[導(dǎo)讀]年終盤點(diǎn)：2010年度十佳電影排行榜
Pixar Animation Studios/Walt Disney Pictures
皮克斯動(dòng)畫工作室/迪斯尼影片公司
In Lee Unkrich's "Toy Story 3," Woody, Buzz Lightyear and the other toys enter a strange new world when their owner, Andy, grows up and heads off to college.
在李·昂克里奇（Lee Unkrich）的《玩具總動(dòng)員3》中，隨著其主人安迪長大成人、奔赴大學(xué)校園，伍迪、巴斯光年以及其他玩具伙伴進(jìn)入到一個(gè)陌生的新世界。
IN any given year, if you see enough movies — out of habit, ardor or obligation — you will start to notice patterns and clusters. By December the temptation will be nearly overwhelming to generalize from this data, to turn coincidences into trends and trends into matters of world-historical significance. The ad hoc, arbitrary, week-in-week-out sampling of stories and pictures must add up to something, right? Otherwise why bother?
在任何一年里，如果你看過的電影足夠多 — 出于習(xí)慣、狂熱或責(zé)任 — 你都會(huì)開始注意到一些模式與類聚。到了12月，從這一數(shù)據(jù)產(chǎn)生出的誘惑將會(huì)達(dá)到近乎無法抗拒的地步，將巧合變成趨勢(shì)，再將趨勢(shì)變成世界性的歷史重大事件。專題、隨感、周復(fù)一周的電影樣片和圖片，必須得總結(jié)出點(diǎn)什么東西來，是吧？否則的話，何必自取煩惱呢？
One reason you do bother, of course, is precisely to find experiences that defy expectations and break patterns: movies that challenge your assumptions or alter your habits of perception. How often does that happen? Just enough. (At the end of this article you'll find 30 examples — 10 best and 20 runners-up — selected from more than 600 movies reviewed in The New York Times in 2010.)
當(dāng)然，有一個(gè)原因是你需要操心的，那就是一絲不茍地找到出乎意料、打破常規(guī)的體驗(yàn)：那些挑戰(zhàn)你的設(shè)想或改變你習(xí)慣看法的電影。這種事發(fā)生的概率有多大呢？不多不少剛剛好（本文末尾你將會(huì)發(fā)現(xiàn)30個(gè)例子——10部以及20部亞軍影片——它們是從紐約時(shí)報(bào)評(píng)述過的超過600部影片中精挑細(xì)選出來的）。
The ritual of year-end list making is a way of sifting through scattered, memorable moments and forcing them briefly into focus. A handful of movies from 2010 will still be interesting in the future, in which case the date of their first appearance will be little more than the answer to a trivia question. Was it a good year for movies? A great year? Hard to say, and finally, who cares? The movies — good and bad alike — shed a blinking, blurry light on the times, illuminating our collective fears, fantasies and failures of will. An attempt at synthesis can only fail, so in lieu of a comprehensive theory of Cinema Now, I offer a handful of postulates on the Cinematic State of Things. I trust they will stimulate sober discussion and principled argument as well as outright ridicule.
年終盤點(diǎn)清單制作的慣例是排沙撿金，在凌亂和難忘時(shí)刻中把它們篩選出來并讓其成為焦點(diǎn)。有一小部分2010年的電影在未來仍將是很有意思的，在這種情況下，其首次揭幕的日期將不只是一個(gè)小問題的答案那么簡單。今年是電影的好光景嗎？是偉大的一年？很難講，不過到頭來誰會(huì)在乎呢？電影本身，無論好壞，在時(shí)間長河里都流淌出一種閃爍不定、或明或暗的光芒，照射出我們共同的恐懼、幻想與情感的挫折。集大成的企圖只會(huì)以失敗告終，因此我決定放棄當(dāng)代電影的全面理論，取而代之的是一小部分電影事物狀態(tài)的主張。我相信它們一定會(huì)引發(fā)激烈的討論以及原則之爭，還有徹頭徹尾的冷嘲熱諷。
1. We are all figments of Leonardo DiCaprio's imagination. Or Natalie Portman's. Or Mark Zuckerberg's. Or Banksy's. The lines between reality and appearance, reason and madness, truth and fiction have always been blurry, but this was an especially fertile year for dreams, hoaxes and puzzles, many of them playing with fundamental questions of identity. Was Mr. DiCaprio, in "Shutter Island," a duly appointed federal marshal or loony-bin resident? Awake or asleep in "Inception?" Was"Exit Through the Gift Shop" an elaborate conceptual-art prank by Banksy or an exposé of art-world fraud? And what about "Catfish"? Do our real selves live on Facebook? Or just our real friends?
1. 我們都是萊昂納多·迪卡普里奧臆想中的虛構(gòu)人物。 或者是娜塔莉·波特曼的，要不就是馬克·扎克伯格的、班克斯（Banksy）的。存在與表象、理性與瘋狂、真實(shí)與虛構(gòu)的界限一直是模糊不清的，但今年尤其是夢(mèng)境、惡作劇與迷局的富饒之年，他們當(dāng)中許多飾演的角色都與身份認(rèn)同的根本問題有關(guān)?！督]島》中的迪卡普里奧先生究竟是一位經(jīng)正當(dāng)任命的司法官呢，抑或是一位精神病院的居民？《畫廊外的天賦》究竟是班克斯精心構(gòu)造的一部觀念藝術(shù)的惡作劇，還是有關(guān)藝術(shù)世界欺詐的揭露？還有就是 《鯰魚》，我們真正的自我是不是生活在Facebook上？還是說僅僅我們真正的朋友如此？
2. It's all mom's fault. 2010 was a very good year for female directors, and for actresses, but also a bad year for mothers. In the maternal monster category — surely Mo'Nique, who broke the mold in "Precious," should present this award — Melissa Leo from "The Fighter" and Barbara Hershey in "Black Swan" will face stiff competition from the cartoon villainess Mother Gothel (Donna Murphy) in "Tangled" and Jacki Weaver's criminal matriarch in the Australian film"Animal Kingdom."
2. 都是媽媽的錯(cuò)。2010對(duì)于女導(dǎo)演和女演員來說都是非常不錯(cuò)的一年，但也是媽媽們?cè)愀獾囊荒辍Ｔ谀赶倒治镱愲娪爱?dāng)中 —— 毫無疑問，在《珍愛》一片中有突破演出的莫妮克（Mo'Nique）當(dāng)之無愧可獲此殊榮 —— 來自《斗士》的梅麗莎·李?yuàn)W（Melissa Leo）以及《黑天鵝》中的芭芭拉·赫希（Barbara Hershey）則將面臨《長發(fā)公主（魔發(fā)奇緣）》里的卡通女惡棍Gothel媽媽（Mother Gothel，唐娜·墨菲配音）和澳大利亞電影《動(dòng)物王國》中杰姬·維沃爾（Jacki Weaver）的犯罪教主的強(qiáng)勁挑戰(zhàn)。
3. But mom is miserable. There was plenty of maternal suffering to counteract such demonization. Rodrigo García's "Mother and Child" was about nothing else, with Annette Bening, Kerry Washington and Naomi Watts acting out a braided melodrama of longing and loss. But no one suffered as grandly as Tilda Swinton in the operatic "I Am Love," or as pathetically as Paprika Steen in the unsparing "Applause."
3. 但媽媽也是不幸的。 有太多的母性受苦受難，足以抵消這種妖魔化之患。如果沒有安妮特·貝寧（Annette Bening）、 凱麗·華盛頓（Kerry Washington）以及娜奧米·沃茨（Naomi Watts）在這出有關(guān)期盼與失去的錯(cuò)綜復(fù)雜的情節(jié)劇中的傾情演出，羅德里格·加西亞的《母與子》 將一無是處。但若論起痛苦之深，無人能與歌劇式電影《我是愛》中的 蒂爾達(dá)·斯文頓（Tilda Swinton）相比，或若論起哀婉動(dòng)人的程度，則批判性的《情不自禁愛上你（Applause）》中的帕普麗卡·斯汀（Paprika Steen）無人能及。
4. Still, the kids are all right. The daughters in particular. It was a year of brave, tough, adventurous and sometimes reckless girls and young women, including the fearless Rapunzel in "Tangled," who was also a pretty good singer (thanks to the voice of Mandy Moore and the songs of Alan Menken), and both Fanning sisters: Dakota in Floria Sigismondi's underrated "Runaways," and Elle in Sofia Coppola's haunting, clear-sighted "Somewhere." Not to mention Jennifer Lawrence's fearless Ozark teenager in "Winter's Bone," Hailee Steinfeld's plucky Old West avenger in "True Grit" and Chlo? Grace Moretz's lonely vampire in "Let Me In." Perhaps the bravest of all was the sullen, chain-smoking Lisbeth Salander, incarnated (in the Swedish film versions of Stieg Larsson's best sellers) by Noomi Rapace.
4. 還好，孩子們都很好。 尤其是女孩。這是女孩和姑娘們的年份，勇敢、堅(jiān)韌、喜歡冒險(xiǎn)，有時(shí)候還有點(diǎn)魯莽，包括《魔發(fā)奇緣》中無畏的長發(fā)公主，她還是一位相當(dāng)出色的歌手（感謝曼迪·摩爾（Mandy Moore）的獻(xiàn)聲以及艾倫·孟肯（Alan Menken）的譜曲），還有范寧（Fanning）姐妹：弗洛莉亞·塞吉斯蒙迪（Floria Sigismondi）被低估的《逃亡樂隊(duì)》中的達(dá)科塔（Dakota），以及索菲亞·科波拉（Sofia Coppola）明眸善睞、令人難以忘懷的《在某處》中的艾麗（Elle）。 更不消說詹妮弗·勞倫斯（Jennifer Lawrence）在《冬天的骨頭》里那大無畏的歐扎克（Ozark）少年，海莉·斯坦菲爾德（Hailee Steinfeld）在《大地驚雷》中扮演的那個(gè)昔日西部勇敢的復(fù)仇者，還有科洛·莫瑞茲（Chlo? Grace Moretz）在《生人勿進(jìn)（Let Me In）》中扮演的孤獨(dú)的吸血鬼。也許她們當(dāng)中最勇敢的一個(gè)當(dāng)屬悶悶不樂、一根接著一根不停地抽煙的思帕·薩蘭德（Lisbeth Salander），由勞米·拉佩斯（Noomi Rapace）飾演（由斯泰格·拉爾森（Stieg Larsson）最暢銷書改編的瑞典電影）。
5. And the kids grow up. Not just Harry Potter. Yes, the general wallowing in male arrested development continued, with the usual comic suspects (Adam Sandler, Will Ferrell, Zach Galifianakis) appearing in the usual puerile comedies (one of them called"Grown Ups"). But at least two films — "Somewhere" and "Greenberg" — took a tough-love attitude toward their immature male protagonists, reckoning the emotional costs of delayed maturity and extended adolescence. (The same might be said of "The Social Network.") And the experience of sending a child off to college, hardly a common theme in movies before now, seems to have become a touchstone. Or at least an official three-film, cross-genre trend, thanks to "Toy Story 3," "The Kids Are All Right" and "The Kids Grow Up": a cartoon, a comedy and a documentary. (Meanwhile the drift and ambivalence of the mid- and post-collegiate young was minutely captured in "The Exploding Girl" and "Tiny Furniture.")
5. 還有，孩子們已長大成人。 不僅僅是《哈里·波特》。 是的，司空見慣、沉湎于男孩發(fā)育遲滯的老套情節(jié)仍在繼續(xù)上演，一如既往的漫畫人物嫌犯 （亞當(dāng)·桑德勒（Adam Sandler）、威爾·法瑞爾（Will Ferrell）、扎克·加利費(fèi)安納基斯（Zach Galifianakis））出現(xiàn)在稀松平常的幼稚喜劇上（其中一部就叫做《長大成人》）。但至少有兩部影片 — 《在某處》以及 《愛上草食男（Greenberg）》 — 對(duì)于其不成熟的男主人公采取了強(qiáng)硬的愛情態(tài)度，為其被耽擱的成熟以及延長的青春期付出了感情上的代價(jià)（可以說《社交網(wǎng)絡(luò)》一片亦是如此）。而將孩子送去大學(xué)的經(jīng)歷，這個(gè)在過去幾乎難以成為電影的常見主題的橋段，似乎已經(jīng)成為了一塊試金石。要不起碼來一部跨流派潮流的官方三部曲電影，感謝 《玩具總動(dòng)員3》、 《孩子們都很好》，還有《長大成人》：一部卡通片、一部喜劇片，還有一部紀(jì)錄片（與此同時(shí)，反映年輕人大學(xué)與畢業(yè)后飄忽不定、充滿矛盾的生活的點(diǎn)點(diǎn)滴滴都記載進(jìn)了《暴烈女孩》 以及《微型家具》中）。
6. Superheroes take a break. Yes, there was "Iron Man 2," but even that offered a respite from the glowering, pretentious action allegories that have dominated screens for most of the past decade. The battle between good and evil rages on in some quarters, but mostly in self-conscious, self-parodic form. In the strangely similar animated kiddie comedies "Despicable Me" and "Megamind" the heroes and villains are self-conscious role players, and the villains are actually nice as well as more interesting than their occasional square-jawed nemeses. This may reflect genre exhaustion (though another round of superhero blockbusters is already on the horizon), or a measure of real-world cynicism. The investigative documentaries that proliferated this year ("Inside Job," "Client 9," "Casino Jack and "The United States of Money") suggest that corruption and criminality exist virtually beyond the reach of justice.
6. 超級(jí)英雄歇歇吧。是，我們有 《鋼鐵俠2》，但是就算是這一部，也已從過去10年間統(tǒng)治了大部分銀幕的那些怒目而視、自命不凡的動(dòng)作寓言中抽身出來，喘上一口氣。在某些領(lǐng)域，正邪之爭愈演愈烈，但是大多數(shù)都呈現(xiàn)出自覺、自我戲擬的形式。在類似奇怪的兒童動(dòng)畫喜劇《卑鄙的我》和《超級(jí)大壞蛋（Megamind）》中，英雄和惡棍都是具有自我意識(shí)的角色演員，而且惡棍實(shí)際上都很棒，相對(duì)于其偶露崢嶸的寬下巴復(fù)仇者形象要來得有趣得多。這可能反映出舊風(fēng)格氣數(shù)已盡（盡管另一輪的超級(jí)英雄大片已然浮出水面），或者是成為衡量現(xiàn)實(shí)世界玩世不恭態(tài)度的一種尺度。今年調(diào)查型紀(jì)錄片的蔓延（《監(jiān)守自盜》、《9號(hào)客人》、《杰克老大和美國金錢》）表明，腐敗和犯罪事實(shí)上已經(jīng)超出了正義力所能及的范圍。
7. The Bush era is not over. "Green Zone," "Fair Game," "Casino Jack" (both the documentary version and the Kevin Spacey comeback vehicle), "Inside Job," "Client 9," "The Ghost Writer." So many scores left to settle.
7. 布什時(shí)代尚未終結(jié)。 《綠區(qū)》、 《公平游戲（Fair Game）》、《政客杰克》（紀(jì)錄片版和凱文·斯派西（Kevin Spacey）的復(fù)出之作 ）、《監(jiān)守自盜》、《9號(hào)客人》、 《影子寫手》。這堆爛攤子有太多的事情有待解決。
8. But can't the '90s come back, or the '80s, or some era more appealing than the one we're in? "Love and Other Drugs," "Greenberg," "Hot Tub Time Machine," "The Runaways," "Howl," any music documentary you can name.
8. 但是上世紀(jì)九十年代、或者說八十年代、或者說那些比我們現(xiàn)在所處的年代更好的時(shí)代難道就不能回歸嗎？ 《愛情與靈藥》、《愛上草食男》、 《熱澡盆時(shí)光機(jī)》、 《逃亡樂隊(duì)》、 《嚎囂（Howl）》，還有任何你叫得出名字的音樂紀(jì)錄片。
9. Only a great director can make a great movie, but a good actor can make a bad or mediocre or not-quite-great movie much better. For instance: Helen Mirren in "The Tempest," Ms. Mirren in "RED," Paul Giamatti in "Barney's Version," Mr. Spacey in "Casino Jack," Anne Hathaway and Jake Gyllenhaal in "Love and Other Drugs," Javier Bardem in "Biutiful," everyone in "True Grit," Vanessa Redgrave in "Letters to Juliet," Liam Neeson in anything he was in, Rachel McAdams in "Morning Glory,"Anthony Mackie in "Night Catches Us."
9. 只有偉大的導(dǎo)演能制作得出偉大的電影，但是一名好演員能讓一部糟糕的或者是平庸的或者是不那么偉大的電影更加出彩。 比如說：《暴風(fēng)雨》中的海倫·米倫（Helen Mirren），《超危險(xiǎn)特工（RED）》中的米倫（Mirren）女士，《巴尼的版本》中的保羅·吉亞馬提（Paul Giamatti）先生 ，《政客杰克》中的斯派西（Spacey）先生，《愛情與靈藥》中的 安妮·海瑟薇（Anne Hathaway）以及杰克·吉倫希爾（Jake Gyllenhaal），《美錯(cuò)（Biutiful）》中的 賈維爾·巴登（Javier Bardem），《大地驚雷》里面的所有人，《給朱麗葉的信》中的凡妮莎·蕾格列芙（Vanessa Redgrave），在自己出演的任何影片中的連姆·尼森（Liam Neeson），《早間主播（Morning Glory）》中的 瑞秋·麥克亞當(dāng)斯（Rachel McAdams） ，《夜晚吞噬了我們》中的 安東尼·馬奇（Anthony Mackie）。
10. The discussion of movies is frequently more interesting than the movies themselves. It was more fun to read the impassioned, geeky arguments about"Inception" than to endure a second viewing of that film. Early arguments about the accuracy of "The Social Network" and whether that even mattered gave way to a series of reviews, essays and debates about Facebook, digital entrepreneurship, friendship, business, meritocracy and the Ivy League far richer and more relevant to contemporary life thanAaron Sorkin's glib script or David Fincher's elegant atmospherics. And as intellectually lazy and emotionally manipulative as it was, Davis Guggenheim's "Waiting for Superman" nonetheless focused serious polemical attention on the problems facing American education.
10. 討論電影往往比電影本身更有趣。 讀一讀有關(guān)《盜夢(mèng)空間》的那些慷慨激昂、極客化的爭執(zhí)要比耐住性子再看一遍該片更有樂趣。早期有關(guān)《社交網(wǎng)絡(luò)》的精確性乃至于其是否無關(guān)緊要的爭論都無關(guān)緊要了，這些都得讓位于有關(guān)Facebook、企業(yè)家精神、友誼、商業(yè)、精英統(tǒng)治，以及常青藤聯(lián)盟的一系列評(píng)論、短評(píng)與辯論文章，對(duì)于當(dāng)代生活來說，與阿倫·索爾金（Aaron Sorkin）伶牙俐齒的劇本或者大衛(wèi)·芬奇（David Fincher）的優(yōu)雅氣氛相比，這些文章要更為有骨有肉、更具相關(guān)性。不做思考，控制感情，戴維斯·古根海姆（Davis Guggenheim）的紀(jì)錄片《等待超人》 雖仍一如既往，但其關(guān)注重點(diǎn)已經(jīng)放在極富爭議的美國教育所面臨的問題上了。
The 10 Best Movies of 2010
2010年電影十佳
1. INSIDE JOB (Charles Ferguson) The crisis of finance capitalism as a great crime story.
1. 《監(jiān)守自盜》 （查爾斯·弗格森（Charles Ferguson））一部將資本主義金融危機(jī)當(dāng)做一個(gè)偉大的犯罪故事來講的電影。
2. TOY STORY 3 (Lee Unkrich) The triumph of consumer capitalism as an epic love story.
2. 《玩具總動(dòng)員3》 （李·昂克里奇） 一部將消費(fèi)資本主義勝利當(dāng)做一場(chǎng)史詩愛情故事來講的電影。
3. CARLOS (Olivier Assayas) The failure of global revolution as farce, melodrama, erotic thriller and music video.
3. 《卡洛斯》 (奧利維耶·阿薩耶斯（Olivier Assayas）） 把全球革命的失敗當(dāng)做鬧劇、情節(jié)劇、色情驚悚片以及音樂錄影帶來演的電源。
4. SOMEWHERE (Sofia Coppola) An eccentric, perfect poem about fame, loneliness and cross-generational need.
4. 《在某處》 （索菲亞·科波拉（Sofia Coppola）） 有關(guān)聲譽(yù)、孤獨(dú)以及兩代人需求的一首古怪、完美的詩篇。
5. THE KIDS ARE ALL RIGHT (Lisa Cholodenko) An eccentric, perfect comedy about love, betrayal and cross-generational confusion.
5. 《孩子們都很好》 （麗莎·查羅登科（Lisa Cholodenko））有關(guān)愛、背叛以及兩代人困惑的一出古怪、完美的喜劇。
6. GREENBERG (Noah Baumbach) A deliberately imperfect comedy about an eccentric fleeing from love, running from betrayal and wallowing in cross-generational confusion.
6. 《愛上草食男》 （諾亞·鮑姆巴赫（Noah Baumbach）） 有關(guān)偏離愛的軸心、逃避背叛以及在兩代人困惑中折騰的一部深思熟慮的不完美喜劇。
7. 127 HOURS (Danny Boyle) It's all fun until someone loses an arm. And then, strangely enough, it's even more fun.
7. 《127小時(shí)》 （丹尼·博伊爾（Danny Boyle）） 它帶給我們的只有樂趣，直到某人失去一條手臂。然后，奇怪的是，它甚至變得更有趣了。
8. LAST TRAIN HOME (Lixin Fan) The future of global capitalism, in China and elsewhere: a family tragedy in the form of a documentary, as full of anger, dignity and pathos as a play by Arthur Miller.
8. 《歸途列車》 （范立欣） 全球資本主義的未來，在中國或別的地方：一出紀(jì)錄片形式的家庭悲劇，一如阿瑟·米勒（Arthur Miller）的一部劇作般充滿憤怒、尊嚴(yán)與悲愴。
9. SECRET SUNSHINE (Lee Chang-dong) A family tragedy from South Korea, in the form of a melodramatic crime story. As dense and gripping as a great novel.
9. 《密陽》 （李滄東） 采用戲劇化的犯罪故事形式表述的一起韓國的家庭悲劇。擁有一部偉大小說所具備的那種縝密與扣人心弦。
10. EXIT THROUGH THE GIFT SHOP (Banksy) All of the above. None of the above. Everything and nothing. An elaborate art-world stunt in the form of a documentary. Or vice versa.
10. 《畫廊外的天賦》 （班克斯） 以上皆是。以上皆非。包羅萬象卻又一切皆空，神馬都是浮云。 紀(jì)錄片形式的一場(chǎng)藝術(shù)界制作精良的特技表演。反之亦然。
RUNNERS-UP
亞軍
"And Everything Is Going Fine"
《一切都會(huì)好起來》
"Another Year"
《又一年（Another Year）》
"Black Swan"
《黑天鵝》
"Boxing Gym"
《搏擊健身房》
"The Father of My Children"
《我孩子的父親》
"The Fighter"
《斗士》
"A Film Unfinished"
《未完成的電影》
"Fish Tank"
《魚缸》
"Four Lions"
《四頭獅子》
"The Ghost Writer"
《影子寫手》
"Howl"
《嚎囂（Howl）》
"I Am Love"
《我是愛》
"Let Me In"
《生人勿進(jìn)》（美版）
"Please Give"
《請(qǐng)給予》
"Solitary Man"
《孤獨(dú)的人》
"Tangled"
《長發(fā)公主》
"Tiny Furniture"
《微型家具》
"Vincere"
《征服》
"White Material"
《白色物質(zhì)》
"Winter's Bone"
《冬天的骨頭》
以上是小編收集的2010年度十佳電影排行榜，恭祝大家新年快樂，心想事情！
Pixar Animation Studios/Walt Disney Pictures
皮克斯動(dòng)畫工作室/迪斯尼影片公司
In Lee Unkrich's "Toy Story 3," Woody, Buzz Lightyear and the other toys enter a strange new world when their owner, Andy, grows up and heads off to college.
在李·昂克里奇（Lee Unkrich）的《玩具總動(dòng)員3》中，隨著其主人安迪長大成人、奔赴大學(xué)校園，伍迪、巴斯光年以及其他玩具伙伴進(jìn)入到一個(gè)陌生的新世界。
IN any given year, if you see enough movies — out of habit, ardor or obligation — you will start to notice patterns and clusters. By December the temptation will be nearly overwhelming to generalize from this data, to turn coincidences into trends and trends into matters of world-historical significance. The ad hoc, arbitrary, week-in-week-out sampling of stories and pictures must add up to something, right? Otherwise why bother?
在任何一年里，如果你看過的電影足夠多 — 出于習(xí)慣、狂熱或責(zé)任 — 你都會(huì)開始注意到一些模式與類聚。到了12月，從這一數(shù)據(jù)產(chǎn)生出的誘惑將會(huì)達(dá)到近乎無法抗拒的地步，將巧合變成趨勢(shì)，再將趨勢(shì)變成世界性的歷史重大事件。專題、隨感、周復(fù)一周的電影樣片和圖片，必須得總結(jié)出點(diǎn)什么東西來，是吧？否則的話，何必自取煩惱呢？
One reason you do bother, of course, is precisely to find experiences that defy expectations and break patterns: movies that challenge your assumptions or alter your habits of perception. How often does that happen? Just enough. (At the end of this article you'll find 30 examples — 10 best and 20 runners-up — selected from more than 600 movies reviewed in The New York Times in 2010.)
當(dāng)然，有一個(gè)原因是你需要操心的，那就是一絲不茍地找到出乎意料、打破常規(guī)的體驗(yàn)：那些挑戰(zhàn)你的設(shè)想或改變你習(xí)慣看法的電影。這種事發(fā)生的概率有多大呢？不多不少剛剛好（本文末尾你將會(huì)發(fā)現(xiàn)30個(gè)例子——10部以及20部亞軍影片——它們是從紐約時(shí)報(bào)評(píng)述過的超過600部影片中精挑細(xì)選出來的）。
The ritual of year-end list making is a way of sifting through scattered, memorable moments and forcing them briefly into focus. A handful of movies from 2010 will still be interesting in the future, in which case the date of their first appearance will be little more than the answer to a trivia question. Was it a good year for movies? A great year? Hard to say, and finally, who cares? The movies — good and bad alike — shed a blinking, blurry light on the times, illuminating our collective fears, fantasies and failures of will. An attempt at synthesis can only fail, so in lieu of a comprehensive theory of Cinema Now, I offer a handful of postulates on the Cinematic State of Things. I trust they will stimulate sober discussion and principled argument as well as outright ridicule.
年終盤點(diǎn)清單制作的慣例是排沙撿金，在凌亂和難忘時(shí)刻中把它們篩選出來并讓其成為焦點(diǎn)。有一小部分2010年的電影在未來仍將是很有意思的，在這種情況下，其首次揭幕的日期將不只是一個(gè)小問題的答案那么簡單。今年是電影的好光景嗎？是偉大的一年？很難講，不過到頭來誰會(huì)在乎呢？電影本身，無論好壞，在時(shí)間長河里都流淌出一種閃爍不定、或明或暗的光芒，照射出我們共同的恐懼、幻想與情感的挫折。集大成的企圖只會(huì)以失敗告終，因此我決定放棄當(dāng)代電影的全面理論，取而代之的是一小部分電影事物狀態(tài)的主張。我相信它們一定會(huì)引發(fā)激烈的討論以及原則之爭，還有徹頭徹尾的冷嘲熱諷。
1. We are all figments of Leonardo DiCaprio's imagination. Or Natalie Portman's. Or Mark Zuckerberg's. Or Banksy's. The lines between reality and appearance, reason and madness, truth and fiction have always been blurry, but this was an especially fertile year for dreams, hoaxes and puzzles, many of them playing with fundamental questions of identity. Was Mr. DiCaprio, in "Shutter Island," a duly appointed federal marshal or loony-bin resident? Awake or asleep in "Inception?" Was"Exit Through the Gift Shop" an elaborate conceptual-art prank by Banksy or an exposé of art-world fraud? And what about "Catfish"? Do our real selves live on Facebook? Or just our real friends?
1. 我們都是萊昂納多·迪卡普里奧臆想中的虛構(gòu)人物。 或者是娜塔莉·波特曼的，要不就是馬克·扎克伯格的、班克斯（Banksy）的。存在與表象、理性與瘋狂、真實(shí)與虛構(gòu)的界限一直是模糊不清的，但今年尤其是夢(mèng)境、惡作劇與迷局的富饒之年，他們當(dāng)中許多飾演的角色都與身份認(rèn)同的根本問題有關(guān)?！督]島》中的迪卡普里奧先生究竟是一位經(jīng)正當(dāng)任命的司法官呢，抑或是一位精神病院的居民？《畫廊外的天賦》究竟是班克斯精心構(gòu)造的一部觀念藝術(shù)的惡作劇，還是有關(guān)藝術(shù)世界欺詐的揭露？還有就是 《鯰魚》，我們真正的自我是不是生活在Facebook上？還是說僅僅我們真正的朋友如此？
2. It's all mom's fault. 2010 was a very good year for female directors, and for actresses, but also a bad year for mothers. In the maternal monster category — surely Mo'Nique, who broke the mold in "Precious," should present this award — Melissa Leo from "The Fighter" and Barbara Hershey in "Black Swan" will face stiff competition from the cartoon villainess Mother Gothel (Donna Murphy) in "Tangled" and Jacki Weaver's criminal matriarch in the Australian film"Animal Kingdom."
2. 都是媽媽的錯(cuò)。2010對(duì)于女導(dǎo)演和女演員來說都是非常不錯(cuò)的一年，但也是媽媽們?cè)愀獾囊荒辍Ｔ谀赶倒治镱愲娪爱?dāng)中 —— 毫無疑問，在《珍愛》一片中有突破演出的莫妮克（Mo'Nique）當(dāng)之無愧可獲此殊榮 —— 來自《斗士》的梅麗莎·李?yuàn)W（Melissa Leo）以及《黑天鵝》中的芭芭拉·赫希（Barbara Hershey）則將面臨《長發(fā)公主（魔發(fā)奇緣）》里的卡通女惡棍Gothel媽媽（Mother Gothel，唐娜·墨菲配音）和澳大利亞電影《動(dòng)物王國》中杰姬·維沃爾（Jacki Weaver）的犯罪教主的強(qiáng)勁挑戰(zhàn)。
3. But mom is miserable. There was plenty of maternal suffering to counteract such demonization. Rodrigo García's "Mother and Child" was about nothing else, with Annette Bening, Kerry Washington and Naomi Watts acting out a braided melodrama of longing and loss. But no one suffered as grandly as Tilda Swinton in the operatic "I Am Love," or as pathetically as Paprika Steen in the unsparing "Applause."
3. 但媽媽也是不幸的。 有太多的母性受苦受難，足以抵消這種妖魔化之患。如果沒有安妮特·貝寧（Annette Bening）、 凱麗·華盛頓（Kerry Washington）以及娜奧米·沃茨（Naomi Watts）在這出有關(guān)期盼與失去的錯(cuò)綜復(fù)雜的情節(jié)劇中的傾情演出，羅德里格·加西亞的《母與子》 將一無是處。但若論起痛苦之深，無人能與歌劇式電影《我是愛》中的 蒂爾達(dá)·斯文頓（Tilda Swinton）相比，或若論起哀婉動(dòng)人的程度，則批判性的《情不自禁愛上你（Applause）》中的帕普麗卡·斯汀（Paprika Steen）無人能及。
4. Still, the kids are all right. The daughters in particular. It was a year of brave, tough, adventurous and sometimes reckless girls and young women, including the fearless Rapunzel in "Tangled," who was also a pretty good singer (thanks to the voice of Mandy Moore and the songs of Alan Menken), and both Fanning sisters: Dakota in Floria Sigismondi's underrated "Runaways," and Elle in Sofia Coppola's haunting, clear-sighted "Somewhere." Not to mention Jennifer Lawrence's fearless Ozark teenager in "Winter's Bone," Hailee Steinfeld's plucky Old West avenger in "True Grit" and Chlo? Grace Moretz's lonely vampire in "Let Me In." Perhaps the bravest of all was the sullen, chain-smoking Lisbeth Salander, incarnated (in the Swedish film versions of Stieg Larsson's best sellers) by Noomi Rapace.
4. 還好，孩子們都很好。 尤其是女孩。這是女孩和姑娘們的年份，勇敢、堅(jiān)韌、喜歡冒險(xiǎn)，有時(shí)候還有點(diǎn)魯莽，包括《魔發(fā)奇緣》中無畏的長發(fā)公主，她還是一位相當(dāng)出色的歌手（感謝曼迪·摩爾（Mandy Moore）的獻(xiàn)聲以及艾倫·孟肯（Alan Menken）的譜曲），還有范寧（Fanning）姐妹：弗洛莉亞·塞吉斯蒙迪（Floria Sigismondi）被低估的《逃亡樂隊(duì)》中的達(dá)科塔（Dakota），以及索菲亞·科波拉（Sofia Coppola）明眸善睞、令人難以忘懷的《在某處》中的艾麗（Elle）。 更不消說詹妮弗·勞倫斯（Jennifer Lawrence）在《冬天的骨頭》里那大無畏的歐扎克（Ozark）少年，海莉·斯坦菲爾德（Hailee Steinfeld）在《大地驚雷》中扮演的那個(gè)昔日西部勇敢的復(fù)仇者，還有科洛·莫瑞茲（Chlo? Grace Moretz）在《生人勿進(jìn)（Let Me In）》中扮演的孤獨(dú)的吸血鬼。也許她們當(dāng)中最勇敢的一個(gè)當(dāng)屬悶悶不樂、一根接著一根不停地抽煙的思帕·薩蘭德（Lisbeth Salander），由勞米·拉佩斯（Noomi Rapace）飾演（由斯泰格·拉爾森（Stieg Larsson）最暢銷書改編的瑞典電影）。
5. And the kids grow up. Not just Harry Potter. Yes, the general wallowing in male arrested development continued, with the usual comic suspects (Adam Sandler, Will Ferrell, Zach Galifianakis) appearing in the usual puerile comedies (one of them called"Grown Ups"). But at least two films — "Somewhere" and "Greenberg" — took a tough-love attitude toward their immature male protagonists, reckoning the emotional costs of delayed maturity and extended adolescence. (The same might be said of "The Social Network.") And the experience of sending a child off to college, hardly a common theme in movies before now, seems to have become a touchstone. Or at least an official three-film, cross-genre trend, thanks to "Toy Story 3," "The Kids Are All Right" and "The Kids Grow Up": a cartoon, a comedy and a documentary. (Meanwhile the drift and ambivalence of the mid- and post-collegiate young was minutely captured in "The Exploding Girl" and "Tiny Furniture.")
5. 還有，孩子們已長大成人。 不僅僅是《哈里·波特》。 是的，司空見慣、沉湎于男孩發(fā)育遲滯的老套情節(jié)仍在繼續(xù)上演，一如既往的漫畫人物嫌犯 （亞當(dāng)·桑德勒（Adam Sandler）、威爾·法瑞爾（Will Ferrell）、扎克·加利費(fèi)安納基斯（Zach Galifianakis））出現(xiàn)在稀松平常的幼稚喜劇上（其中一部就叫做《長大成人》）。但至少有兩部影片 — 《在某處》以及 《愛上草食男（Greenberg）》 — 對(duì)于其不成熟的男主人公采取了強(qiáng)硬的愛情態(tài)度，為其被耽擱的成熟以及延長的青春期付出了感情上的代價(jià)（可以說《社交網(wǎng)絡(luò)》一片亦是如此）。而將孩子送去大學(xué)的經(jīng)歷，這個(gè)在過去幾乎難以成為電影的常見主題的橋段，似乎已經(jīng)成為了一塊試金石。要不起碼來一部跨流派潮流的官方三部曲電影，感謝 《玩具總動(dòng)員3》、 《孩子們都很好》，還有《長大成人》：一部卡通片、一部喜劇片，還有一部紀(jì)錄片（與此同時(shí)，反映年輕人大學(xué)與畢業(yè)后飄忽不定、充滿矛盾的生活的點(diǎn)點(diǎn)滴滴都記載進(jìn)了《暴烈女孩》 以及《微型家具》中）。
6. Superheroes take a break. Yes, there was "Iron Man 2," but even that offered a respite from the glowering, pretentious action allegories that have dominated screens for most of the past decade. The battle between good and evil rages on in some quarters, but mostly in self-conscious, self-parodic form. In the strangely similar animated kiddie comedies "Despicable Me" and "Megamind" the heroes and villains are self-conscious role players, and the villains are actually nice as well as more interesting than their occasional square-jawed nemeses. This may reflect genre exhaustion (though another round of superhero blockbusters is already on the horizon), or a measure of real-world cynicism. The investigative documentaries that proliferated this year ("Inside Job," "Client 9," "Casino Jack and "The United States of Money") suggest that corruption and criminality exist virtually beyond the reach of justice.
6. 超級(jí)英雄歇歇吧。是，我們有 《鋼鐵俠2》，但是就算是這一部，也已從過去10年間統(tǒng)治了大部分銀幕的那些怒目而視、自命不凡的動(dòng)作寓言中抽身出來，喘上一口氣。在某些領(lǐng)域，正邪之爭愈演愈烈，但是大多數(shù)都呈現(xiàn)出自覺、自我戲擬的形式。在類似奇怪的兒童動(dòng)畫喜劇《卑鄙的我》和《超級(jí)大壞蛋（Megamind）》中，英雄和惡棍都是具有自我意識(shí)的角色演員，而且惡棍實(shí)際上都很棒，相對(duì)于其偶露崢嶸的寬下巴復(fù)仇者形象要來得有趣得多。這可能反映出舊風(fēng)格氣數(shù)已盡（盡管另一輪的超級(jí)英雄大片已然浮出水面），或者是成為衡量現(xiàn)實(shí)世界玩世不恭態(tài)度的一種尺度。今年調(diào)查型紀(jì)錄片的蔓延（《監(jiān)守自盜》、《9號(hào)客人》、《杰克老大和美國金錢》）表明，腐敗和犯罪事實(shí)上已經(jīng)超出了正義力所能及的范圍。
7. The Bush era is not over. "Green Zone," "Fair Game," "Casino Jack" (both the documentary version and the Kevin Spacey comeback vehicle), "Inside Job," "Client 9," "The Ghost Writer." So many scores left to settle.
7. 布什時(shí)代尚未終結(jié)。 《綠區(qū)》、 《公平游戲（Fair Game）》、《政客杰克》（紀(jì)錄片版和凱文·斯派西（Kevin Spacey）的復(fù)出之作 ）、《監(jiān)守自盜》、《9號(hào)客人》、 《影子寫手》。這堆爛攤子有太多的事情有待解決。
8. But can't the '90s come back, or the '80s, or some era more appealing than the one we're in? "Love and Other Drugs," "Greenberg," "Hot Tub Time Machine," "The Runaways," "Howl," any music documentary you can name.
8. 但是上世紀(jì)九十年代、或者說八十年代、或者說那些比我們現(xiàn)在所處的年代更好的時(shí)代難道就不能回歸嗎？ 《愛情與靈藥》、《愛上草食男》、 《熱澡盆時(shí)光機(jī)》、 《逃亡樂隊(duì)》、 《嚎囂（Howl）》，還有任何你叫得出名字的音樂紀(jì)錄片。
9. Only a great director can make a great movie, but a good actor can make a bad or mediocre or not-quite-great movie much better. For instance: Helen Mirren in "The Tempest," Ms. Mirren in "RED," Paul Giamatti in "Barney's Version," Mr. Spacey in "Casino Jack," Anne Hathaway and Jake Gyllenhaal in "Love and Other Drugs," Javier Bardem in "Biutiful," everyone in "True Grit," Vanessa Redgrave in "Letters to Juliet," Liam Neeson in anything he was in, Rachel McAdams in "Morning Glory,"Anthony Mackie in "Night Catches Us."
9. 只有偉大的導(dǎo)演能制作得出偉大的電影，但是一名好演員能讓一部糟糕的或者是平庸的或者是不那么偉大的電影更加出彩。 比如說：《暴風(fēng)雨》中的海倫·米倫（Helen Mirren），《超危險(xiǎn)特工（RED）》中的米倫（Mirren）女士，《巴尼的版本》中的保羅·吉亞馬提（Paul Giamatti）先生 ，《政客杰克》中的斯派西（Spacey）先生，《愛情與靈藥》中的 安妮·海瑟薇（Anne Hathaway）以及杰克·吉倫希爾（Jake Gyllenhaal），《美錯(cuò)（Biutiful）》中的 賈維爾·巴登（Javier Bardem），《大地驚雷》里面的所有人，《給朱麗葉的信》中的凡妮莎·蕾格列芙（Vanessa Redgrave），在自己出演的任何影片中的連姆·尼森（Liam Neeson），《早間主播（Morning Glory）》中的 瑞秋·麥克亞當(dāng)斯（Rachel McAdams） ，《夜晚吞噬了我們》中的 安東尼·馬奇（Anthony Mackie）。
10. The discussion of movies is frequently more interesting than the movies themselves. It was more fun to read the impassioned, geeky arguments about"Inception" than to endure a second viewing of that film. Early arguments about the accuracy of "The Social Network" and whether that even mattered gave way to a series of reviews, essays and debates about Facebook, digital entrepreneurship, friendship, business, meritocracy and the Ivy League far richer and more relevant to contemporary life thanAaron Sorkin's glib script or David Fincher's elegant atmospherics. And as intellectually lazy and emotionally manipulative as it was, Davis Guggenheim's "Waiting for Superman" nonetheless focused serious polemical attention on the problems facing American education.
10. 討論電影往往比電影本身更有趣。 讀一讀有關(guān)《盜夢(mèng)空間》的那些慷慨激昂、極客化的爭執(zhí)要比耐住性子再看一遍該片更有樂趣。早期有關(guān)《社交網(wǎng)絡(luò)》的精確性乃至于其是否無關(guān)緊要的爭論都無關(guān)緊要了，這些都得讓位于有關(guān)Facebook、企業(yè)家精神、友誼、商業(yè)、精英統(tǒng)治，以及常青藤聯(lián)盟的一系列評(píng)論、短評(píng)與辯論文章，對(duì)于當(dāng)代生活來說，與阿倫·索爾金（Aaron Sorkin）伶牙俐齒的劇本或者大衛(wèi)·芬奇（David Fincher）的優(yōu)雅氣氛相比，這些文章要更為有骨有肉、更具相關(guān)性。不做思考，控制感情，戴維斯·古根海姆（Davis Guggenheim）的紀(jì)錄片《等待超人》 雖仍一如既往，但其關(guān)注重點(diǎn)已經(jīng)放在極富爭議的美國教育所面臨的問題上了。
The 10 Best Movies of 2010
2010年電影十佳
1. INSIDE JOB (Charles Ferguson) The crisis of finance capitalism as a great crime story.
1. 《監(jiān)守自盜》 （查爾斯·弗格森（Charles Ferguson））一部將資本主義金融危機(jī)當(dāng)做一個(gè)偉大的犯罪故事來講的電影。
2. TOY STORY 3 (Lee Unkrich) The triumph of consumer capitalism as an epic love story.
2. 《玩具總動(dòng)員3》 （李·昂克里奇） 一部將消費(fèi)資本主義勝利當(dāng)做一場(chǎng)史詩愛情故事來講的電影。
3. CARLOS (Olivier Assayas) The failure of global revolution as farce, melodrama, erotic thriller and music video.
3. 《卡洛斯》 (奧利維耶·阿薩耶斯（Olivier Assayas）） 把全球革命的失敗當(dāng)做鬧劇、情節(jié)劇、色情驚悚片以及音樂錄影帶來演的電源。
4. SOMEWHERE (Sofia Coppola) An eccentric, perfect poem about fame, loneliness and cross-generational need.
4. 《在某處》 （索菲亞·科波拉（Sofia Coppola）） 有關(guān)聲譽(yù)、孤獨(dú)以及兩代人需求的一首古怪、完美的詩篇。
5. THE KIDS ARE ALL RIGHT (Lisa Cholodenko) An eccentric, perfect comedy about love, betrayal and cross-generational confusion.
5. 《孩子們都很好》 （麗莎·查羅登科（Lisa Cholodenko））有關(guān)愛、背叛以及兩代人困惑的一出古怪、完美的喜劇。
6. GREENBERG (Noah Baumbach) A deliberately imperfect comedy about an eccentric fleeing from love, running from betrayal and wallowing in cross-generational confusion.
6. 《愛上草食男》 （諾亞·鮑姆巴赫（Noah Baumbach）） 有關(guān)偏離愛的軸心、逃避背叛以及在兩代人困惑中折騰的一部深思熟慮的不完美喜劇。
7. 127 HOURS (Danny Boyle) It's all fun until someone loses an arm. And then, strangely enough, it's even more fun.
7. 《127小時(shí)》 （丹尼·博伊爾（Danny Boyle）） 它帶給我們的只有樂趣，直到某人失去一條手臂。然后，奇怪的是，它甚至變得更有趣了。
8. LAST TRAIN HOME (Lixin Fan) The future of global capitalism, in China and elsewhere: a family tragedy in the form of a documentary, as full of anger, dignity and pathos as a play by Arthur Miller.
8. 《歸途列車》 （范立欣） 全球資本主義的未來，在中國或別的地方：一出紀(jì)錄片形式的家庭悲劇，一如阿瑟·米勒（Arthur Miller）的一部劇作般充滿憤怒、尊嚴(yán)與悲愴。
9. SECRET SUNSHINE (Lee Chang-dong) A family tragedy from South Korea, in the form of a melodramatic crime story. As dense and gripping as a great novel.
9. 《密陽》 （李滄東） 采用戲劇化的犯罪故事形式表述的一起韓國的家庭悲劇。擁有一部偉大小說所具備的那種縝密與扣人心弦。
10. EXIT THROUGH THE GIFT SHOP (Banksy) All of the above. None of the above. Everything and nothing. An elaborate art-world stunt in the form of a documentary. Or vice versa.
10. 《畫廊外的天賦》 （班克斯） 以上皆是。以上皆非。包羅萬象卻又一切皆空，神馬都是浮云。 紀(jì)錄片形式的一場(chǎng)藝術(shù)界制作精良的特技表演。反之亦然。
RUNNERS-UP
亞軍
"And Everything Is Going Fine"
《一切都會(huì)好起來》
"Another Year"
《又一年（Another Year）》
"Black Swan"
《黑天鵝》
"Boxing Gym"
《搏擊健身房》
"The Father of My Children"
《我孩子的父親》
"The Fighter"
《斗士》
"A Film Unfinished"
《未完成的電影》
"Fish Tank"
《魚缸》
"Four Lions"
《四頭獅子》
"The Ghost Writer"
《影子寫手》
"Howl"
《嚎囂（Howl）》
"I Am Love"
《我是愛》
"Let Me In"
《生人勿進(jìn)》（美版）
"Please Give"
《請(qǐng)給予》
"Solitary Man"
《孤獨(dú)的人》
"Tangled"
《長發(fā)公主》
"Tiny Furniture"
《微型家具》
"Vincere"
《征服》
"White Material"
《白色物質(zhì)》
"Winter's Bone"
《冬天的骨頭》
以上是小編收集的2010年度十佳電影排行榜，恭祝大家新年快樂，心想事情！