011 film about a new planet hanging in our
sky. This one doesn't presage the end of the world, but represents perhaps
our the very same Earth, in another universe that has now become visible.
Stars Brit Marling a young woman who has been accepted into the astrophysics
program at MIT. She hears the news about Earth 2. Peering out her car window
to search the sky, she crashes into another car, killing a mother and child
and sending the father into a coma.
A few years pass. She's released from prison and learns that the father, a
composer named John Burroughs (William Mapother), has emerged from his coma.
Rhoda is devastated by the deaths she caused and wants to apologize or make
amends or ... what? She doesn't know. She presents herself at the shabby
rural house where Burroughs lives as a depressed recluse. They grow closer.
Did the accident not occur on Earth 2?
--
作者: orzisme (EM) 看板: movie
標題: [情報] 影評人Roger Ebert的年度TOP20
時間: Fri Dec 16 22:14:45 2011
芝加哥太陽報的權威影評人Roger Ebert出了他的2011榜單啦~
http://blogs.suntimes.com/ebert/2011/12/the_best_films_of_2011.html
1.分居風暴(A Separation)/阿斯哈法哈蒂(Asghar Farhadi)
This Iranian film won't open in Chicago until Jan. 27. It won the Golden Bear
at Berlin and was just named the year's best foreign film by the New York
Film Critics Circle. It is specifically Iranian, but I believe the more
specific a film is about human experience, the more universal it is. On the
other hand, movies "for everybody" seem to be for nobody in particular. This
film combines a plot worthy of a great novel with the emotional impact of a
great melodrama. It involves a struggle for child custody, the challenge of a
parent with Alzheimer's, the intricacies of the law, and the enigma of
discovering the truth. In its reconstruction of several versions of a
significant event, it is as baffling as "Rashomon."
A modern Iranian couple considers emigrating to Europe to find better
opportunities for their daughter. The mother wants to leave quickly. The
father delays because his father has Alzheimer's and needs care. "Your father
no longer knows you!" his wife says during a hearing in divorce court. "But I
know him!" says her husband. We can identify with both statements.
A caregiver is hired but cannot come, and his wife secretly substitutes for
him. It's against her religious principles for her to touch any man not her
husband, but her family needs the money. This leads to events which create a
deep moral tangle. Asghar Farhadi's real subject is Truth, when it is
disagreed about by people we respect even though we know most of the facts.
"A Separation" will become one of those enduring masterpieces watched decades
from now.
2.性愛成癮的男人(Shame)/史提夫麥昆(Steve McQueen)
Michael Fassbender's brave, uncompromising performance is at the center of
Steve McQueen's merciless film about sex addiction. He's a loner with a good
job, who avoids relationships because of his obsession with sex. He is driven
to experience multiple orgasms every day. His shame is masked in privacy. He
wants no witnesses to his hookers, his pornography, his masturbation. Does he
fear he is incapable of ordinary human contact?
There isn't the slightest suggestion he experiences pleasure. Sex is his
cross to bear. The film opens with a close-up of Fassbender's face showing
pain, grief and anger. His character is having an orgasm. He is enduring a
sexual function that has long since stopped giving him any pleasure and is
self-abuse in the most profound way.
Carey Mulligan co-stars as his sister. She is as passionate and uninhibited
as he is the opposite. She needs him desperately. He fears need. He flies at
her in a rage, telling her to get out. She has nowhere to go. He doesn't
care. Childhood has damaged them. "Shame" is a great act of filmmaking and
acting. I don't believe I would be able to see it twice.
3.永生樹(The Tree of Life)/泰倫斯馬力克(Terrence Malick)
A film of vast ambition and deep humility, attempting no less than to
encompass all of existence and view it through the prism of a few
infinitesimal lives. Terrence Malick's film begins with the Big Bang that
created our universe, and ends after the characters have left the realm of
time. In between, it zooms in on a moment, surrounded by infinity.
Scenes portray a childhood in a town in the American midlands, where life
flows in and out through open windows. There is a father who maintains
discipline and a mother who exudes forgiveness, and long summer days of play
and idleness and urgent unsaid questions about the meaning of things. Three
boys in the 1950s American Midwest are browned by the sun, scuffed by play,
disturbed by glimpses of adult secrets, filled with a great urgency to grow
up and discover who they are.
Listen to an acute exchange of dialogue between the son Jack (Hunter
McCracken) and his father (Brad Pitt). "I was a little hard on you
sometimes," Mr. Brien says, and Jack replies: "It's your house. You can do
what you want to." Jack is defending his father against himself. That's how
you grow up. And it all happens in this blink of a lifetime, surrounded by
the realms of unimaginable time and space.
4.雨果的冒險(Hugo)/馬丁史柯西斯(Martin Scorsese)
In the guise of a delightful 3D family film, Martin Scorsese makes a love
letter to the cinema. His hero Hugo (Asa Butterfield) had an uncle who was in
charge of the clocks at a Parisian train station. His father's dream was to
complete an automated man he found in a museum. He died with it left
unperfected. Rather than be treated as an orphan, the boy hides himself in
the maze of ladders, catwalks, passages and gears of the clockworks
themselves, feeding himself with croissants snatched from station shops, and
begins to sneak off to the movies.
His life in the station is complicated by a toy shop owner named Georges Méli
ès. Yes, this grumpy old man, played by Ben Kingsley, is none other than the
immortal French film pioneer, who was also the original inventor of the
automaton. Hugo has no idea of this. The real Méliès was a magician who
made his first movies to play tricks on his audiences.
Without our quite realizing it, Hugo's changing relationship with the old man
becomes the story of the invention of the movies, and the preservation of our
film heritage. Could anyone but Scorsese have made this subject to magical
and enchanting? Although I believe that 3D is usually an unnecessary
annoyance, the way Scorsese employs it here is quite successful; in calling
attention to itself, 3D subtly calls attention to film itself.
5.尋求庇護(Take Shelter)/傑夫尼古拉斯(Jeff Nichols)
Curtis LaForche (Michael Shannon) appears to be a stable husband and father
with a good job in construction, but he also can evoke by his eyes and manner
a deep unease. Curtis has what he needs to be happy. He fears he will lose
it. His dreams are visited by unusually vivid nightmares: The family dog
attacks him, or storms destroy his home. They live on the outskirts of town,
in an area which is swept from time to time with tornadoes.
Director Jeff Nichols builds his suspense carefully. Curtis is tormented but
intelligent; fearing the family's history of mental illness, he visits his
schizophrenic mother (Kathy Baker) to ask if she was ever troubled by bad
dreams. He turns to the area's obviously inadequate public health facilities.
And he also acts as if his warnings should be taken seriously. He borrows
money from the bank and equipment from work to greatly expand an old storm
shelter in his backyard. His wife (Jessica Chastain) is frightened by his
behavior. His job and health insurance are threatened. People begin to talk.
And then a storm comes. It leads to a searing scene in which the man and his
wife must confront their fears about the weather--and about each other.
6.所有盧安達人(Kinyarwanda)/Alrick Brown
I was moved by "Hotel Rwanda" (2004), but not really shaken this deeply.
After seeing "Kinyarwanda," I have a different kind of feeling about the
genocide that took place in Rwanda in 1994. The film approaches it not as a
story line but as a series of intense personal moments.
In an independent film of great emotional impact, the film's director, a
Jamaican named Alrick Brown, establishes a vivid group of characters. A young
couple from different tribes who are in love. The female head of a military
unit trained in Uganda, hoping to bring peace. A Catholic priest. The Mufti
of Rwanda. Most memorable, a small boy named Ishmael. Their personal stories
are entangled in the ancient conflict between tribes, while the UN regards
the genocide from afar. The title may put some people off. It is the name of
the language both tribes speak, although the film is largely in English. I'm
inviting "Kinyarwanda" to Ebertfest 2012.
7.落日車神(Drive)/尼可拉溫迪黑芬(Nicolas Winding Refn)
The Driver drives for hire. He has no other name and no other life. When we
meet him, he's the wheelman for a getaway car, who runs from police pursuit
not by speed, but by coolly exploiting the street terrain and outsmarting his
pursuers. By day, he's a stunt driver for action movies. The two jobs
represent no conflict for him: He drives. He has no family, no history and
seemingly few emotions. Whatever happened to him drove any personality deep
beneath the surface. Played by Ryan Gosling, he is an existential hero,
defined entirely by his behavior.
The director, Nicolas Winding Refn, peoples his story with characters who
bring lifetimes onto the screen--in contrast to the Driver, who brings as
little as possible. Ron Perlman is a big-time operator working out of a
pizzeria in a strip mall. Albert Brooks plays a producer of the kinds of B
movies the Driver does stunt driving for; he also has a sideline in crime.
These people are ruthless. "Drive" looks like one kind of thriller in the
ads, and it is that kind of thriller, but also another and a rebuke to most
of the movies it looks like.
8.午夜巴黎(Midnight in Paris)/伍迪艾倫(Woody Allen)
A fabulous daydream for American lit majors, Woody Allen's charming comedy
opens with a couple on holiday in Paris. Gil (Owen Wilson) and Inez (Rachel
McAdams) are officially in love, but what Gil really loves is Paris in the
springtime. He's a hack screenwriter from Hollywood who still harbors the
dream of someday writing a good novel and joining the pantheon of American
writers whose ghosts seem to linger in the very air he breathes: Fitzgerald,
Hemingway and the other legends of Paris in the 1920s.
By (wisely) unexplained means, each midnight he finds himself magically
transported back in time to the legendary salon presided over by Gertrude
Stein. He meets Scott and Zelda, Ernest, Picasso, Dali, Cole Porter, Luis
Bunuel and, yes, "Tom Eliot." He even gives Bunuel the idea for his film "The
Exterminating Angel." Kathy Bates makes an authoritative Miss Stein, and
Marion Cotillard plays Adriana, who has already been the mistress of Braque
and Modigliani, is now Picasso's lover, and may soon -- be still, my heart!
-- fall in love with Gil.
9.溫心港灣(Le Havre)/ 阿基郭利斯馬基(Aki Kaurismäki)
Aki Kaurismaki is a Finnish director who makes dour, deadpan comedies about
people who shrug their way through misfortune. They have a hypnotic
fascination for me. "Le Havre" is the sunniest film of his I've seen. Set in
the French port city, it involves young Idrissa (Blondin Miguel), an illegal
immigrant from Gabon, solemn, shy, appealing. The hero, Marcel Marx (Andre
Wilms), fishing near a pier, sees the boy hiding waist-deep in the water. He
leaves out some food and finds it gone the next day. And so, with no plan in
mind, Marcel becomes in charge of protecting the boy from arrest.
The whole neighborhood gets involved in hiding the boy from the port
inspector. This involves low-key comedy that occasionally shifts into high,
as with a local rock singer named Little Bob (Roberto Piazza), whose act is
unlike any you have ever seen. Young Marcel finds himself in the center of a
miraculous episode between Marcel and his wife, which may not be believable
but is certainly satisfying.
10.大藝術家(The Artist)/米歇爾哈札納維西斯(Michel Hazanavicius)
What audacity to make a silent film in black and white in 2011, and what a
film Michel Hazanavicius has made! Jean Dujardin won the Best Actor award at
Cannes for his work as a silent star who is cast aside with the advent of the
talkies. His career is rescued by a young dancer (Bérénice Bejo) he was
kind to when he was at the top. This wonderful film is many things: Comedy,
pathos, melodrama. For many people, this will be their introduction to silent
movies, and cause them to reconsider if they really dislike black and white.
It's an audience pleaser, and many in the audience won't be expecting that.
It also seems to be leading the year-end lists of award nominees, and could
even become the first silent film to win an Oscar as Best Picture since
"Wings" (1927).
11.驚悚末日(Melancholia)/拉斯馮提爾(Lars von Trier)
This film about the end of the world is, Lars von Trier assured us, his first
with a happy ending. I think I see what he means. At least his poor
characters need suffer no longer. If I were choosing a director to make a
film about the subject, von Trier the gloomy Dane might be my first choice.
The only other name that comes to mind is Werner Herzog's. Both understand
that at such a time silly little romantic subplots take on a vast irrelevance.
That's even the case in "Melancholia," which actually takes place at a
wedding party for newlyweds. In the sky, another planet looms ever larger,
but life carries on all the same here below. Kirsten Dunst is the new bride,
and Charlotte Gainsbourg plays her sister. The two seem to exchange
personalities. The details matter less than the grand overarching mood.
12.胖寶的春天(Terri)/阿薩佐賈克柏(Azazel Jacobs)
Tells the story the story of a fat kid who is mocked in high school. Terri
(Jacob Wysocki) is smart, gentle and instinctively wise. His decision to wear
pajamas to school "because they fit" may be an indication that later in life
he will amount to a great deal. He has character. He's been missing a lot of
school and is called in by the assistant principal (John C. Reilly), a school
administrator unlike those we usually see, offering kindness, anger and
hard-won lessons learned in his own difficult life. He and Terri slowly begin
to communicate person to person.
Chad (Bridger Zadina) is another of the administrator's problem children, a
morose, slouching outsider driven to pluck hairs from his head. Heather
(Olivia Crocicchia) is a pretty young student who is threatened with
expulsion, Terri steps up and defends her, in a way that shows he respects
her and empathizes. He may be a kid who is fat and weird, but he's much more
than fat and weird. This film has also been invited to Ebertfest 2012.
13.繼承人生(The Descendants)/亞歷山大潘恩(Alexander Payne)
George Clooney in one of his best performances as a descendant of one of
Hawaii's first white land-owning families, who must decide whether to open up
a vast tract of virgin forest on Kauai to tourist and condo development. This
decision comes at the same time his wife has has a boating accident and is in
a coma. Having devoted most of his attention to business, he now must learn
to be a single parent of two daughters while also dealing with the King
family's urgent desire to close the multi-million-dollar land deal.
Leading the push for the King family is Cousin Hugh (Beau Bridges). As
affable as Bridges can be, he doesn't want to listen to any woo-woo Green
nonsense about not selling. The film follows Clooney's legal, family and
emotional troubles in careful detail, until director alexander Payne shows
us, without forcing it, that they are all coiled together. We get vested in
the lives of the characters. We come to understand how they think, and care
about what they decide about the substantial moral problems underlying the
plot.
14.瑪格麗特(Margaret)/肯尼斯洛勒根(Kenneth Lonergan)
Kenneth Lonergan's film begins with a young woman (Anna Paquin) thinking she
may have contributed to a fatal bus accident through her own foolishness. She
decides the bus driver (Mark Ruffalo) should also be held accountable, and
makes it her business to see that he is. This story cross-cuts with others,
including Jean Reno and J. Smith-Cameron in a sweet mid-life romance. The
film inspired an online conspiracy theory when Fox Searchlight was accused of
being shy about its 9/11 material. Actually, 9/11 figures only marginally;
what's important is the conflict between the young woman's perfectionism and
things as they are.
(看到忽然青春許多的安娜帕昆別驚訝,因為此片其實05年就拍了
但後期剪輯拖得太久
導致導演(拍過"你辦事我放心You Can Count on Me")跟製片公司對簿公堂
最後是跟片中演員馬修鮑德瑞克借錢才完成的
結果拖到2011才上映.....)
15.迷懵夢寐(Martha Marcy May Marlene)/尚德金(Sean Durkin)
Those are four names that apply at various times in the life of a young woman
played by Elizabeth Olsen. "Martha" is her name. "Marcy May" is the name
given to her by the leader of a cult group she falls into. "Marlene" is the
name all the women in the group use to answer the telephone. The cult leader
is an evil and mesmeric figure played with great effect by John Hawkes. Her
experience in the cult causes her confusion about her identity after she
escapes into the relative safety of the home of her sister (Sarah Paulson).
Sean Durkin's film builds on the strong Elizabeth Olsen to show how easily
groups can control their members.
16.哈利波特7:死神的聖物2(Harry Potter and the Deathly Hallows, Part 2)
The second installment in the last chapter of the legendary saga comes to a
solid and satisfying conclusion, conjuring up enough awe and solemnity to
serve as an appropriate finale and a dramatic contrast to the lighthearted
(relative) innocence of "Harry Potter and the Sorcerer's Stone" all those
magical years ago.
17.信任(Trust)/大衛史威莫(David Schwimmer)
The bravest thing about David Schwimmer's "Trust" is that it doesn't try to
simplify. It tells its story of a 14-year-old girl and a predatory pedophile
as a series of repercussions in which rape is only the first, and possibly
not the worst, tragedy to strike its naive and vulnerable victim. Liana
Liberato stars as a "good girl" who isn't advanced, who feels uncomfortable
at a party where "popular girls" fake sophistication. She's never had a
boyfriend when she meets Charlie (Chris Henry Coffey) in an online chat room.
Charlie is in high school. Like her, he plays volleyball. He's a nice kid,
too. He understands her. She grows closer to Charlie than any boy she's ever
known. They talk for hours on the phone. But Charlie is not what he seems.
18.生命的重量(Life, Above All)/奧立佛舒密茲(Oliver Schmitz)
This South African feature centers on a 12-year-old named Chanda (Khomotso
Manyaka), who takes on the responsibility of holding her family together
after her baby sister dies. Family members are suspected of having AIDS; the
community ostracizes them, until a courageous neighbor finally steps in. An
opening scene shows Chanda choosing a coffin for her baby sister. The
seriousness and solemnity with which she performs this task is heart-rending
and heart-warming. Both director Oliver Schmitz and the gifted Miss Manyaka
attended Ebertfest 2011.
19.磨坊與十字架(The Mill and the Cross)/萊徹馬杰斯基(Lech Majewski)
Any description would be an injustice. It opens on a carefully-composed
landscape based on a famous painting, "The Way to Calvary" (1564), by the
Flemish master Pieter Bruegel the Elder. Within the painting, a few figures
move and walk. We might easily miss the figure of Christ among the 500 in the
vast landscape. Others are going about their everyday lives. The film is an
extraordinary mixture of live action, special effects, green screen work and
even an actual copy of the painting itself (by Lech Majewski, the film's
Polish director). Set not in the Biblical lands but in Flanders, it uses
Belgians as Jews and the Spanish as Romans, in an allegorical parallel which
also breaks down into fragments of lives. It is a film before which words
fall silent.
20.另一個地球(Another Earth)/麥可凱西爾(Mike Cahill)
Joins "Melancholia" as a second 2011 film about a new planet hanging in our
sky. This one doesn't presage the end of the world, but represents perhaps
our the very same Earth, in another universe that has now become visible.
Stars Brit Marling a young woman who has been accepted into the astrophysics
program at MIT. She hears the news about Earth 2. Peering out her car window
to search the sky, she crashes into another car, killing a mother and child
and sending the father into a coma.
A few years pass. She's released from prison and learns that the father, a
composer named John Burroughs (William Mapother), has emerged from his coma.
Rhoda is devastated by the deaths she caused and wants to apologize or make
amends or ... what? She doesn't know. She presents herself at the shabby
rural house where Burroughs lives as a depressed recluse. They grow closer.
Did the accident not occur on Earth 2?
--
Tags:
藝術電影
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at 2011-12-17T03:36
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