The 25 Best Movies of 2014 (So Far)2014年25最佳電影(到目前為止)

July 7, 2014  |  12:14pm

We’re halfway through the year, and it’s time to take a snapshot of the best movies that 2014 has to offer so far. As these films sit with us and more of our critics see them all, the order may change by the time December rolls around. But for now, these are the movies that have had the biggest impact on us in 2014. As usual, there are documentaries and quiet indie fare mixed with action blockbusters and even a couple of “kids” movies. It’s looking to be a great year for cinema, no matter your tastes. Here are the best movies of 2014:

captain-america-winter.jpg25. Captain America: The Winter Soldier
Perhaps more than any other superhero in the Marvel Universe, Captain America is meant to be appealing. He’s meant to be the inspiring, human ideal to which, in turn, each of us aspires. It’s one of the things that sets the feel of his comics apart from those of Thor, the Hulk, Spider-Man, etc., and the creative team behind part 2.3 of Marvel’s grand cinematic plan nails it. Yes, Captain America: The Winter Soldier is a great action movie—an immensely enjoyable spy-thriller-flavored film with Bond-worthy flair (and orchestral flourishes). But first and foremost, it’s also a great Captain America film. As long as Disney/Marvel’s approach to their films keeps such priorities in mind, the box office action that comes along with it will continue to be out of this world.—Michael Burgin (read the full review)


supermensch.jpg24. Supermensch: The Legend of Shep Gordon
A documentary about its titular talent manager,Supermensch: The Legend of Shep Gordon, directed by writer-actor Mike Myers, has the potential to be a slice of yawning, self-congratulatory star-fuckery of the highest order. After all, in addition to its famous director, it has plenty of recognizable celebrities who all line up to sing the praises of its subject. And yet, thanks to whip-smart pacing, this warm-hearted and unfussy nonfiction valentine emerges as an engaging portrait of a life less ordinary—a man who embraced and promulgated selflessness, even while, in his early days, indulging in druggy partying and frequently sporting a T-shirt that read, “No head, no backstage pass.”—Brent Simon (read the full review)


mistaken-for-strangers.jpg23. Mistaken for Strangers
Mistaken for Strangers has plot twists and gentle observations about sibling rivalry—none that are particularly momentous but are nonetheless well-observed and poignant because of the individuals involved in this growing drama. A lot of rock documentaries are in service of selling a fan base something, but not this one. If anything, Mistaken for Strangers offers a new perspective not just on The National but in the way we think about the individuals within a rock band and its inner circle. This quintet’s studied cool might drop a few notches in outsiders’ eyes because of this sometimes painfully honest and heartfelt documentary. But speaking for myself, it was always The National’s sincerity that was more attractive than their cool.—Tim Grierson (read the full review)


only-lovers-left.jpg22. Only Lovers Left Alive
Almost all of this vampire drama is set in the dead of night, and Jarmusch and cinematographer Yorick Le Saux vary the tone of their nocturnal scenes. Sometimes, the nights feel menacing. Other times, they recall the sleepless evenings left staring at the ceiling, wondering what happened to your life. And then on other occasions, the movie has a seductive, romantic spirit. The stakes may not be particularly high in Only Lovers Left Alive, but that’s part of Jarmusch’s point. When immortality is a given and your only concern is finding fresh blood, your life in some ways loses its urgency. And so like the movie they’re in, Adam and Eve drift and drift, finding their amusements where they can.—Tim Grierson (read the full review)


locke.jpg21. Locke
Whether or not you buy into Locke—an 85-minute movie in which Tom Hardy spends 99% of the time driving and talking on the phone—as a thrilling and daring cinematic experience will depend greatly on how much you’re able to invest in the character of Locke himself. Because while Locke strikes some interesting notes as an exercise in minimalist filmmaking, it fails to deliver the full-fledged symphony that would make it a true triumph. Despite the choice to employ a rather inexplicable Welsh accent, Hardy’s performance is never less than genuine, which ensures even the most hackneyed moments are at least somewhat affecting. And the film’s hypnotic visual style, a sleek evocation of the experience of cruising down a highway at night, successfully conjures a seductive power similar to the night driving sequences in Nicolas Winding Refn’s Drive. Yet, all of it essentially boils down to a white guy dealing with a midlife crisis, and that’s a rather banal engine for such an eye-catching vehicle.—Geoff Berkshire (read the full review)


cold-in-july.jpg20. Cold in July
Where at first Richard proves to be an engaging protagonist—an ordinary man trapped in an increasingly harrowing situation—he slowly begins to recede into the background as the coldly violent Ben and shit-kicking Jim Bob start to assert themselves and pull focus. Mickle cedes the movie to these supporting characters, but because he hasn’t invested as much time in explaining who they are, it’s not as satisfying to see how they resolve their issues. (In particular, Ben’s uncovering of his son’s whereabouts doesn’t have the pathos it deserves.) Presumably, Mickle’s intention is to thrust us and Richard into a dark, unpredictable world where we’re out of our depth, and to some extent that’s effectively done. (Richard’s final scene, though seemingly mundane, underlines the strangeness of the odyssey he’s undertaken.) But Cold in July ultimately settles for an engaging but familiar finale in which tightly orchestrated gunplay resolves a story that promised to travel into more nuanced, resonant terrain.—Tim Grierson (read the full review)


edge-of-tomorrow.jpg19. Edge of Tomorrow
Director Doug Liman seems intent to make up for the setbacks of his last two features (back-to-back flops Jumper and Fair Game) and reclaim his place as the big-time Hollywood director hot off of The Bourne Identity and Mr. and Mrs. Smith. He handles the action fairly well on balance. Even if the war sequences lean a bit too heavily on Saving Private Ryan-style chaos and the Mimics never blossom beyond generic extraterrestrial monsters, Liman’s approach proves more than efficient for a pulse-pounding thrill ride. Maybe it’s exactly because both Liman and Cruise have something to prove at this point in their careers that Edge of Tomorrow makes enough of an impact to overcome its flaws.—Geoff Berkshire(read the full review)


lucky-them.jpg18. Lucky Them
In Lucky Them, Toni Collette plays Ellie Klug, the unlucky in life music critic looking at a lay off and nothing more than meaningless hookups to spend her nights. Her editor (Oliver Platt, recently working in more media-related roles than most writers) suggests she’s been sitting on the story of a lifetime for years: what happened to the enigmatic musician who broke her heart when he disappeared over a decade ago in Searching for Sugarman style. She reluctantly takes the assignment and scores the financial (and comical) help of a distant acquaintance looking for a documentary subject, Charlie (Thomas Haden Church). Lucky Them feels lived-in in its sticky bars and unkempt living rooms stacked with records, comfortable enough to slip into with its incredible leads, and warm enough to help you remember that luck has a way of turning itself around. It’s both a familiar story and yet not one we see done well often. Griffiths has worked her way through a decade in the independent film world, and I hope she continues her climb up that ladder to bring more interesting characters and offbeat stories. I’d recommend this movie on Collette’s performance alone, but that would shortchange her equally excellent supporting cast.—Monica Castillo


blue-ruin.jpg17. Blue Ruin
Although the movie is deadly serious, Blair’s comically hangdog face heightens the absurdity of the back-and-forth altercations between Dwight and his pursuers. We never forget that these are regular people meting out this punishment against one another. That’s what makes the film so gripping—and also strangely relatable. Unexpectedly for Dwight, Blue Ruin twists from a revenge tale into a story of empathy—one in which even he comes to regard the backwoods Clelands in a new light. Amidst the rising body count, Saulnier has crafted a rather sneaky treatise on seeing past preconceived notions to really understand other people. All you have to do is look.—Tim Grierson (read the full review)


lego-movie.jpg16. The LEGO Movie
The two key components that keep this film fresh and delightful all the way through are the LEGO animation and the LEGO characters themselves. There are so many wonderful LEGO performances going on that some actually outshine the main storyline. In particular, the Good Cop/Bad Cop character (Liam Neeson) is hilarious to watch, as is Unikitty (Alison Brie). The LEGO Movie may not elicit the same timeless emotions as, say, the Toy Story franchise, but it is a wonderful trip into a limitless childlike imagination, and it will inspire creativity from children and recall years gone by for adults.—Maryann Koopman Kelly (read the full review)


ida.jpg15. Ida
She thinks her name is Anna. The young orphan woman (Agata Trzebuchowska) lives in a convent in Poland in the early 1960s, convinced she wants to become a nun. But before Anna can complete her vows, the convent’s Mother Superior directs her to make contact with her only living relative, her mother’s sister, Wanda (Agata Kulesza). Anna does—and in the process discovers how little she understands about her own life. Ida is a touching, low-key story about Anna’s personal transformation, one that’s flecked with wry humor but also sadness. Trzebuchowska is a nonprofessional actor, and director Pawel Pawlikowski (My Summer of LoveThe Woman in the Fifth) focuses the drama on his actress’s unvarnished, burgeoning beauty—there’s an innocence and stillness in her expression that suggests that Anna at an early age has learned to be quiet and listen.—Tim Grierson (read the full review)


venus-in-fur.jpg14. Venus in Fur
It’s not just that both actors are superb—they also complement one another in this close-quarters drama. Amalric lends the right amount of ineffectual arrogance to Thomas, who will soon be upended by this sexual dynamo. Seigner has to cover a wider gamut in her role—exasperating dolt to sophisticated vixen—and she’s a small wonder, her transformation arousing but also very funny. (You laugh at her cleverness while you swallow hard because of her carnal pull.) She’s Polanski’s wife in real life, of course, and many have noted the physical similarity between the director and Amalric. You can read Venus in Fur as autobiographical, Polanski exposing his own feelings about how a muse can bring out your darker cravings. But you can also simply enjoy the hell out of this fiendish little back-and-forth for its many surface pleasures.—Tim Grierson (read the full review)


muppets-most-wanted.jpg13. Muppets Most Wanted
This time around, they’re paying specific tribute to Kermit, the beloved amphibian behind the Muppets’ longevity; the film shows us what the crew might look like without his guiding influence, and it’s a pretty anarchic picture. But unlike The MuppetsMuppets Most Wanted doesn’t overtly pay homage to its subjects, and instead quite contently filters its bounty of heist caper tropes through a felt-tinted lens. By doing so, the film ends up being just as much of an ode to the Muppets’ brand of unbridled delight without having to wax sentimental; in the end, James Bobin and Nicholas Stoller cleverly get to have their cake and eat it, too. And so do we.—Andy Crump (read the full review)





enemy.jpg12. Enemy
The chance to portray twins or at-odds characters in a single film is catnip for actors of a certain level of ambition, though not without potential pitfalls. The impulse to chew scenery or present grand differentiation is often difficult to resist. Enemy, though, which reteams Jake Gyllenhaal withPrisoners director Denis Villeneuve (though it was actually shot before that film), finds the actor trading in similarly subdued and thoughtful tones as he did in that kidnapping drama. And, adapted from the late Nobel Prize-winning author José Saramago’s 2004 novel, The Double, the film offers up more than just a meaty pair of roles for Gyllenhaal. A woozy, danger-infused rumination on identity that triggers tripwires of personal panic and awakened sexual compulsion, Enemy is like a cold glass of water to the face of cinematic formalism.—Brent Simon (read the full review)


it-felt-like-love.jpg11. It Felt Like Love
With It Felt Like Love, writer-director Eliza Hittman takes a few routine subjects—the coming-of-age story, sexual awakening, adolescent confusion—and reminds us that a confident directorial voice can make material this common appear as fresh, strange, and surprising as a good science-fiction story. Hittman has made some well-received short films (2010’s Second Cousins Once Removed, 2011’s Forever Gonna Start Tonight), but this is her debut feature, and her command over everything—performance, style, tone, imagery—announces her as a noteworthy new filmmaker. She herself invokes Maurice Pialat and Catherine Breillat when describing her influences in this genre, but her fascination with skin and bodies also owes a debt to Claire Denis. But these inspirations neither overwhelm the material nor lessen Hittman’s achievement—if anything, they highlight the fact that the American indie scene is in desperate need of more female directors who can approach this thematic territory with such formal and psychological curiosity.—Danny King (read the full review)


joe.jpg10. Joe
Director David Gordon Green’s latest effort, Joe, is a poetic, unexpectedly tender slice of underclass drama that also exudes a certain kind of metaphorical connection to the low-lying fog of economic desperation that presently holds so many in its grip. An adaptation of the late Larry Brown’s 1991 novel of the same name, Green’s film centers on Gary (Tye Sheridan), a 15-year-old Texas kid whose father (Gary Poulter) is a shiftless, alcoholic lout. Near-homeless and hungry, both figuratively and literally, Gary hooks a job with Joe Ransom (Nicolas Cage), a strong-willed ex-convict who isn’t really a role model but — out of necessity and by degrees — begins to assume that mantle. Not entirely unlike Prince Avalanche, Green’s last film, Joe is a work of plaintive portraiture and, broadly speaking, a movie about confused men finding their way in the world. Cage and Sheridan (The Tree of LifeMud) have a great rapport, and the veteran actor in particular delivers a magnetic, dialed-in performance, his most layered of the last several years.—Brent Simon


childs-pose.jpg9. Child’s Pose
Though it may have lost some of the white-hot critical faddishness it enjoyed in the mid-2000s, Romanian cinema remains one of the new century’s most consistently rewarding national movements.The Death of Mr. Lazarescu and 4 Months, 3 Weeks and 2 Days are still its high-water marks, but there’s been no shortage of superb follow-ups in recent years, including Beyond the Hills and Tuesday, After Christmas. What these films share is a barebones depiction of modern life—usually rendered over the course of a few days or less—through plots that are deceptively simple and actors whose well-worn faces are so descriptive that they silently convey a world of regret and discontent. Child’s Pose could almost be a “greatest hits” of Romanian tendencies, but its distinctive resonance is such that it transcends familiarity. As with the best of his countrymen’s films, director and co-writer Calin Peter Netzer’s family saga possesses all the sharp everyday detail, close-quarters drama and nuanced characters of a terrific play. But as is also often the case with Romanian cinema, Child’s Pose elevates the commonplace with superb, almost invisible filmic technique, staring at its characters with such intensity that the ordinary becomes surprising and insightful.—Tim Grierson (read the full review)


the-raid-2.jpg8. The Raid 2
Though its full title is The Raid 2: Berandal, Gareth Evans’ sequel to his 2011 beat-to-a-pulp-a-thon,The Raid: Redemption, could just as easily be called The Raid: Unfettered. While the hyper-violent martial arts maiming moments will elicit about the same number of appreciative chuckles as the first, in his new film, Evans has cast off the spatial and temporal constraints that so defined his earlier effort. The Raid: Redemption can be viewed as a single, extended action set piece. Shorn of pretty much everything else but the action, the plot unfolds in a brisk 101 minutes as an elite police unit tries to dislodge a crime lord from his 15-story, henchman-infested apartment building (and then tries to survive when the attempt goes awry). Meanwhile, The Raid 2 spans more than three years and spreads the pummeling, slashing and occasional hammer-time throughout myriad locations. (The film puts on about 50 minutes in the process.) As a result, Evans’ latest unwittingly serves as the converse of the adage, “Less is more.” More, it turns out, is indeed less—though not by much, and not to an extent that is likely to bother fans of the original. In fact, though the addition of “extras” like multiple locations, a larger cast of non-fodder characters and oh, actual dialogue, makes The Raid 2 much less unique a film than its predecessor, it still registers as a pretty vibrant entry into the Yakuza genre.—Michael Burgin (read the full review)


finding-vivian.jpg7. Finding Vivian Maier
When Vivian Maier died at the age of 83 in the spring of 2009, those who had known the woman remembered her as a nanny with a humorously stiff gait and a penchant for taking photographs. In the short time since Maier’s death, her narrative has been radically rewritten, her striking street photography celebrated in exhibitions from Los Angeles to London. That such a private, peculiar woman could retroactively be recognized as one of the best photographers of the last 50 years is a testament to the untold great art being made under our collective nose. It’s an enticing story, and it’s breezily told in Finding Vivian Maier, a documentary that examines her path to the posthumous spotlight.—Tim Grierson(read the full review)


noah.jpg6. Noah
Starting with the ominous string hits that accompany its opening title cards, it’s clear Noahisn’t messing around. Darren Aronofsky’s film aims to strip all hokiness from the story of a guy who loads a bunch of animals onto a giant ark so they can survive a flood. Make no mistake, this is a tale of violence from both humans and their creator. It is about the struggle to do the right thing, and the difficulty of knowing exactly what that is. Director Aronofsky and his co-writer Ari Handel have not perfectly re-envisioned the story—it’s probably the least-focused effort of Aronofsky’s career. But they have created a satisfying, at times stirring consideration of the Hebrew Scriptures’ themes of free will, obedience and repentance. They have introduced new characters and story elements, largely pulled from different parts of Genesis and other scriptures with a healthy spirit of reinterpretation. With the exception of some sequences that appear to be simply action for action’s sake, the additions serve the drama of spiritual grappling.—Jeremy Matthews (read the full review)


mana-ka-mana.jpg5. Manakamana
A completely beguiling look at how we behave during those mundane moments that are in-between the seemingly more important ones,Manakamana couldn’t be simpler in its execution, and yet this is a documentary that radiates incredible compassion and insight. Produced by the directors of last year’s brilliantly assaultive documentary, LeviathanManakamana couldn’t be more different, utilizing a similarly uncompromising approach but one that’s far more contemplative and lovely. If Leviathan showed us the primal terror of everyday life, this new film is a warm hug, a salute to our shared humanity. There’s so much going on around us all the time, but we’re too busy getting to our next destination to ponder that simple truth. Spray and Velez force us to slow down and consider that truth. We humans get so wrapped up in this idea that our activities and events define us. Manakamana suggests quite persuasively that only at rest do we truly and fully reveal our essential natures.—Tim Grierson (read thefull review)


under-the-skin.jpg4. Under the Skin
It’s a rare feat for a film to successfully convey the voice of the Other. Especially when that voice is an Other to everyone else here on Earth. Loosely based on Michel Faber’s book of the same name, director Jonathan Glazer’s take on Under the Skinfinds greater fascination with translating an otherworldly perspective than with the novel’s rather transparent “meat is murder” didactic. It not only makes for a more interesting story, it takes the form of an experience that reminds one of why the medium of film is so special.—Scott Wold(read the full review)


grand-budapest.jpg3. The Grand Budapest Hotel
That relationship to his influences—how and maybe even why he makes his work—is what this film is all about. There are direct allusions to films that have popped up frequently in Anderson’s oeuvre: The Life and Death of Colonel BlimpA Man Escaped,L’enfance nue and many Lubitsch films. But more importantly, the film seems to be about his relationship to directors (and also writers) that have influenced him. Gustave, with his dandyish and shy hard-living ways, may be a stand-in for Anderson, but only the way that the Amex “director” character of his commercial, modeled on outlandish heroes, is Anderson. “To be frank,” Mr. Moustafa says of Gustave, “I think his world vanished long before he entered it.” In this first film in which Anderson has sole screenwriting credit, he seems to be everyone. He is also, of course, the Author, both in the form of the man who is telling this tale, “The Grand Budapest Hotel,” and his fictionalized self (the Jude Law character) that met his characters and lived among the ruins. But Anderson is also Zero Moustafa, an eager apprentice to his hero. In the most poignant line in the film, Moustafa says about his mentor, “After all, we shared a vocation.” The same line could be said of Anderson and all the directors he references.—Miriam Bale (read the full review)


unknown-known.jpg2. The Unknown Known
Over the last 10 years, documentary filmmaker Errol Morris has been preoccupied with the methodology behind warfare, specifically investigating the mismanagement of American armed conflicts from Vietnam to Iraq. With the exception of his fascinating 2010 crime docTabloid, his output over the last decade has been a sober postmortem on our recent overseas failures:The Fog of WarStandard Operating Procedureand now The Unknown Known, which is the best of the bunch. Where his earlier documentaries looked at aspects of the military mindset, his newest feels nearly definitive, putting a face to hawkish policies. That face belongs to Donald Rumsfeld, who was Secretary of Defense under George W. Bush from 2001 to 2006. Considering that he’s such an outspoken critic of the Iraq War, Morris might be expected to demonize his subject. Blessedly, The Unknown Known is far too thoughtful for such a knee-jerk treatment—or, perhaps more accurately, Rumsfeld has too sharp a mind to be railroaded. Instead, we have a glorious battle of wits, with Rumsfeld masterfully responding to his inquisitor, often with direct, considered answers.—Tim Grierson(read the full review)


night-moves.jpg1. Night Moves
Director Kelly Reichardt makes intimate character studies that are less interested in plot than they are in observing individuals in a specific time and place, whether it’s middle-aged men trying to reconnect on a camping trip in Old Joy or a group of settlers heading into the West during the 19th century inMeek’s Cutoff. Perhaps that’s why Night Movesfeels so startling. Though Reichardt’s usual close attention to character and atmosphere is intact, her new movie is surprisingly suspenseful. By her understated, incisive standards, it’s practically an action movie.

The film draws much of its suspense from its ability to ground the proceedings in a realistic, everyday world. Much like Meek’s Cutoff or Wendy and Lucy (which starred Michelle Williams as a drifter searching for her beloved lost dog), Night Moves is compelling not because of its story’s startling originality but, rather, because of its bone-dry simplicity, goosed along by Jeff Grace’s softly anxious score. As per norm, Reichardt’s unfussy style elicits unadorned, casual performances, and her three leads easily convey their characters’ committed but somewhat shallow motives for destroying this dam. We’re riveted because these people feel incredibly lifelike, which makes their high-stress mission all the more nerve-racking.

There’s more than a little Crime and Punishment pulsing through Night Moves, but Reichardt is only mildly invested in the crime or the punishment. Instead, her increasingly intense and troubling moral thriller is a portrait of thwarted idealism that’s suffused with guilt and regret. The characters may be able to get away with their plot, but they can’t outrun themselves.—Tim Grierson (read the full review)


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隊長 - 美國 - winter.jpg25美國隊長:冬天戰士
比奇蹟宇宙的任何其他超級英雄也許更,美國隊長,就是要吸引人。他的意思是鼓舞人心的,人的理想,反過來,我們每個人都渴望。這是一個,設置他的漫畫的感覺除了那些雷神,綠巨人,蜘蛛俠等等的東西,背後的奇蹟的宏偉電影計劃指甲一部分2.3的創作團隊。是的,美國隊長:冬天戰士是一個偉大的動作片,一個非常愉快的間諜驚悚味的薄膜,債券,值得風騷(和管弦樂一夜暴富)。但首先,它也是一個偉大的美國隊長電影。只要迪士尼/驚奇的做法,以他們的電影一直在心中這樣的優先順序,即與它一起的票房的行動將繼續成為這個世界的- 邁克爾•布爾金(閱讀完整評論)


supermensch.jpg24 Supermensch:夏普。戈登的傳說
有關其名義上的經理人才,紀錄片Supermensch:傳奇謝普戈登,導演編劇演員邁克·邁爾斯,做事要打哈欠,自我祝賀星fuckery的一片潛力最高階。畢竟,除了其著名導演,它有足夠的辨認誰名人都排隊唱它的主題的讚美。然而,由於鞭智能起搏,這種熱情和從簡紀實情人節湧現作為一個生活平凡,一個人誰擁抱並頒布無私,即使在他早期的日子裡,沉迷於慣用麻醉藥者聚會的配合縱向和經常運動T卹,上面寫著,“沒有頭,沒有後台通行證。” - 布倫特西蒙(閱讀完整評論)


誤認為是陌生人有情節曲折和有關兄弟姐妹的競爭,沒有那些特別重大的,但仍然有良好的觀察和淒美,因為參與這個不斷增長的戲劇人的溫柔觀察。很多搖滾紀錄片是在賣一個球迷基礎的東西,但不是這樣的一個服務。如果有的話,誤認為是陌生人提供一個新的視角不只是國家,但在我們思考一個搖滾樂隊中的個體,其內圓的方式。這五重奏的研究涼爽可能會下降,因為這有時痛苦的誠實和衷心的紀錄片幾個缺口在外人眼中。但就我自己來說,它總是國家的誠意,這是比冷靜更吸引人- 蒂姆·格里爾遜(閱讀完整評論)


,幾乎所有的這個吸血鬼劇被設置在夜深人靜的時候,和賈木許和攝影師約里克勒索克斯有所不同的夜間場景的色調。有時,晚上感覺來勢洶洶。其他時候,他們還記得不眠的夜晚留下盯著天花板,不知道發生了什麼事到你的生活。然後在其他場合,電影中有一個誘人的,浪漫的精神。的利害關係可能不是特別高,只有戀人活著離開,但是這是的賈木許的觀點的一部分。當丹藥是給定的和你唯一關注的是尋找新鮮血液,在某些方面你的生活失去了它的緊迫性。等等之類的電影他們在亞當和夏娃的漂移和漂移,發現他們的娛樂,他們可以- 蒂姆·格里爾遜(閱讀完整評論)


無論閣下購買到洛克,一個85分鐘的電影中,湯姆·哈迪花費99%的時間開車,在手機上,作為一個驚險而大膽的電影經驗談會就多少你能夠在很大程度上取決於投資洛克自己的特徵。因為雖然洛克罷工了一些有趣的音符作為一個練習,以簡約主義電影製作,它未能提供完整成熟的交響樂,將使它成為一個真正的勝利。儘管選擇聘請一個相當令人費解的威爾士口音,哈代的性能決不會比正品,保證即使是最陳腐的時刻都至少在某種程度上影響較少。而這部影片的催眠視覺風格,巡航在高速公路夜間的經驗圓滑召喚,成功地浮現出誘人的力量類似於薩科繞組雷弗恩的夜間駕駛序列驅動器。然而,這一切基本上可以歸結為一個白人處理的是一個中年危機,這是一個相當平庸的引擎這樣一個醒目的車- 傑夫·伯克(閱讀完整評論)


凡在第一理查德被證明是引人入勝的主角,一個普通的人被困在一個日益悲慘的情況,他慢慢開始退化到後台為冷冷的暴力Ben和狗屎踢吉姆·鮑勃開始斷言自己和拉的焦點。小數怕長計割讓電影這些配角,而是因為他並沒有投入太多時間解釋他們是誰,它不是令人滿意的,看看他們是如何解決他們的問題。(特別是,他的兒子的下落Ben的揭露不具備應有的淒美。)據推測,米克爾的目的是我們和理查德被推入一個黑暗的,不可預知的世界裡,我們是我們的深度,並在一定程度上這是有效地完成。(理查德的最後一幕,雖然看似平凡,強調他承擔的奧德賽的陌生感。),但寒冷的七月最終落戶創造出引人入勝的,但熟悉的大結局中,緊密協調的槍戰解決了一個故事,答應前往成更細緻,諧振地形。 - 蒂姆·格里爾遜(閱讀完整評論)


導演道格·李曼似乎有意以彌補他的最後兩個特徵的挫折(後端到後端觸發器跳線和公平的遊戲),並收回他的地方作為大牌好萊塢導演炙手可熱的諜影重重和先生 史密斯夫婦。他處理的動作相當不錯的平衡。即使在戰爭序列瘦有點太依賴於拯救大兵瑞恩風格的混亂和模仿從未開花超越通用的外星怪物,李曼的做法被證明超過有效的脈衝衝擊驚悚之旅。也許正是因為這兩個麗曼和克魯斯有一些東西需要證明這一點在他們的職業生涯是明天的邊緣賺了足夠的影響,克服其缺陷- 傑夫·伯克(閱讀完整評論)


在幸運的他們,托尼科利特飾演艾莉克魯格,不幸的人生樂評人尋找一個裁員無非就是毫無意義進行連接的度過她的夜晚。她的編輯器(奧利弗普拉特最近在比大多數作家更多的媒體相關的角色的工作)表明她已經坐在了一生的故事,多年:發生了什麼神秘的音樂家誰傷了她的心臟,當他消失了十多年前的搜索對於休格曼風格。她不情願地接受了任務和分數是一個遙遠的熟人找了紀錄片拍攝對象的財務(和滑稽)的幫助,查理(托馬斯·海登堂)。幸運他們覺得住,在堆放著記錄其粘酒吧和蓬頭垢面的客廳,舒適的足以滑入其令人難以置信的線索,和足夠的熱情來幫助你記住,運氣有大約轉彎本身的一種方式。這既是一個熟悉的故事,但不是我們所看到的做得好頻繁。格里菲斯已經走過了十年的獨立電影界工作她的方式,我希望她繼續她爬上了梯子帶來更多有趣的角色和另類的故事。我建議這部電影在單獨科萊特的表現,但是這將奸商她同樣出色的配角- 莫妮卡·卡斯蒂略


雖然電影是非常嚴肅的,布萊爾的可笑可鄙的臉加劇德懷特和他的追趕者之間的背部和往復爭吵的荒謬。我們永遠不會忘記,這些都是普通的人發落了對彼此這種懲罰。這是什麼使得這部電影如此扣人心弦,也很奇怪的聲音誕生。不料德懷特,藍三絕從一個復仇的故事變成同情,在其中一個故事曲折,甚至他來把粗野Clelands在新的光芒。煙雨上升累累白骨,Saulnier已經製作相當鬼祟的論文上看到過去的先入為主的觀念,真正理解別人。所有您需要做的就是看看- 蒂姆·格里爾遜(閱讀完整評論)


是保持這個電影的新鮮和令人愉快的,一路過關斬將的兩個關鍵組件是樂高動畫和樂高人物本身。有這麼多精彩的 ​​樂高的演出正在進行,有些居然一枝獨秀的主要故事情節。特別是,好警察/壞警察字符(利亞姆尼森)是熱鬧看,因為是Unikitty(艾莉森布里)。樂高電影可能不會引起同樣的永恆情感的,也就是說,玩具總動員專營權,但它是一個奇妙之旅成一個童趣無限的想像力,它會激發創造力的兒童和回憶過去的歲月成人- 瑪麗安·庫普曼凱利(閱讀完整評論)


她認為她的名字叫安娜。這位年輕的女孤兒(阿加塔Trzebuchowska)住在波蘭的一個修道院,在20世紀60年代初,說服她想成為一名修女。但在此之前安娜可以完成她的誓言,修道院的院長指示她,使她唯一的親人接觸,她的母親的妹妹,萬達(阿加塔Kulesza)。安娜的確,在這個過程中發現,她怎麼一點了解關於她自己的生活。艾達是關於安娜的個人轉變,一個的斑點與詼諧幽默,也憂傷感人,低調的故事。Trzebuchowska是一個非專業的演員,和導演帕維爾Pawlikowski(我愛夏天,該名女子在第五)的重點戲對他的女演員的質樸,新興的美容有一顆童心和寂靜中,她的表情暗示,安娜從小有學會了安靜,聽- 蒂姆·格里爾遜(閱讀完整評論)


這不只是這兩個演員都是一流的,他們也是在這個近距離的戲劇互為補充。·阿馬立克借給無效的囂張氣焰適量托馬斯,誰很快就會被這個性發電機被顛覆。Seigner必須覆蓋在她的角色可氣傻瓜更寬的領域,以先進的狐狸精,她是一個小奇蹟,她的轉變引起,但也很有趣。(你笑她的聰明,因為她的肉體上拉,而你嚥下困難的。)她的波蘭斯基的妻子在現實生活中,當然,許多人注意到導演和阿瑪希克之間的物理相似性。你可以閱讀的毛皮金星作為自傳,波蘭斯基暴露了他對繆斯如何能襯托出你較暗的渴望自己的感受。但你也可以簡單地享受地獄魔王這回小的往復它的許多表面的樂趣- 蒂姆·格里爾遜(閱讀完整評論)


提線木偶 - 最wanted.jpg13提線木偶最期待
這一次,他們支付的具體致敬克米特,提線木偶“長壽背後的心愛的兩棲動物; 影片向我們展示了機組人員可能看起來像沒有他的引導力,這是一個非常無政府主義的圖片。但是,與提線木偶,提線木偶頭號通緝犯不公然祭奠它的臣民,而是相當美滿通過氈著色鏡片過濾器的搶劫雀躍比喻它的賞金。通過這樣做,電影結束是一樣多的頌歌提線木偶“品牌肆無忌憚的喜悅,而無需打蠟感傷; 最終,詹姆斯·波賓和尼古拉斯·斯托勒巧妙地得到有他們的蛋糕和吃它了。所以我們做的- 安迪·克倫普(閱讀完整評論)


來描繪雙胞胎或賠率字符在一個單一的電影的機會是對貓薄荷的野心一定水平的演員,雖然不是沒有潛在的缺陷。咀嚼的風景或現隆重分化的衝動往往是難以抗拒的。敵人,雖然,這reteams傑克·吉倫哈爾與囚犯總監丹尼斯·維倫紐夫(雖然它那部電影之前是實際拍攝),發現在同樣的制服,周到的色調演員作為買賣他確實在綁架大戲。而且,改編自已故諾貝爾文學獎獲獎作家薩拉馬戈2004年的小說,該雙,電影提供了更多的不僅僅是一雙肉為吉倫哈爾的角色。身份觸發個人恐慌絆竅和強迫性的一個頭昏眼花,危險,注入反芻,敵人就像是一杯冰冷的水,電影形式主義的臉- 布倫特西蒙(閱讀完整評論)
有了感覺就像愛情,編劇兼導演伊麗莎Hittman需要幾分鐘的例行科目,在未來的成年故事,性覺醒,青春期的困惑,並提醒我們,一個自信的導演的聲音可以使材料這個共同的顯示為新鮮,奇怪,奇怪,因為一個良好的科幻故事。Hittman已經取得了一些廣受歡迎的短片(2010年的第二表兄弟一旦刪除,2011的永恆將從今夜開始),但是這是她的處女作,她在一切能命令,風格,色調,意象,宣布她作為一個值得關注的新電影製片人。她自己叫莫里斯·皮亞拉和凱瑟琳Breillat描述她的影響,在這一流派的時候,但她迷戀的皮膚和身體也欠了債克萊爾丹尼斯。但這些靈感既不壓倒材料,也不減少Hittman的成就,如果有的話,他們強調一個事實,即美國獨立場景是在更多的女導演誰可以與這種正式的和心理的好奇心接近這個專題領土迫切需要- 丹尼·金(讀在全面檢討)


導演大衛戈登·格林的最新努力,喬,是下層階級的戲劇詩意,不料嫩片也散發出某種經濟絕望的低窪霧,現時持有這麼多的手柄隱喻的連接。後期拉里·布朗1991年的同名小說的改編,綠色的電影加里(塔伊謝裡登),一個15歲的得克薩斯州的孩子,他的父親(加里·保爾特)是一個無能的,酒精糊塗中心。近無家可歸和飢餓,這兩個比喻和誇張,加里鉤與喬贖金(尼古拉斯·凱奇),一個意志堅強的刑滿釋放誰是不是一個真正的榜樣,但一份工作-出於需要和度-開始承擔地幔。不完全不像太子雪崩,格林的最後一部電影,喬是哀怨的肖像畫作品和,從廣義上講,一部關於男人困惑找到自己的方式在世界上。凱奇和謝裡丹(生命之樹,泥)有很大的關係,特別是資深演員提供了一個磁場,撥,在性能上,他最分層過去幾年的- 布倫特西蒙


雖然它可能已經失去了一些它在2000年代中期所享有的白熱化關鍵faddishness中,羅馬尼亞電影仍然是新世紀最一貫有價值的民族運動之一。Lazarescu先生之死和4個月,3週2天仍是其高的水痕,但有過精湛的跟進不缺,近年來,包括除了山和週二,聖誕節後。這是什麼電影份額的準系統描繪現代生活,通常呈現在數天或以下,通過情節是看似簡單,演員的陳腐的臉是如此的描述,他們默默地傳達的遺憾和不滿的世界的過程中。孩子的姿勢幾乎可以是羅馬尼亞傾向的“最偉大的命中”,但其獨特的共鳴是這樣的,它超越熟悉。與最好的他的同胞的電影,導演和聯合編劇克林彼得·內策家族傳奇擁有所有的尖銳日常細節,近距離的戲劇和一個了不起的遊戲細緻入微的人物。但由於還經常與羅馬尼亞電影的情況下,孩子的姿態提升以精湛的,幾乎看不見薄膜類技術的普及,在它的字符這樣的強度,普通的變成令人驚訝的和有見地的凝視- 蒂姆·格里爾遜(閱讀完整評論)


雖然它的全稱是叔之橫掃千軍2:Berandal,加雷思·埃文斯“續集他的2011節拍來一個-紙漿-一個馬拉松,叔之橫掃千軍:救贖,可以很容易地被稱為RAID陣列:逍遙。而超暴力武俠殘害時刻將引起有關作為第一個相同數量感激的笑,在他的新電影,埃文斯已經擺脫了這樣定義他的早期努力的空間和時間的限制。叔之橫掃千軍:贖回可查看作為一個單一的,擴展的操作集片。剪毛幾乎一切,但動作,劇情展現在輕快的101分鐘作為一個精英警察部隊試圖撞出一個惡霸從他的15層,心腹出沒的公寓樓(然後試圖生存,當試圖去歪)。同時,該團隊2跨度超過三年,並敷於滑跌,整個無數位置削減和偶爾錘時間。(影片穿的過程中約50分鐘。)因此,Evans的最新無意中充當了這句格言,相反,“少即是多。”更多,事實證明,確實是少,雖然不是很大,而不是在一定程度上,很可能打擾了原來的球迷。事實上,雖然增加了“群眾演員”之類的多個位置,一個更大的投非飼料人物哦,實際的對話,使得叔之橫掃千軍2要少得多唯一一部電影比它的前身,它仍然註冊為一個漂亮的充滿活力的進入如龍流派- 邁克爾•布爾金(閱讀完整評論)


當維維安邁爾在83歲在2009年的春天,那些誰知道那個女人想起了她作為一個保姆帶幽默 ​​地僵硬步態和愛好拍照死亡。在邁爾以來的死亡時間很短,她的敘事已經徹底改寫,她的驚人的街頭攝影慶祝從洛杉磯展覽,倫敦。這樣一個私人的,奇特的女人可以追溯確認為過去50年來最好的攝影師之一是證明了數不清的偉大的藝術在我們集體的鼻子正在取得進展。這是一個誘人的故事,而且它輕描淡寫地告訴記者,在尋找維維安邁爾,一個紀錄片,檢查她的路徑諡聚光燈- 蒂姆·格里爾遜(閱讀完整評論)


開始與不祥的字符串命中,伴隨著它的開題卡,很顯然諾亞是不是亂搞。達倫·阿羅諾夫斯基的電影的目的是去除所有hokiness從一個人誰加載了一堆動物到一個巨大的方舟的故事,使他們能夠生存洪水。毫無疑問,這是人類和他們的創造者暴力的故事。它是關於努力做正確的事情,並且知道這正是難度。導演阿羅諾夫斯基和他的聯合作家阿里韓德爾還沒有完全重新設想的故事,它可能是阿羅諾夫斯基的職業生涯的最低為重點的努力。但他們已經創造了一個讓人滿意,有時攪拌考慮自由意志,服從和悔改希伯來聖經“主題。他們已經推出了新的人物和故事元素,主要是拉從創世紀和其他經文的不同部分重新詮釋與一個健康的精神。除了 ​​那些看起來簡單的行動對行動的緣故,一些序列,添置服務精神拼殺的大戲- 傑里米·馬修斯(閱讀完整評論)


一個完全欺騙性看看我們在那些平凡的時刻,是在兩者之間看似更重要的是如何做人,Manakamana不能在其執行簡單,然而,這是一個紀錄片,散發出令人難以置信的同情心和洞察力。由去年的出色攻擊性的紀錄片,董事產生的利維坦,Manakamana不能更不同,利用類似的不妥協的做法,但一個是更為沉思和可愛。如果利維坦向我們展示了日常生活中的原始恐懼,這種新的電影是一個溫暖的擁抱,敬禮,以我們共同的人性。有這麼多的事情在我們身邊所有的時間,但我們太忙讓我們的下一個目的地去思考這個簡單的真理。噴霧和貝萊斯迫使我們放慢腳步,認為真理。我們人類變得這麼結束了在這一理念,我們的活動和事件定義我們。Manakamana表明相當有說服力,只有在休息我們真正充分地揭示我們必不可少的本性- 蒂姆·格里爾遜(閱讀完整評論)


這是一個難得的壯舉為一拍,成功地傳達了其他的聲音。特別是當這個聲音是其他與大家一樣在地球上。鬆散的基礎上米歇爾·費伯的書同名,導演喬納森·格雷澤的作為在皮膚下找到更大的魅力與翻譯的超凡脫俗的視角比小說中的相當透明的“肉是謀殺”說教。它不僅使一個更有趣的故事,它需要的是提醒,為什麼電影的媒體是如此特殊的一個體驗的形式- 斯科特·沃爾德(閱讀完整評論)


這關係到他的影響,如何,甚至他為什麼讓他的工作就是這部電影的全部。有直接的典故,以電影,在安德森的作品還冒出了頻繁:上校飛艇的生死,逃出阿文,歐萊雅ENFANCE NUE和許多劉別謙的電影。但更重要的是,這部電影似乎是對他的關係董事(也是作家)已經影響了他。古斯塔夫,與他dandyish和害羞艱苦奮鬥的方式,可能是一個替身的安德森,但只有這樣,他的商業,仿照稀奇古怪的英雄美國運通“導演”的性格,是安德森。“坦率地說,”穆斯塔法先生說古斯塔夫的,“我覺得他的世界裡消失了多久,他進入了。”在其中安德森擁有唯一編劇貸記本的第一部電影,他似乎是每個人。他也是,當然,作者,無論在誰告訴這個故事的人的形式,“大布達佩斯酒店,”和他虛構的自我(在裘德·洛字符)能夠滿足他的人物和生活在廢墟中。不過,安德森也是零穆斯塔法,一副躍躍欲試的徒弟他的英雄。在電影中最淒美線,穆斯塔法說,他的導師,“畢竟,我們分享了職業。”安德森和他的所有引用董事的同一行可以說- 。儀罷了(閱讀完整評論)


在過去的10年中,紀錄片導演埃羅爾·莫里斯一直忙於戰爭背後的方法論,特別是調查美國的武裝衝突從越南到伊拉克的管理不善。除了 ​​他的迷人的2010犯罪文檔的小報,他的產量在過去十年中一直是我們最近的海外失敗清醒的屍檢:戰爭迷霧,標準操作程序和現在已知的未知,這是最好的一群。在那裡他早期的紀錄片看了看軍事思維方面,他最新的感覺幾乎明確,把一張臉強硬的政策。那張臉屬於唐納德·拉姆斯菲爾德,誰是國防部長在喬治·W·布什2001至2006年,考慮到他是伊拉克戰爭這樣直言不諱的批評,莫里斯可以預料醜化他的主題。幸好,已知的未知的實在太周到了這麼下意識的治療-或者更準確的說,拉姆斯菲爾德有過尖銳的頭腦被草率。相反,我們有鬥智斗勇的光榮戰役,與拉姆斯菲爾德巧妙地回應他的審判官,常與直接,認為答案- 蒂姆·格里爾遜(閱讀完整評論)






有不止一點點罪與罰通過脈衝夜間移動,但雷查德僅輕度投資於犯罪或處罰。相反,她的日益激烈和令人不安的道德驚悚片是這是泛著內疚和遺憾挫敗理想主義的肖像。人物或許能夠逃脫他們的陰謀,但也不能逃脫自己- 蒂姆格里爾遜(閱讀完整評論)



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