The 10 best films of 2018
A Quiet Place
Co-written and directed by John Krasinski, who also stars with his wife, Emily ‘Mary Poppins’ Blunt, A Quiet Place is an absolutely nerve-racking survivalist horror movie that makes cunning use of its devilish high concept: alien monsters have wiped out most of humanity, but because they are sightless, they hunt their quarry by hearing the sounds they made. What this means is that the hero, the heroine and their children have to speak in sign language and walk with bare feet; even a dropped cup or a loud laugh may result in gruesome, almost instant death. Krasinski takes the B-movie concept C and the threat to the family C seriously. He keeps finding new ways to torture the characters and the viewers, but they all arise logically from the premise and the setting. A Quiet Place has you chuckling at its cleverness while squirming with constant tension.
《寂静之地》由卡拉辛斯基（John Krasinski)合写并导演，并且由他的妻子艾米丽•玛丽•包萍•布朗特(Emily ‘Mary Poppins’ Blunt)出演女主角。这是一部烧脑的生存主义恐怖片，巧妙地运用恐怖题材的高概念电影手法：外星怪物消灭了地球上的大部分人类，但是因为它们没有视觉，只能通过猎物发出的声音来猎杀他们。这意味着片中男女主角和他们的孩子必须用手语交流，光着脚走路。即使是一个杯子掉在地上，或者一声大笑都可能导致可怕的，几乎是瞬间的死亡。克拉辛斯基拍摄这部低预算片子一丝不苟，对片中这个家庭遭遇的危险也认真对待。他不断寻找新的方法来折磨角色和观众，但是情节的发展都符合剧情前提和背景的逻辑。《寂静之地》会让你为剧情的巧妙构思会心微笑，而又为紧张的节奏辗转不安。
From a certain angle, the heroes of Shoplifters are not just shoplifters: they are fraudsters, child abductors, and more besides. But Hirokazu Kore-eda’s Dickensian sociopolitical drama, the winner of the Palme d’Or at this year’s Cannes Film Festival, takes a more sympathetic view. It introduces three generations of a loving family, headed by Osamu (Lily Franky) and Nobuyo (Sakura Ando). Squeezed into a cramped Tokyo bungalow, they supplement their paltry legal earnings with small scams and thefts, and while Kore-eda doesn’t romanticise their crimes, his layered writing and wonderful cast show how gentle and well-meaning the family members are. Eventually, their actions appear necessary, even heroic, and their setbacks will have the most hard-hearted viewer sniffling.
从某种角度来看，电影《小偷家族》中的几个角色不仅仅是小偷，还是诈骗犯、绑架儿童犯和其他一些身份者。今年金棕榈奖得主是枝裕和(Hirokazu Kore-eda) 制作的这部狄更斯式的社会政治戏剧，采取了一个同情的角度来展开。电影讲述的是一个充满爱心的三代人之家，家主为柴田治（中川雅也饰Lily Franky）和信代（安藤樱饰 Sakura Ando）。他们挤在一间狭小的东京平房里，用一些小骗局和小偷小摸来补充微薄的合法收入。是枝裕和没有把他们的犯罪浪漫化，而是通过他多层次的写作和出色的演员阵容表现了这个家庭的成员的温柔善良。于是，他们的行为看起来是合乎情理，甚至颇具英雄气慨，他们的挫败让最铁石心肠的观众也忍不住落泪。
The very definition of two lovers who can’t live with each other but can’t live without each other, Wiktor (Tomasz Kot) and Zula (Joanna Kulig) meet in Poland in the 1950s when Wiktor is recruiting singers and musicians for a government-sponsored folk ensemble. Their passionate affair takes them back and forth across the Iron Curtain, but, as much as fun as they have in the jazz clubs and concert halls along the way, they are never quite content. Pawel Pawlikowski’s follow-up to the Oscar-winning Ida is loosely based on his parents’ memories (“They were both strong, wonderful people,” he has said, “but as a couple they were a never-ending disaster.”) But, more broadly, Cold War is both a shrewd examination of a historical period and a timely commentary on immigrant life. Besides, no other film this year has had such ravishing black-and-white photography or such a range of catchy songs.
既不能在一起又无法分开的两个恋人――维克托（托马斯•科特 饰Tomasz Kot）和祖拉（尤安娜•库里克饰Joanna Kulig）于20世纪五十年代在波兰相遇。当时维克托正在为一个政府资助的民谣合唱团招募歌手和音乐家。他们的激情让他们穿越铁幕，尽管他们一路上在爵士俱乐部和音乐厅玩得很开心，但他们从未感到满足。继奥斯卡获奖影片《艾达》，帕夫利科夫斯基（Pawel Pawlikowski)这部新片描述大致基于其父母的回忆。他说，"他们都是坚强、出色的人， 但作为一对夫妻，他们是一场永无至今的灾难。"但更广泛的说，《冷战》既是对一个历史时期的精确审视，也是对移民生活的及时评论。此外，今年还没有哪部电影拥有如此迷人的黑白摄影作品或者是如此琅琅上口的歌曲。
If Beale Street Could Talk
The story of a young couple (Stephan James, KiKi Layne) torn apart by poverty, police brutality and institutionalised racism, Barry Jenkins’s adaptation of James Baldwin’s novel could well have been an angry polemic. But, actually, If Beale Street Could Talk is a tender ballad in praise of the healing love that comes from romantic partners, family members and friends. “I dig people who love each other,” says Dave Franco’s character. “Black, white, green, purple, doesn’t matter to me.” What is even more miraculous is the impression that Jenkins had only just discovered the medium of film. That is, you can almost believe that he had no preconceptions about chronology or colour or sound, so he had figured out for himself how music and moving pictures could be put together. He has made a dreamy, jazzy film unlike any other.
电影讲述了一对年轻夫妇（史蒂芬•詹姆斯 Steogab Hanes，基基•莱恩 Kiki Layne 饰）被贫穷、警察暴力和制度化的种族主义撕裂的故事，是詹金斯(Barry Jenkins)根据鲍德温(James Baldwin)的同名小说改编。据其内容，詹金斯大可以拍成一部激情的政治抗议电影。 但实际上，他拍摄的《假若比尔街能够讲话》却如同一首温柔的民谣，歌颂恋人、家人和朋友间的相爱治愈了内心的创伤。弗兰科(Dave Franco)饰演的角色说，“我喜欢彼此相爱的人，黑色、白色、绿色、紫色，我都不在乎。” 更不可思议的是，詹金斯给人的印象是，他才刚刚发现了电影这一媒介。也就是说，你几乎可以相信，他对情节叙事、颜色或声音没有先入之见，所以他需要自己努力弄明白如何将音乐和移动的画面结合在一起。他制作了一部与众不同的怀有梦想的、爵士乐风格的电影。
Yorgos Lanthimos specialises in warped visions of contemporary society (Dogtooth, The Lobster, The Killing of a Sacred Deer), so it was hard to picture what he would do with a historical drama about English royalty. The Favourite turns out to be as idiosyncratic as his other films, but none of them has been this funny, sumptuous, or touching. It is set in the early 1700s, when the ailing Queen Anne (Olivia Colman) relies on her best friend Sarah (Rachel Weisz), Duchess of Marlborough, to negotiate with the country’s bickering aristocrats. But when Sarah’s ambitious cousin Abigail (Emma Stone) moves into the palace, the stage is set for a production of All About Eve, except with more sex, vomiting and lobster races. The script by Deborah Davis and Tony McNamara is a banquet of delicious insults; and all three of its stars deserve to be the favourite during awards season.
兰斯莫斯(Yorgos Lanthimos)擅长刻画扭曲的当代社会，如他的电影《狗牙》、《龙虾》、《圣鹿之死》等，所以很难想象他会如何处理一部关于英国皇室的历史剧。《宠儿》和他的其他电影一样古怪，但是他的其他作品都没有这一部如此有趣、豪华或感人。故事发生在18世纪初，当时生病的安妮女王(奥利维亚 • 科尔曼Olivia Colman饰)依靠她最好的朋友、马尔堡公爵夫人莎拉(蕾切尔 • 薇兹Rachel Weisz饰)与国家中争吵不休的贵族们谈判。但是，当莎拉野心勃勃的表妹阿比盖尔(艾玛 • 斯通Emma Stone饰)进到王宫后，这个舞台就像是为一部上世纪五十年代的美人阴谋电影《彗星美人》搭设的，但还有性、呕吐和龙虾赛跑的场景。戴维斯(Deborah Davis)和麦克纳马拉(Tony MacNamara)的剧本是一场美妙的羞辱盛宴，里面的三位明星都应成为颁奖季最受欢迎的宠儿。
Spider-Man: Into the Spider-Verse
It has been a sensational year for superhero films, what with The Black Panther breaking new ground in its portrayal of Africans, and The Avengers: Infinity War crowding dozens of major characters into one movie. But none of them was as special as Spider-Man: Into the Spider-Verse, a psychedelic pop-art masterpiece that mixes digital and hand-painted animation. In its use of split-screens, captions and clashing illustration styles, it is closer to a comic book than most superhero films, but it is also dazzlingly cinematic. And in its use of spider-themed superheroes from multiple alternate realities, it is audaciously postmodern, but it is also, at heart, the tale of a loveable Brooklyn teenager. The creators of Spider-Man, Stan Lee and Steve Ditko, both died in 2018. Spider-Man: Into the Spider-Verse is the perfect monument.
对于超级英雄电影来说，今年是轰动的一年。《黑豹》对非洲人的刻画开辟了新天地，《复仇者联盟3：无限战争》将十几个大角色聚集在一部电影里。 但是这两部片都没有《蜘蛛侠：平行宇宙》那么特别，后者是一部结合了数码和手绘动画的迷幻流行艺术杰作。 在使用分屏、字幕和有冲击感的插图风格方面，《蜘蛛侠：平行宇宙》比大多数超级英雄电影更接近漫画书，但也有炫目的电影感。影片以蜘蛛侠主题，从多重交替现实中塑造多位超级英雄形象，是一种大胆的后现代主义手法，不过说到底，其本质上也是一个可爱的纽约布鲁克林少年的故事。蜘蛛侠的创造者斯坦 • 李(Stan Lee)和史蒂夫 • 迪特科(Steve Ditko)都于2018年去世。这部电影《蜘蛛侠：平行宇宙》是悼念他们的完美纪念碑。
Chloé Zhao’s second film as a writer-director is a contemporary western about a young rodeo rider, Brady Jandreau, who was kicked in the head by a horse. He knows that if he returns to the rodeo, he is risking his life C his best friend’s brain damage is even more severe C but he can’t imagine what else to do. This humane account of his slow recuperation has fascinating things to say about macho peer pressure, Wild West iconography, and people with wide open spaces all around them, but nowhere to go. But what is truly awe-inspiring is the way Zhao stitches together fact and fiction. Make no mistake, The Rider is a well-honed drama, but it derives its power from being based on Jandreau’s own experiences, and most of the people in it are playing versions of themselves. Rarely, if ever, have documentary realism and poetic grandeur been combined so deftly or to such desperately moving effect.
作为编剧兼导演，赵婷(Chloe Zhao)的第二部电影是一部当代西部片，讲述年轻的牛仔竞技骑手詹德鲁(Brady Jandreau)被马踢伤头部的故事。他知道，如果再回到竞技赛场，他是在拿自己的生命冒险，他最好朋友的脑损伤比他还严重，但他不知道自己除了马术竞技表演还能做什么。电影深入人心地描述他缓慢的恢复过程，对身为男子汉所感受的同伴压力，还有狂野的西部肖像，以及那些身处广袤天地却无处可去的人们，都刻画得丝丝入扣，非常打动人。但真正令人敬畏的是赵婷将事实和虚构交融的方式。毫无疑问，《骑士》是一部精心打磨的戏剧，但影片的力量来自于演员詹德鲁自己的亲身经历，剧中的大多数人都在扮演他们现实生活中的自己。 很少有剧情片能把真实人生和诗意的美丽如此巧妙地结合在一起，或者达到如此让人绝望的感人效果。
Leave No Trace
Eight years on from Winter’s Bone, its director and co-writer, Debra Granik, returns in triumph with another mature, uncompromising yet accessible drama, and another insight into the marginalised lives of American outsiders. Ben Foster is utterly believable as a damaged war veteran who lives deep in a forest in a national park; Thomasin McKenzie’s alert performance as his teenage daughter, Tom, is a reminder that it was Granik who gave Jennifer Lawrence her breakthrough lead role. The film is taut and packed with incident, but it is warm and understated, too: a bittersweet coming-of-age story about a loving daughter realising that her father’s means of survival can never be her own. Her big farewell speech goes like this: “Dad. I know you would stay if you could.” There’s nothing more to be said.
距离上一部影片《冬天的骨头》上映已有八年时间，导演兼联合编剧格兰尼克(Debra Granik)以又一部成熟的、制作上毫不妥协，但故事却温馨感人的剧情片凯旋归来。这部电影也是他对生活在美国社会边缘的离群索居者的另一种洞察。 主角本•福斯特（Ben Foster）是住在国家公园森林深处的一个值得信赖的受到战争创伤的老兵。托马辛•麦肯齐（Thomasin McKenzie）饰演了他机灵的十几岁的女儿。托马辛饰演的角色提醒人们，是格兰尼克给了美国知名女演员詹妮佛•劳伦斯（Jennifer Lawrence)在《冬天的骨头》的突破性的主角角色。这部电影虽然充满剧情张力，但其实相当温暖低调，讲述的是是一个可爱的女儿苦乐参半的成长故事。女儿最后意识到她父亲的生存方式永远不可能是她自己的人生道路。 她最后告别父亲是这样说的：“爸爸，我知道如果可以的话，你会留下来的。”除此以外，一切尽在不言之中。
The director and star of La La Land, Damien Chazelle and Ryan Gosling respectively, reunite for a tightly focused biopic of Neil Armstrong, the first person to walk on the moon. The film conveys with battering force just how stressful it was to be a space pioneer in the 1960s, and the bravery that was required to strap yourself into one of the most uncomfortable and dangerous forms of transport ever devised. But Chazelle and his team refuse to turn Armstrong into a gung-ho American hero. To some viewers, his stoicism made him boring, but to others (myself included) Armstrong’s modesty and reserve in the face of immense personal tragedy and professional challenges is heart-wrenching. A melancholy recreation of an ambiguous victory, the film leaves you asking whether the first man on the moon could ever be happy on Earth.
《爱乐之城》的导演和明星沙泽勒（Damien Chazelle)和高斯林（Ryan Gosling)为了一部关注度极高的阿姆斯特朗（Neil Armstrong)的电影传记片而重聚。阿姆斯特朗是第一个登上月球的太空人。这部电影以沉重的力量表达了20世纪60年代作为太空先锋感受的巨大压力，以及将自己捆绑在有史以来最不舒服和危险的传送机械上所需要的勇气。沙泽勒和他的团队拒绝把阿姆斯特朗变成一个高大全的美国英雄。在一些观众看来，阿姆斯特朗的坚忍和克制让他显得乏味，但对其他人(包括我自己)来说，在面对巨大的个人悲剧和职业挑战时，阿姆斯特朗的谦逊和冷静沉默令人为之心碎。 这部电影重现了一场意义模棱两可的胜利，令人伤感的同时也让你不禁发问，第一个登上月球的人在地球上是否是幸福的。
Warwick Thornton’s southern Western is set in Australia in the 1920s. Its hero Sam (Hamilton Morris) is an Aboriginal farm hand who kills his wife’s rapist in self-defence, and then goes on the run through the spectacular primal desert. The chase that follows is artfully edited, with disorientating flashbacks and flashforwards dotted through the action. But every shot and every word has a purpose C in keeping with the Aboriginal characters who are inclined to stay silent while the “whitefellas” (including those played by Sam Neill and Bryan Brown) rant and rave. Taking in the themes of assimilation, slavery, religion, the military, the rule of law, and cinema itself, this scenic saga of frontier justice and injustice is one of the best and most important films ever made about Australia’s history.
沃威克•桑顿（Warwick Thornton)这个南半球的西部故事发生在20世纪20年代的澳大利亚。影片主角山姆(汉密尔顿 • 莫里斯Hamilton Morris饰)是一个原住民农场工人，他出于自卫，杀死了强奸他妻子的强奸犯，然后开始穿越壮观的原始沙漠逃亡。 接下来的追捕戏以艺术化的方式处理，在倒叙和预述之间来来回回的穿插。但是每一个镜头和每一个台词都有其目的，是要与原住民角色特性保持一致，他们往往在“白斐拉”（whitefellas，白人，澳大利亚英文），即山姆 • 尼尔Sam Neil和布莱恩 • 布朗Bryan Brown饰演的角色咆哮和谩骂时保持沉默。以种族同化、奴隶制、宗教、军事、法治和电影本身为主题，这部关于边疆正义和非正义的风景冒险电影是有关澳大利亚历史最好和最重要的电影之一。