BBC不敵網友聲討，補選9部21世紀最偉大電影
Bridesmaids (2011)
《最爆伴娘團》
It's full of expletives and bodily fluids. It glorifies a vast array of spectacularly questionable life choices, from drunkenness to dangerous driving. It also has spirit, originality, heart, indelibly career-making performances, two Oscar and two Bafta nominations, and, just for a bonus, it passes the Bechdel test with flying colors.
這是一部充滿咒罵和體液的電影。從醉酒到危險駕駛，它美化了大量有疑問的人生選擇。它同樣有精神、獨創性、感情和不可磨滅的職業生涯表演，獲得了兩項奧斯卡獎和兩個Bafta提名，另外，它還出色地通過了Bechdel測試（1. 電影中必須出現至少2名女演員。而且她們必須有名字。2. 這些女演員之間必須有對話。3. 對話主題不能涉及男性。）。
Unfortunately, with its pummeling array of jokes, Bridesmaids suffers the eternal fate of so many stellar comedies — it's routinely dismissed as too enjoyable, too successful, to be ‘great’. Don't ignore it because it makes you laugh — director Paul Feig's 2011 hit deserves as much respect as any somber, wintry, subtitled drama.
不幸的是，由於它大量的玩笑話，《最爆伴娘團》主要的喜劇性遭受了沒完沒了的命運——它通常被認爲太過娛樂化，太成功而不能被稱爲“好電影”。不要因爲它讓你開懷大笑而忽略了它——總監保羅·法伊格在2011年引起的這場軒然大波與其他任何憂鬱、寒冷、次要的戲劇一樣值得尊重。
觀影地址：
《星際穿越》
Interstellar (2014)
星際穿越
I’m a big believer in directorial overreach. Christopher Nolan’s Interstellar is a story about love, unfolding in the vast, lonely emptiness of space. It places a father and daughter in different galaxies just to see how far one person will go to keep a promise.
我是導演穿越的信徒。克里斯托弗·諾蘭的星際穿越是一個有關在廣闊、寂寞而又空曠的宇宙中慢慢展開的愛的故事。它將一對父女放進了不同的星系，只爲了解一個人爲了信守承諾會走多遠。
A terrestrial obsession with human connection (the heart of the film is a scene in which Matthew McConaughey’s cosmic voyager sees twenty-three years of his children’s lives slip away in a matter of minutes) gives Interstellar an unusually soft underbelly, ripe for critical prodding.
由人與人之間羈絆組成的對地面的癡迷（這部影片的中心是馬修·麥康格飾演的宇宙旅行者看到了他孩子23年的人生在幾分鐘內溜走的場景）給予了《星際穿越》不同尋常的軟肋，足夠應對關鍵的刺激。
But, like Steven Spielberg’s AI: Artificial Intelligence, now one of BBC Culture’s greatest films of the 21st Century, I suspect Interstellar will weather the next 15 years of critical scrutiny and find its way onto a future list. Time’s funny that way.
但是，就像斯蒂文·斯皮爾伯格的《人工智能》，這部被當今BBC文化頻道評爲21世紀最好的幾部電影之一，我懷疑《星際穿越》能通過接下來15年的嚴格審查，成爲未來電影的其中一員。到那時一定很有趣。
觀影地址：
《亡命駕駛》
Drive (2011)
亡命駕駛
Drive should have made the Top 100 films of the 21st Century so far as it is beautifully shot and has an amazing soundtrack. It's got a calm and tender anti-hero in Ryan Gosling, and features moments of violence that stay with you long after the credits roll.
《亡命駕駛》由於它精心的拍攝和令人耳目一新的配樂，成爲了21世紀最好的100部電影之一。它有着一位平靜而溫柔的反英雄主義者瑞恩·高斯林，和起主要作用的片頭字幕之後長期陪着你的暴力鏡頭。
觀影地址：_
《十面埋伏》
House of Flying Daggers (2004)
十面埋伏
House of Flying Daggers is the definition of filmic eye candy. It’s an orgy of mesmerising colour and choreography. Two lawmen, Leo and Jin lead pursuit of the Flying Daggers, a rebel group battling the corrupt government during the Tang Dynasty in China.
《十面埋伏》定義了花瓶電影的含義。它是一場迷幻色彩和舞蹈的狂歡。兩名警察，劉德華和金城武主演的《十面埋伏》，講述了一個叛亂組織在中國唐代對抗腐敗政府的故事。
Mei, a stunning blind dancer suspected to be the daughter of the former leader, becomes the focus of their assignment and the object of both their affections. The Echo Game dance is a masterclass in cinematic grace – and the film, like Mei, is a rare beauty.
梅，一名出色的盲人舞者被懷疑是前領導人的女兒，她成爲了他們任務的重點，也成爲了雙方情感寄託的對象。那場回聲遊戲舞蹈有着殿堂級別的電影之美——這部電影，和梅一樣，是難得的美。
觀影地址：
《指環王三部曲》
The Lord of the Rings Trilogy (2001-2003)
指環王三部曲
The Lord of the Rings trilogy is a groundbreaking piece of filmmaking. From the beauty of the score and its breathtaking visual effects, to the perfect casting and extraordinary commitment of Peter Jackson in bringing Tolkien's Middle Earth to life, the films did what was deemed impossible: to bring to the big screen one of the most epic tales ever written. This incredible attention to detail means that The Lord of the Rings will forever remain one of the most perfect movie series of all time.
《指環王三部曲》是一系列開創性的電影。從它得的高分和其驚人的視覺效果，到完美的選角和由彼得·傑克遜出色呈現的托爾金的中土世界，這部電影完成了看似不可能的事：把從未有過的史詩級的故事之一搬上了大熒幕。如此的精益求精說明了指環王永遠都會是最完美的電影系列之一。
第一部：
第二部：
第三部：
《印度往事》
Lagaan (2001)
印度往事
Despite having all the essential elements of an Indian film, like song, dance and melodrama, Lagaan had a particularly extraordinary storyline ¬–and was a risky commercial proposition.
除了含有所有印度電影必要的元素，比如歌曲、舞蹈和情景劇之外，《印度往事》有着尤其出色的故事線——也是一種有風險的商業主張。
Shot with exacting production standards, the film won the hearts of both critics and general audiences alike. It also scored a nomination for best foreign language film at the 2002 Academy Awards, unfortunately losing out to Bosnia-Herzegovina’s No Man's Land.
由嚴格的製作標準拍攝，這部電影俘獲了所有挑剔和普通的觀衆。它同樣被提名爲2002年奧斯卡金像獎最佳外語電影，卻不幸輸給了波斯尼亞和黑塞哥維那的《無主之地》。
The film has also had an unusual legacy –corporate institutions regularly use scenes from the film to give examples of good leadership qualities.
這部電影也同樣是一場不尋常的饋贈——合作機構定期地使用電影裏的場景來舉例說明好的領導力該具有哪些品質。
觀影地址：
《黑鯨》
Blackfish (2013)
黑鯨
Blackfish demonstrates how film can change the way we think. Gabriela Cowperthwaite bravely took on SeaWorld, exposing the way they treated their whales through meticulous research.
《黑鯨》講述了電影如何改變我們的思維方式。蓋貝拉·考珀斯維特勇敢地呈現了聖地亞哥海洋世界，通過細緻的研究展現了他們對待他們的鯨魚的方式。
The film’s far-reaching impact has seen SeaWorld’s share prices plummet, leisure patterns change as customers stopped visiting their parks, and the company ultimately forced to change their cruel practices. All thanks to one film.
這部電影的深遠影響見證了聖地亞哥海洋世界的股價暴跌，隨着遊客停止參觀他們的公園而改變的娛樂方式，這間公司最後也被迫改變了他們殘忍的訓練模式。這一切都歸功於一部電影。
觀影地址：
《珍珠鈕釦》
The Pearl Button (2015)
珍珠鈕釦
It is impossible to do justice to the power of this film. It had the cosmic cinematography of Terence Malick, the dystopian social criticism of Aldous Huxley's Brave New World, and a poetic, detached yet visceral indignation in the face of political barbarity. The film reminded me both of the Argentine film Garage Olimpo or even the literary works of WG Sebald, such as Austerlitz and The Emigrants. It is simply spectacular.
這部電影的力量是無法估量的。它有着泰倫斯•馬利克極廣闊的電影攝影手法，阿道司·赫胥黎的《美麗新世界》的反烏托邦式的社會批評，和麪對政治野蠻時詩意、獨立卻發自內心的憤慨。這部電影讓我想起了阿根廷電影《奧林波車庫》，甚至是澤爾巴德的著作，如《拿破崙光榮史》和《移民》。簡單卻壯觀。
觀影地址：_
《凱文怎麼了》
We Need to Talk about Kevin (2011)
凱文怎麼了
We Need to Talk About Kevin eschews the epistolary format of its source material for more fragmented, sensual storytelling. The result assaults the viewer with a collage of blood-red imagery and sound design that provides the soundtrack for each crack in Tilda Swinton’s deteriorating mind.
爲了更碎片化和感性的故事講述，《凱文怎麼了》避開了來源資料的書信體格式。結局用血紅場景的拼貼和展現出蒂爾達·斯文頓日漸脆弱的心靈每一次垮裂的音效設計，震撼着觀看者。
In a time of Aurora, Sandy Hook, and Orlando, director Lynne Ramsay’s decision to tilt this distinctly into the realm of nightmare feels right. There should be no normal response to the horror Swinton’s demon son (a chilling Ezra Miller) commits.
在奧羅拉、桑迪胡克和奧蘭多的那些日子，總監琳恩·拉姆塞讓它們明顯墜進噩夢領域的決定看來是正確的。面對斯文頓可怕的魔鬼般的兒子（一位駭人的埃茲拉·米勒）是不可能保持冷靜的。
And through Swinton’s peerless performance and Ramsay’s thrilling virtuosity, we become enveloped in a tomb of shell-shocked trauma and paralysing guilt, which serves as an aggressive re-buke to the growing complacency its subject matter has provoked. The dread seeps into your bones and stays there. As it should.
而且通過斯文頓無與倫比的表演和拉姆齊精湛的技巧，我們被極度震驚的創傷墳墓和癱瘓的愧疚感所籠罩，這些都侵略性地激起了日益增長的自滿，主題也已經顯現。恐懼滲透了你的骨頭並停留在了那裏。也理應如此。
觀影地址：_
