8. Creed《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。
可能你想着最不愿看到的是《洛奇》的另一部续集，但瑞恩·库格勒的这部高伏拳击心理剧是今年最令人兴奋的爆米花电影了。故事情节虽然老套，但每个镜头都是库格勒电影制作的大胆尝试。


7.The End of the Tour《旅程终点》
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。
如果你想知道一部只有对话没有情节的电影是如何让人坚持看完的，别费心去看《八恶人》了——瞅瞅詹姆斯·庞索特天赋迥异的剧本吧。该片讲述的是作家大卫·福斯特·华莱士高傲自负，他甚至都不许自己享受自身的盛名。


6.Inside Out《头脑特工队》
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。
这是皮克斯十年内制作的最伟大的电影，里面的一些东西是我在电影里见所未见的：它展现了一幅我们各种情绪相互斗争、勾心斗角，从而创造出真正自我的景象。当正处在青春期的莱利（凯特林·迪亚斯配音）跟随父母一起搬到旧金山居住，她便陷入了绝望，而这部动画的美就在于它将莱利的消极情绪转变为一场高风险的记忆和认知游戏。


5. Trainwreck《生活残骸》
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。
这部片子的标题和广告宣传片使其像是在讲述一个堕落凄凉醉酒女孩物语一般，但是艾米·舒默饰演的杂志作家女主是一个功能性缺失的人。她对性爱充满狂热，肆意滥交，想到啥就说啥。她的行为是我们文化孕育的产物，而贾德·阿帕图的这部电影讲述的正是这个迷失女郎的成人之路。


4. Going Clear： Scientology and the Prison of Belief《拨开迷雾：山达基教与信仰囚笼》
The movie creates the suspense of a thriller， penetrating the hidden depths of cult psychology， 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。
该电影营造了一种惊悚的悬念，这些全都贯穿在剧中人物极端的宗教崇拜心灵深处，用各种超细节特写来解释这种心理——汤姆·克鲁斯和约翰·特拉沃尔塔是怎样沦陷的，那些普通人是怎样为了宗教牺牲自己的生活和身份的。


3.Love & Mercy《爱与慈悲》
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。
要怎样制作一部关于“沙滩男孩”成员布莱恩·威尔逊的传记片呢？这名流行乐天才有着玻璃般脆弱的性格，经常使他难以写出一句完整的话。比尔·波拉德这部优秀感人的电影深入探索威尔逊这种失衡，将他这种情况描述成像天使折翼一般，他听世间喧嚣如同聆听天外旋律一般：将其作为一种来自世俗之外的讯息。


2.Mad Max： Fury Road《疯狂的麦克斯：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。
从未有过如此片般快速而激烈的动作场景；看着这些场景，就像是在玩一场可怕的死亡游戏。这部电影的黑暗美就在于每一场精心制作的场景、每一个空战决斗的场景中，总有什么危如累卵千钧一发。


1.Carol《卡罗尔》
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·海恩斯的这部重磅催泪剧设置在《泡沫人生》版的20世纪50年代早期，乍看之下像是《远离天堂》的姊妹篇。然而海恩斯之前从未热情投入到如此唯美的拍摄中去过。他将帕特丽夏·海史密斯1952年的小说改编成一部令人心碎而又欣喜的浪漫之旅。而卡罗尔，看起来像是一个花街柳巷中的女人，实则是一个将要失去一切的无私奉献的母亲。凯特·布兰切特倾力出演这个角色：傲慢、温柔、愤怒又满怀悲痛。