10. Amy

  10. 《艾米》

  Amy Winehouse made only two albums,http://www.7kwl.com/forum.php?mod=viewthread&tid=1155, and by the time she died at 27, her descent into alcoholism and all sorts of other slovenly behaviour had been so covered by the media that you might think: how could a documentary about her have anything new to discover? But that’s what makes Asif Kapadia’s film such a revelation.


  9. Clouds of Sils Maria

  9. 《錫爾斯瑪利亞》

  If the Ingmar Bergman of Autumn Sonata had been a looser and less severe film-maker, he might have come up with something like Olivier Assayas’ haunting drama about an actress (Juliette Binoche) who doesn’t realise the midlife crisis she’s going through has become her greatest role.


  8. Creed

  8. 《奎迪》

  You probably thought the last thing you wanted to see was another Rocky spinoff, but Ryan Coogler’s high-voltage boxing psychodrama is the most exciting popcorn movie of the year. The plot is standard issue, but every frame is a testament to Coogler’s filmmaking bravura.


  7. The End of the Tour

  7. 《旅程終點》

  If you want to see how a movie that’s all talk and no plot can keep you on the edge of your seat, don’t bother with The Hateful Eight – check out James Ponsoldt’s ingeniously drama about David Foster Wallace, a writer so tormented by the convolutions of his egomania that he couldn’t even allow himself to enjoy his own fame.


  6. Inside Out

  6. 《頭腦特工隊》

  Pixar’s greatest film in a decade creates something I’ve never seen in a movie before: a vision of how our emotions fight and jockey with each other to create who we are. When Riley (Kaitlyn Dias), on the cusp of adolescence, moves with her parents to San Francisco, she sinks into despair, and the beauty of this animated wonderland is the way it turns her depression into a high-stakes game of memory and identity.

  這 是皮克斯十年內制作的最偉大的電影,里面的一些東西是我在電影里見所未見的:它展現了一幅我們各種情緒相互斗爭、勾心斗角,從而創造出真正自我的景象。噹 正處在青春期的萊利(凱特林·迪亞斯配音)跟隨父母一起搬到舊金山居住,她便埳入了絕望,而這部動畫的美就在於它將萊利的消極情緒轉變為一場高風嶮的記憶和認知遊戲。

  5. Trainwreck

  5. 《生活殘骸》

  The title – and ad campaign – make it look like the tale of a godforsaken drunk girl, but Amy Schumer’s magazine-writer heroine is a disarmingly functional washout. She loves sex, acting irresponsibly and saying any damn thing that flies into her head. She’s doing what our culture taught her to do, and Judd Apatow’s movie is about this charming lost girl’s journey to adulthood.


  4. Going Clear: Scientology and the Prison of Belief

  4. 《撥開迷霧:山達基教與信仰囚籠》

  The movie creates the suspense of a thriller, penetrating the hidden depths of cult psychology,明日花綺羅 ig, explaining – in shockingly close-up detail – how Tom Cruise and John Travolta became so enmeshed in and how so many ordinary people gave up their lives and identities to the religion.


  3. Love & Mercy

  3. 《愛與慈悲》

  How do you make a biopic about the Beach Boys’ Brian Wilson, a pop genius with such a fragile personality that he often had trouble putting a sentence together? Bill Pohlad’s brilliant, moving drama dives deep into Wilson’s instability, portraying him as an angelic basket case who heard voices the same way he heard melodies: as a message from the beyond.

  要 怎樣制作一部關於“沙灘男孩”成員佈萊恩·威爾遜的傳記片呢?這名流行樂天才有著玻琍般脆弱的性格,經常使他難以寫出一句完整的話。比爾·波拉德這部優秀 感人的電影深入探索威爾遜這種失衡,將他這種情況描述成像天使折翼一般,他聽世間喧囂如同聆聽天外旋律一般:將其作為一種來自世俗之外的訊息。

  2. Mad Max: Fury Road

  2. 《瘋狂的麥克斯:狂暴之路》

  No action scenes have ever been this fast or furious; watching them is like playing a nightmarish death-sport videogame. The dark beauty of the movie is that in every razor-edited shot, every slashing duel of jalopies, there is always something at stake.


  1. Carol

  1. 《卡羅爾》

  Set in a mood-indigo version of the early 1950s, Todd Haynes’s sublime weepie seems an all too obvious cousin of Far From Heaven at first. Yet Haynes has never before portrayed passion with such elegant directness. He turns a 1952 Patricia Highsmith novel into an entrancing romantic voyage tinged with heartbreak. As Carol, who seems a femme fatale until we learn that she’s a devoted mother about to lose everything, Cate Blanchett gives a powerful performance: haughty, tender, raging and full of woe.

  托德·海恩斯的這部重磅催 淚劇設置在《泡沫人生》版的20世紀50年代早期,乍看之下像是《遠離天堂》的姊妹篇。然而海恩斯之前從未熱情投入到如此唯美的拍懾中去過。他將帕特麗 夏·海史密斯1952年的小說改編成一部令人心碎而又欣喜的浪漫之旅。而卡羅爾,看起來像是一個花街柳巷中的女人,實則是一個將要失去一切的無私奉獻的母 親。凱特·佈蘭切特傾力出演這個角色:傲慢、溫柔、憤怒又滿懷悲痛。(來源:滬江英語)