时报金牌影评人的2014年十大影片之选

I’ll skip the usual laments about the cruel arbitrariness of list making. There were a lot of movies this year — more than 950 reviewed in these pages — and quite a few good ones. Here are 21, a 10 Best list followed by runners-up, arranged alphabetically. It is, as always, a highly personal selection. These are the movies that touched, excited, challenged and haunted me most in 2014.

我通常会抱怨列榜单是一种残忍的专断，不过这次暂且略去。今年出了不少电影(本报影评版评论了950多部影片)，其中不乏佳作。下面是今年的21部佳片，包括10大最佳影片和按字母顺序排列的11部其他佳作，和往常一样，这是非常个人化的选择，是2014年最令我感动和兴奋，让我感觉受到挑战，让我久久难以忘怀的电影。

1. In my 15 years of professional movie reviewing, I can’t think of any film that has affected me the way “Boyhood” did. It is not just that I was moved — I’m frequently moved — but that my critical impulse seemed to collapse, along with my ability to find the boundary between art and life. Some of this is a matter of coincidence. Arriving in the summer that my only son and oldest child graduated from high school and prepared to fly the parental nest, this chronicle of a boy’s life from 6 to 18 would have wrecked me even if it had been more conventional. As it happened, it took a second and a third viewing for me to appreciate the ingenuity of Richard Linklater’s idea and the artistry of his methods.

1.在我15年的职业影评生涯中，还没有一部电影像《少年时代》(Boyhood)这样打动我。我不仅仅是被感动了——我经常被感动——它似乎瓦解了我的批判冲动，让我难以判断艺术与生活之间的界限。这有点像是巧合。今年夏天，我最年长的孩子，也是我唯一的儿子从高中毕业，准备离开父母的庇护，而这部影片按时间顺序记述了一个男孩从六岁到18岁的生活，就算它更平庸一点，也肯定会深深打动我的。就这样，我看了第二次，第三次，去欣赏导演理查德·林克莱特(Richard Linklater)的新颖创意与艺术手段。

Filming the story over 12 years was a bold and brilliant gamble. Mr. Linklater’s discovery of Ellar Coltrane to play the lead role of Mason was serendipitous. Watching his character grow in fairly ordinary circumstances is endlessly intriguing and surprisingly suspenseful. But “Boyhood,” while rigorously faithful to Mason’s perspective, is as much about his world and the people in it as it is about him. The film is a sympathetic critique of manhood and a critical tribute to motherhood (and also a chance to watch Ethan Hawke and Patricia Arquette grapple with the passage of time as no actors before them have). It opens on American life and offers a progress report on our spiritual condition. There are missing pieces, of course, but that’s part of the point. A movie, like an individual’s life, is a singular thing. It can’t be comprehensive; it can only be, as comprehensively as possible, itself.

用12年来拍摄这个故事是一场勇敢而精彩的赌博。林克莱特发现片中饰演主角马森(Mason)的艾拉·柯川(Ellar Coltrane)纯属偶然。他观察着这个角色在相当普通的环境下成长，这非常有趣，而且令人意外地保持了悬念。但《少年时代》严格地从马森的视角出发，既是关于他，也是关于他的世界，以及这个世界里的人们。这部影片是对成人世界充满同情的批评，也是对母爱带有批评性质的致敬(另外在片中还可以看到伊桑· 霍克[Ethan Hawke]和帕特里西亚·阿凯特[Patricia Arquette]以前所未有的方式同时间的流逝做斗争)。它对美国方式开火，呈上了一份美国人精神状态的进度报告。当然，片中也有缺失的环节，但这也是主旨的一部分。一部电影就像一个人的生活一样，是一桩单独的事件。它不能是复杂的，只能是尽可能地复杂，它只能是它自身。