......不日(may be)上映......

橙色力量

A Thriller That Thinks

George Clooney plays a CIA agent caught in a tangled web of West and East, oil and Allah

Successful movie are, it's said, the ones whose story and appeal can be expressed in a single sentence. To summarize Syriana, writer-director Stephen Gaghan's drama about petro-politics, you would need a book the size of The 9/11 Commission Report. Hopscotching across the globe, packing enough plots for half a dozen thrillers, refusing easy judgments of its characters, the film has a worldview that is mature, synoptic, careworn--light-years from the standard Hollywood movie. The closest we can get to pegging Syriana in a phrase: it's smart.

Gaghan wrote the script for Traffic, whose three complex story lines director Steven Soderbergh helpfully tinted in different colors. Nothing like that in Syriana. It zigzags from the Middle East to Europe to the U.S. as if to test both your patience and your eye-brain coordination. Yet the film does see the world in three colors: black, for the oil that brings out man's cunning and killer instinct; gray, for the shades of honor and self-interest by which the main players try to define themselves; and red, for the blood spilled in Allah's and oil's names.

In its most reductive form, Syriana is about a businessman (Matt Damon) mixed up with oil sheiks, a poor Pakistani (Mazhar Munir) desperate to give meaning to his life and death, a CIA agent (George Clooney) on the trail of terrorists and a very big oil deal.

This is Clooney doing a De Niro, growing a beard and cocooning himself in flab. The actor must want to prove that his star quality is more than just Cary Grant looks and a stud's sly aplomb. It is. Here he seduces the viewer into looking closer, to catch the eye glint of skeptical intelligence, the interior burden that a samurai for the CIA bears with weary grace, and for reasons he may have forgotten or never known.

Syriana is one of three new films, all meaty and intelligent, told in part from the view of a suicide bomber. Hany Abu-Assad's gnarly, poignant Paradise Now is set on the West Bank; Joseph Castelo's knockout nail biter The War Within takes place in New York City. But both have the monomania of an Islamic jihadist and the momentum of a Hitchcock movie about a bomb on a bus. Their simple narratives are the fuse that inexorably leads to the big blast. Syriana also ends with an explosion, but its journey there is through a labyrinth.

Gaghan relies on Clooney's agnostic heroism to lure viewers into his maze. When they get there, they will find not a conventionally satisfying movie but a kind of illustrated journalism: an engrossing, insider's tour of the world's hottest spots, grandest schemes and most dangerous men.

From the Nov. 28, 2005 issue of TIME magazine

http://www.time.com/time/magazine/article/0,9171,1132826,00.html

"So, You Ever Kill Anybody?"

On an epic research trip, filmmaker Stephen Gaghan asked an ex--CIA officer, gunrunners and Saudi sheiks all sorts of questions. He turned their answers into his thriller Syriana
By JOSH TYRANGIEL/LOS ANGELES

Very few screenwriters get kidnapped. In Hollywood, where most of them live and work, they're considered low-value targets. But moments after arriving in Beirut in 2002, Stephen Gaghan, the Oscar-winning writer of Traffic, found himself in what seemed to be a hostage situation. His cell phone rang, and the voice on the other end said, " I've got something really special you can do, but you have to do it right now and I can't tell you what it is." Gaghan walked out of the airport and got into a car with a stranger. As they drove, he was stripped of his backpack, pens and belt, and was blindfolded, hooded...

http://www.time.com/time/archive/preview/0,10987,1129565,00.html

http://www.imdb.com/title/tt0365737/

http://en.wikipedia.org/wiki/Robert_Baer

Edited extract from See No Evil: The True Story Of A Ground Soldier In The CIA's War Against Terrorism, by Robert Baer

http://books.guardian.co.uk/extracts/story/0,6761,631433,00.html

http://books.guardian.co.uk/extracts/story/0,6761,631434,00.html

期待！

[ Last edited by 橙色力量 on 24-11-2005 at 03:30 PM ]

FlyingDonkey

Traffic 個編劇做導演

另外一套 Crash?

食脾細路

我期待呢一部多D
而我深信呢部上ge機會都會大d


http://www.imdb.com/title/tt0434409/

橙色力量

每年12月都是荷李活最重要的檔期，一來要趕搭奧斯卡尾班車——趕及12月31日前上映才有資格角逐來年3月舉行的奧斯卡頒獎禮，於是大片好片都紛紛出籠 ﹔二來聖誕和元旦假期是全年最賺錢的檔期。兩大因素影響下，電影公司都會安排最有質素、最有票房把握的電影，在12月上映，以爭天下。

《魔戒三部曲》幕後班底製作

今年荷李活最矚目的壓軸電影，是花掉2億美元天文數字攝製的《King Kong》（金剛）。《金剛》原版本於1933年上映，當時的特技製作震驚世界，大猩猩金剛爬上紐約帝國大廈一幕，成了永遠的經典場面。影片於1973年重拍，今次已是二度重拍了。也由於一拍再拍，當《魔戒三部曲》導演彼得積遜披露這個決定時，引來不少網民熱烈評論，大潑冷水。彼得積遜構思重拍《金剛》已經醞釀十年，今天身為荷李活最有權勢的導演和監製，電影公司對他的所有構思都會大開綠燈。當然，也沒有人會懷疑彼得積遜重拍的水準。

《金剛》將於12月14日在美國上映，有趣的是發行商全部退避三舍，沒有電影敢打對台硬碰，同時上映的只有一部由湯美李鐘斯親自執導的獨立電影，戲種完全不同。其他有質素的電影，若不是提早在12月首星期上映，便是押後在12下旬上映，避開《金剛》上映的首兩周。

電影的宣傳片已經在各大戲院中播放，大量戲照亦陸續曝光。距離正式上畫還有一個月，但同名的電腦遊戲已經趕推出，近日受到電玩狂迷追捧。電影中女主角Naomi Watts親自替遊戲配音，實行真人發聲，務求玩家身歷其境。

女主角Naomi Watts曾參演《七夜冤靈》，男主角則是《鋼琴戰曲》的金像影帝Adrien Brody，由《魔戒三部曲》創作班底編劇。故事主線忠於原版本，但在金剛居住的神秘小島上，加插了不少恐龍異獸出沒，成為一個足有一百年未有人發現的史前世界。一群攝製隊來到小島尋找傳說中的巨型猩猩王Kong，最後因人類的愚昧，招來猩猩王大鬧紐約的惡果。

《King Kong》小資料

導 演﹕Peter Jackson （彼得積遜）

演 員﹕Naomi Watts, Jack Black, Adrien Brody, Jamie Bell

文﹕荷李活探子

http://hk.news.yahoo.com/051126/12/1j1jf.html

FlyingDonkey

Originally posted by 橙色力量 at 2005-11-27 09:08 PM:
每年12月都是荷李活最重要的檔期，一來要趕搭奧斯卡尾班車——趕及12月31日前上映才有資格角逐來年3月舉行的奧斯卡頒獎禮，於是大片好片都紛紛出籠 ﹔二來聖誕和元旦假期是全年最賺錢的檔期。兩大因素影響下，電影 ...

香港 同 哈利波波 一齊單挑華語眾巨片

哈利波波香港差不多係世界最遲上 祖國都上左

FlyingDonkey

Originally posted by 食脾細路 at 2005-11-26 09:15 AM:
我期待呢一部多D
而我深信呢部上ge機會都會大d


http://www.imdb.com/title/tt0434409/

呢套漫畫改編, 一定上 ga la

古都

點解近排冇人講 oliver twist?

FlyingDonkey

Originally posted by 食脾細路 at 2005-11-26 09:15 AM:
我期待呢一部多D
而我深信呢部上ge機會都會大d


http://www.imdb.com/title/tt0434409/

呢套.. 今年難得奧斯卡片格

FlyingDonkey

Originally posted by 古都 at 2005-11-27 09:40 PM:
點解近排冇人講 oliver twist?

普通作品

波蘭斯基失手作品

古都

Originally posted by FlyingDonkey at 2005-11-27 09:46 PM:

普通作品

波蘭斯基失手作品

我冇睇套戲
不過都有睇過下d影評
的確不是太好

橙色力量

BY ROGER EBERT / December 9, 2005

"Syriana" is an endlessly fascinating movie about oil and money, America and China, traders and spies, the Gulf States and Texas, reform and revenge, bribery and betrayal. Its interlocking stories come down to one thing: There is less oil than the world requires, and that will make some people rich and others dead. The movie seems to take sides, but take a step back and look again. It finds all of the players in the oil game corrupt and compromised, and even provides a brilliant speech in defense of corruption, by a Texas oilman (Tim Blake Nelson). This isn't about Left and Right but about Have and Have Not.

The movie begins with one of the Gulf states signing a deal to supply its oil to China. This comes as a strategic defeat for Connex, a Texas-based oil company. At the same time, an obscure oil company named Killen signs a deal to drill for oil in Kazakhstan. Connex announces a merger with Killen, to get its hands on the oil, but the merger inspires a Justice Department investigation, and --

Let's stop right there. The movie's plot is so complex we're not really supposed to follow it, we're supposed to be surrounded by it. Since none of the characters understand the whole picture, why should we? If the movie shook down into good guys and bad guys, we'd be the good guys, of course. Or if it was a critique of American policy, we might be the bad guys. But what if everybody is a bad guy, because good guys don't even suit up to play this game?What if a CIA agent brings about two assassinations and tries to prevent another one, and is never sure precisely whose policies he is really carrying out?

What if -- well, here's a possibility the movie doesn't make explicit, but let me try it out on you. There is a moment when a veteran Washington oil analyst points out that while Kazakhstan has a lot of oil, none of it is where Killen has drilling rights. Yet Killen is undoubtedly shipping oil. Is it possible the Chinese are buying oil in the Gulf, shipping it to Kazakhstan, and selling it to the United States through Killen?

I bring up that possibility because I want to suggest the movie's amoral complexity without spoiling its surprises. "Syriana" is a movie that suggests Congress can hold endless hearings about oil company profits and never discover the answer to anything, because the real story is so labyrinthine that no one -- not oil company executives, not Arab princes, not CIA spies, not traders in Geneva, understands the whole picture.

The movie has a lot of important roles, and uses recognizable actors to help us keep everything straight. Even then, the studio e-mailed critics a helpful guide to the characters. I didn't look at it. Didn't want to. I liked the way I experienced the film: I couldn't explain the story, but I never felt lost in it. I understood who, what, when, where and why, but not how they connected. That was how I wanted to relate to it. It created sympathy for individual characters in their specific situations without dictating what I was supposed to think about the big picture.

Some of the characters I cared about included Robert Barnes (George Clooney), a veteran CIA field agent; Bryan Woodman (Matt Damon), a trader based in Geneva; Jimmy Pope (Chris Cooper), who runs Killen; Dean Whiting (Christopher Plummer), a well-connected Washington lawyer whose firm is hired to handle the political implications of the merger; Bennett Holiday (Jeffrey Wright), assigned by Whiting to do "due diligence" on the deal, by which is meant that diligence which supports the merger; Prince Nasir (Alexander Siddig), who sold the rights to the Chinese; his younger brother Prince Meshal (Akbar Kurtha), who is backed by those who do not want Nasir to inherit the throne, and the mysterious Stan, played by William Hurt as someone who is keeping a secret from the rest of the movie.

Already I regret listing all of these names. You now have little tic-tac-toe designs on your eyeballs. "Syriana" is exciting, fascinating, absorbing, diabolical and really quite brilliant, but I'm afraid it inspires reviews that are not helpful. The more you describe it, the more you miss the point. It is not a linear progression from problem to solution. It is all problem. The audience enjoys the process, not the progress. We're like athletes who get so wrapped up in the game we forget about the score.

A recent blog item coined a term like "hyperlink movie" to describe plots like this. (I would quote the exact term, but irony of ironies, I've lost the link.) The term describes movies in which the characters inhabit separate stories, but we gradually discover how those in one story are connected to those in another. "Syriana" was written and directed by Stephen Gaghan, who won an Oscar for his screenplay for "Traffic," another hyperlink movie. A lot of Altman films like "Nashville" and "Short Cuts" use the technique. Also, recently, "Crash" and "Nine Lives."

In a hyperlink movie the motives of one character may have to be reinterpreted after we meet another one. Consider the Matt Damon character. His family is invited to a party at the luxurious Spanish villa of the Gulf oil sheik whose sons are Nasir and Meshal. At the party, Damon's son dies by accident. The sheik awards Damon's firm a $100 million contract. "How much for my other son?" he asks. This is a brutal line of dialogue and creates a moment trembling with tension. Later, Damon's wife (Amanda Peet) accuses him of trading on the life of his son. Well, he did take the deal. Should he have turned it down because his son died in an accident? What are Damon's real motives, anyway?

I think "Syriana" is a great film. I am unable to make my reasons clear without resorting to meaningless generalizations. Individual scenes have fierce focus and power, but the film's overall drift stands apart from them. It seems to imply that these sorts of scenes occur, and always have and always will. The movie explains the politics of oil by telling us to stop seeking an explanation. Just look at the behavior. In the short run, you can see who wants oil and how they're trying to get it. In the long run, we're out of oil.

http://rogerebert.suntimes.com/a ... VIEWS/51130002/1023

FlyingDonkey

原帖由 橙色力量 於 2005-12-19  12:58 AM 發表
BY ROGER EBERT / December 9, 2005

"Syriana" is an endlessly fascinating movie about oil and money, America and China, traders and spies, the Gulf States and Texas, reform and revenge, ...

呢套, 同史匹堡套慕尼黑 (Munich) 都係臨近奧斯卡/奧斯卡後先上啦

我相信今次新年聖誕咁近, 華語片都幾強, 唔會用呢 D cast 攝期啦

橙色力量

原帖由 FlyingDonkey 於 2005-12-19  01:11 AM 發表

呢套, 同史匹堡套慕尼黑 (Munich) 都係臨近奧斯卡/奧斯卡後先上啦

我相信今次新年聖誕咁近, 華語片都幾強, 唔會用呢 D cast 攝期啦

咁我都唔想用lei攝期......

FlyingDonkey

原帖由 橙色力量 於 2005-12-19  08:40 PM 發表


咁我都唔想用lei攝期......

好難講, Constant Gardener 咪又係攝期......

橙色力量

BY ROGER EBERT / August 19, 2005

Here's a movie that could have had the same title and been a crude sex comedy with contempt for its characters. Instead, "The 40-Year-Old Virgin" is surprisingly insightful, as buddy comedies go, and it has a good heart and a lovable hero. It's not merely that Andy Stitzer rides his bike to work, it's that he signals his turns.

Andy (Steve Carell) is indeed 40 and a virgin, after early defeats in the gender wars turned him into a non-combatant. His strategy for dealing with life is to surround himself with obsessions, including action figures, video games, high-tech equipment, and "collectibles," a word which, like "drinkable," never sounds like a glowing endorsement.

Andy is one of those guys whose life is a workaround. What he doesn't understand, he avoids, finesses or fakes. On the job at the electronics superstore where he works, his fellow employees spend a lot of time talking about women, and he nods as if he speaks the language. Then they rope him into a poker game, the conversation turns to sex, and they look at him strangely when he observes enthusiastically how women's breasts feel like bags of sand.

The buddies are wonderfully cast. David (Paul Rudd) is still hopelessly in love with a woman who has long since outgrown any possible interest in him; Jay (Romany Malco) is a ladies' man who considers himself an irresistible seducer, and Cal (Seth Rogen) is the guy with practical guidance, such as "date drunks" and "never actually say anything to a woman; just ask questions." All these guys have problems of their own, and seem prepared to pass them on to Andy as advice; listen with particular care to the definition of "aftercourse." Also at work is Paula (Jane Lynch), Andy's boss, a tall, striking woman who is definitely not a 40-year-old virgin; after asking him if he's ever heard of just being sex buddies, she promises him, "I'm discreet, and I'll haunt your dreams."

Andy would just as soon stay home and play with his action figures. But his friends consider it a sacred mission to end his 40-year drought. In a singles bar, under their coaching, he separates a tipsy babe from the crowd; his alarm should have gone off when she asks him to blow into the breathalyzer so she can start her car. In a bookstore he asks a cute sales clerk one question after another, which works charmingly until she finds out he has no answers. He goes to one of those dating round-robins where a buzzer goes off and you switch tables, giving the movie an opportunity to assemble a little anthology of pickup cliches.

And then there's Trish (Catherine Keener). She runs a store across the mall, where you can take in your stuff and she'll sell it on eBay. Andy knows right away that he really likes her, but he's paralyzed by shyness and fear, and the way she coaxes him into asking her out is written so well it could be in a more serious movie. Or maybe it is; there's an insight and understanding under the surface of "The 40-Year-Old Virgin" that is subtle, but sincere.

On the surface, the movie assembles a collection of ethnic types as varied as "Crash." It has fun with them, but it likes them, and it's gentle fun that looks for humanity, not cheap laughs. Consider the character who unexpectedly performs a Guatemalan love song, or Andy's neighbors, who like to watch "Survivor" with him, although he has to bring the set. The movie approaches the subject of homosexuality without the usual gay-bashing, in a scene where the guys trade one-liners beginning "I know you're gay because" and their reasons show more insight than prejudice.

But the best reason the movie works is because Steve Carell and Catherine Keener have a rare kind of chemistry that is maybe better described as mutual sympathy. Keener is an actress at the top of her form, and to see her in "Lovely & Amazing" and "The Ballad of Jack and Rose" and then in "Virgin" is to watch an actress who starts every role with a complete understanding of the woman inside. Her task in the plot is to end Andy's virginity, but her challenge is to create a relationship we care about. We do. The character Trish is intuitively understanding, but more importantly, she actually likes this guy. Keener's inspiration is to have Trish see Andy not as a challenge, but as an opportunity.

The movie was directed by Judd Apatow, who produced "Anchorman," and written by Apatow and Carell, the "Daily Show" veteran who first developed the idea of a closeted virgin in a Second City skit. The screenplay is filled with small but perfect one-liners (as when Andy is advised to emulate David Caruso in "Jade". At the end, for no good reason except that it strikes exactly the perfect (if completely unexpected) note, the cast performs a Bollywood version of "Age of Aquarius." By then, they could have done almost anything and I would have been smiling.

http://rogerebert.suntimes.com/a ... VIEWS/50803002/1023

http://tvplex.go.com/buenavista/ ... year_old_virgin.mp3

http://en.wikipedia.org/wiki/The_40_Year_Old_Virgin

http://www.imdb.com/title/tt0405422/

喺飛機上睇到的。

咁很正嘅片，點解香港冇得上！？

睇嚟都係冇機架啦，因為H記有售......

http://www.hmv.com.hk/ch/product/dvd.asp?sku=612041

FlyingDonkey

原帖由 橙色力量 於 2005-12-26  07:10 PM 發表
BY ROGER EBERT / August 19, 2005

Here's a movie that could have had the same title and been a crude sex comedy with contempt for its characters. Instead, "The 40-Year-Old Virgin" is s ...

應該有機會 $20 vcd

不過, Wedding Crasher 竟然有

攝聖誕賀歲期片還有 - Stone Family, Elisabeth Town, Derailed, (好似 藝伎回憶錄), 十分精采

橙色力量

By Dan Williams
JERUSALEM (Reuters) - A pocketful of receipts helped blow the lid off Israel's most notorious intelligence bungle.

It was in 1973, after spies dispatched to Norway killed a waiter mistaken for the Palestinian mastermind of a raid on the previous year's Munich Olympics where 11 Israeli athletes died.

The assassins might have got away, except that one of them was not a trained member of Israel's spy agency Mossad but a Danish-born volunteer brought aboard for his language skills.

Hoping to recoup expenses, he had kept his receipts. Once detained by Norwegian police, he provided a paper trail that led to the capture and prosecution for murder of the rest of team.

So when director Steven Spielberg, in his new film on the post-Munich reprisals, showed a Mossad case officer ordering agents to hoard receipts while in deep cover abroad, eyebrows were raised among veterans of the intelligence service.

"It's an absurd version of the modus operandi," former field agent Gad Shimron said when asked about the thriller "Munich."

"Agents are expected to account for their expenses, but not if it means incurring the risk of discovery. They can just as easily declare their expenses from memory when they return home, and it's accepted on trust," he told Reuters.

That is just one of a list of complaints made about "Munich" by those with direct knowledge of the Israeli reprisal campaign.

Spielberg's version paints a grim picture of what befell five men sent by Israel to track and kill members of the Palestine Liberation Organization (PLO) blamed for the Olympics raid.

The film is based on "Vengeance," a 1984 book purporting to chronicle the confessions of an assassin who broke ranks in protest at Israel's two-fisted tactics. It portrays a hit-team unleashed on Europe and the Middle East with little supervision, torn by self-doubt and on the run from Palestinian gunmen.

Spielberg was careful to add the disclaimer that the film was merely "inspired" by real events, but many Israelis say they are disappointed in the Hollywood director famed for his fastidiously researched Holocaust epic "Schindler's List."  

I think it is a tragedy that a person of the stature of Steven Spielberg, who has made such fantastic films, should have based this film on a book that is a falsehood," said David Kimche, a senior Mossad official in the 1970s.

CHOSEN BY GOLDA?

"Munich" shows the Olympic attack, followed by another established fact: Israel's Prime Minister Golda Meir instructing Mossad to track down and kill the Palestinians held responsible.

In the film, Meir goes further, personally recruiting the hero, Avner, to lead the team. Shimron said this was unheard of.

"I know it's tempting to see Golda as a sort of Zionist version of 'M' from the James Bond films, but she had nothing to do with Mossad personnel," he said.

Spielberg shows a hit-team isolated in the field for months, and including a forger and bomb-maker so it can function alone.

But Mossad veterans say the reprisals, like all top-priority missions, were executed by a large number of agents, in stages.

First, case officers posted abroad were told to look out for Palestinians on the hit-list. Information came from a variety of sources, the most important being paid PLO informers; the Munich raid was carried out by Black September, a PLO splinter group.

Once the targets were found, specialized agents went through elaborate practice runs in Israel to prepare the assassinations.

"We would set up 'models', by choosing areas in Israel that resembled the place where the person in question would be hit. Then we would drill to make sure the mission went without a hitch," said a retired operative on condition of anonymity.

"The hit-teams were assembled and sent out on an ad hoc basis. Everything was in place for them, so they never spent more than a few days -- or, at most, weeks -- in the field. They were monitored and withdrawn as soon as each mission was over."

The assassins in "Munich" are shown as occasionally inept, especially when it comes to planting novel booby-trap bombs.

But Shimron noted that by the 1970s Mossad had perfected this tactic. As for having a forger, Shimron doubted this would be considered for such short-term missions as no forger would be able to produce high-quality documents under such conditions.

Shimron was more damning of the all-male makeup of the team.

"It's standard practice to include female agents in such operations," he said. "Anyone who has been on a stakeout knows that having a lady on hand helps you avoid being spotted."

TOUGH GUYS DON'T DOUBT

Much of the criticism from Israelis in the know focuses on the film's depiction of the moral debates that burden the team.

A former Israeli special forces officer who took part in a Mossad assassination in the 1980s called this fanciful.

"Look, we all did mandatory military service, we all had combat experience, and we all accepted the necessity of hitting out at our enemies. Israel is a country at war," he said.

"So you go, you do the job, and you hope you'll be back in time to eat breakfast with your kids and take them to school."

Shimron said Mossad provides in-house psychologists to help any agents who develop doubts about their work.

"Munich" also shows three assassins being killed. Other accounts do not mention this, although at the time the PLO did strike at Mossad case officers permanently stationed in Europe.

Michael Bar-Zohar, who wrote an authorized history of the operations, said two officers were shot in Madrid and Brussels.

"But as for Black September, it was wiped off the map for months," he told Israel Radio.

Bar-Zohar noted Spielberg shows the hit-team hunting 11 Palestinians, and said this built an overly simplistic moral symmetry with the number of Israeli athletes killed in Munich.

Historians say the final Palestinian death toll may have reached as high as 18. In 1981, Black September mastermind Mohammed Daoud survived a shooting attack at a Warsaw hotel. In 1992, PLO official Atef Bseiso was shot dead in Paris.

Israel neither claimed nor denied responsibility for those operations, but Mossad veterans said that prior to 1993 there was no reason for the post-Munich reprisals to be called off.

That year, Israel and the Palestinians signed an interim peace deal in Oslo, near the site of the botched 1973 hit.

"We decided then that as long as they are not killing us, we would not kill them," said the retired senior operative.

http://today.reuters.com/news/ne ... OOKS.xml&rpc=22

http://en.wikipedia.org/wiki/Mun ... ion_Spring_of_Youth

[ 本帖最後由 橙色力量 於 2005-12-29  12:59 PM 編輯 ]

橙色力量

2006年的第一天，新年伊始，又是派發2005年電影成績表的時候。我們嘗試從五個不同層面的機構、雜誌及影評人選擇之中，放眼世界，找出一張2005 年十大電影名單。名單當中，不少電影其實尚未在香港上映，於是，我們同時亦能從中歸納出一張「06必看電影」名單，其中特別介紹部分獨立之作。

我們分別選出五個不同單位的「05十大電影名單」，包括﹕曾獲美國普立茲評論獎的美國影評人Roger Ebert﹔美國最權威的電影組織美國電影學院（American Film Institute，AFI）﹔兩大具影響力的主流政經雜誌《時代》（Time）及《新聞周刊》（Newsweek）﹔及紐約文化雜誌The Village Voice（村聲）。

雖然都是以美國單位為主，未必能完全反映世界電影形勢，不過名單中，有不少另類選擇，而且不同地區的電影如香港、中國、法國、英國、意大利、阿根廷，甚至泰國，也總算能覆蓋，具一定參考價值。

荷李活電影方面，包括李安(相關新聞 - 網站)的《斷背山》、史提芬史匹堡的《慕尼克》、佐治古尼導演的Good Night, and Good Luck及主演的Syriana，以及Bennett Miller執導的Capote，全都是近期被廣泛談論、視為奧斯卡金像獎的熱門戲。除此之外，我們更可留意以下「06必看電影名單」﹕

A History of Violence暴力示人

加拿大導演大衛哥倫堡（David Cronenberg）的作品向來都以怪示人，玩科幻、玩心理、玩夢境，有時疑幻疑真，有時虛擬真實，不過就從來沒有離開過暴力範疇。A History of Violence故事講一個小鎮內發生了兩宗暴力罪案，本來是模範市民兼顧家好男人Tom，突然被指與事件有關，於是揭開了他不為人知的暴力歷史。影片被形容是大衛哥倫堡個人作品一階段式的總結。

Hidden橫掃歐洲電影大獎

德國導演米高漢尼基（Michael Hanake）的作品，由1997年的《你玩得起，你玩唔起》建立了強烈的個人暴力風格，既殘酷又陰冷，及後再改編諾貝爾文學獎得主情色小說《鋼琴教師》（2001）震動影壇，03年的《暴狼時刻》辣手撕破人性醜惡，新作Hidden（又名Cache）在去年奪康城影展最佳導演及橫掃歐洲電影大獎。故事講一對夫婦被連串的錄影帶所恐嚇，警方又拒絕插手，造成強大心理壓力。

The White Diamond深入熱帶雨林

過氣德國大導華納荷索（Werner Herzog），近年少拍劇情片，01年的《納粹製造》未有帶來口碑，似逐漸被遺忘。不過，他深入不毛之地，拍攝人類地球奇景的意志並未磨滅，去年兩部紀錄片又再一次成功攫取世人目光。The White Diamond以高清攝影機拍攝，坐在飛船之上，來一次深入熱帶雨林之旅，尋找地球上並未被開發的角落。而Grizzly Man則由他親自寫劇本，遠赴阿拉斯卡，記錄一個保護大灰熊不遺餘力的活躍分子被暗殺的事實。

The New World千錘百鍊

美國大導演泰倫斯馬力（Terrence Malick）從影36年只拍過5部電影，每部都被視為經典，前作《狂林戰曲》（1998）被喻為最具詩意的戰爭電影，事隔7年這麼快，就有新作The New World面世。影片大堆頭大製作，回到17世紀，是一場面向世界、尋找新大陸的歷險。劇本早在70年代寫好，延到2005年才有機會拍成上映，真是千錘百鍊。

Kings and Queen法國電影精巧

04年威尼斯電影節競賽作品，法國導演Arnaud Desplechin自編自導之作，兩段故事平衡發展，一個單親媽媽忙於照顧臥病父親，心力交瘁﹔另一方面，一個天才音樂家又因精神問題而要逃離。兩段故事隨意剪接，但兩個人物又巧遇過來，風格獨特，情節有趣，盡現法國電影的精巧。

Yes富莎士比亞劇味

英國電影Yes是《哭泣的戀人》導演莎莉波特（Sally Potter）新作，被形容有點莎士比亞劇的味道，講一個愛爾蘭貴婦，跟從事政治的丈夫貌合神離，於是跟中東籍的餐廳侍應眉來眼去，最終搞上，二人盡情享愛箇中性愛。女主角鍾亞倫（Joan Allen）表現令人讚賞，獲西雅圖電影節最佳女主角。

Crash 及 The Squid and the Whale

這一部Crash跟大衛哥倫堡的《慾望號快車》無關，而是美國電視導演Paul Haggis完成《擊情》劇本後，第一部自編自導電影，故事關於種族及宗教信仰的迷殺，多線人物發展緊扣在一起，互相撞擊，人性盡現。影片去年5月無聲無息開畫，竟奇蹟地愈映愈旺。另外The Squid and the Whale，是美國獨立導演Noah Baumbach把自己與弟弟成長的感人故事帶到大銀幕，80年代成長於美國布魯克林區的他，與弟弟相依為命，面對父母異離。獲辛丹士電影節最佳導演及三項金球獎提名。

文﹕周渝

策劃﹕林震宇

編輯﹕鄭綺雯

http://hk.news.yahoo.com/051231/12/1k0rx.html

05十大電影名單

Village Voice票選

1. A History of Violence（大衛哥倫堡）

2. 2046（王家衛）

3. Kings and Queens（Arnaud Desplechin）

4. Grizzly Man（華納荷索）

5. 世界（賈樟柯）

6. Tropical Malady（韋拉斯花古）

7. The Squid and the Whale（Noah Baumbach）

8. Hidden（米高漢尼基）

9. The Holy Girl（Lucrecia Martel）

10. Last Days（吉士雲遜）

影評人Roger Ebert

1. Crash（Paul Haggis）

2. Syriana（Stephen Gaghan）

3. 慕尼克（史提芬史匹堡）

4. Junebug（Phil Morrison）

5. 斷背山（李安(相關新聞 - 網站)）

6. Me and You and Everyone We Know（Miranda July）

7. Nine Lives（Rodrigo Garcia）

8. KING KONG（彼得積遜）

9. Yes（莎莉波特）

10. 億萬少年（丹尼保爾）

時代雜誌

1. The White Diamond（華納荷索）

2. 夕陽舞曲（英瑪褒曼）

3. 2046（王家衛）

4. The Squid and the Whale（Noah Baumbach）

5. Hidden（米高漢尼基）

6. The New World（泰倫斯馬力）

7. 無國界追兇（費蘭度美拿里斯）

8. 功夫（周星馳(相關新聞 - 網站)）

9. 藝伎回憶錄（洛馬素）

10. 四眼雞丁（馬克甸度）/億萬少年（丹尼保爾）/超級無敵掌門狗之世紀大騙兔（力克柏加）

AFI

1. 斷背山（李安）

2. The 40-year-old Virgin（Judd Apatow）

3. KING KONG（彼得積遜）

4. 慕尼克（史提芬史匹堡）

5. Capote（Bennett Miller）

6. Crash（Paul Haggis）

7. A History of Violence（大衛哥倫堡）

8. The Squid and the Whale（Noah Baumbach）

9. Syriana（Stephen Gaghan）

10. Good Night, and Good Luck（佐治古尼）

新聞周刊

1. Head-on（Fatih Akin）

2. Good Night, and Good Luck（佐治古尼）

3. Kings and Queen（Arnaud Desplechin）

4. 斷背山（李安）

5. 燦爛人生（Marco Tullio Giordana）

6. Capote（Bennett Miller）

7. Hidden（米高漢尼基）

8. 慕尼克（史提芬史匹堡）

9. The Squid and the Whale（Noah Baumbach）

10. A History of Violence（大衛哥倫堡）

http://hk.news.yahoo.com/051231/12/1k0ry.html

FlyingDonkey

A History of Violence 香港未有消息... 不過... Virgo Mortensen+好評, 可能好似 Crying Fist 咁小範圍上... 掛

Crash 連 vcd/dvd 都未有 The 40-year-old Virgin就直接 vcd

Brokeback Mountain... 皇室有海報 lu... 藝伎回憶錄... 賀歲

Syriana, Good Night, and Good Luck 同 Yes....

FlyingDonkey

還有這套... 還在等.... The Child

http://blog.webs-tv.net/tonyblue/article/656189

2005年坎城金棕櫚獎給了比利時達頓兄弟，看完《孩子》，你會覺得那一點都不僥倖，他們真的很厲害！

精準，通常意謂著自信，意謂著信手拈來的技藝純熟。比利時的達頓兄弟第二度獲得坎城金棕櫚獎的《孩子（The Child）》，就是從選材、演出到呈現都極其精準的一部傑作。

這對兄弟拍電影已經拍了三十年，早期專拍紀錄片，拍過六十部以上的紀錄片，最擅長捕捉的就是真實人生的情境細節，改拍劇情片後，每部作品都洋溢著濃郁「即興、隨機」的紀錄片性格，卻讓一切虛構的故事產生出更駭人、也更直接的寫實力道。

初看《孩子》你會驚覺於電影和義大利新寫實主義電影的風貌如此近似，大量的天然外景，青澀但是並不生嫩的年輕演員，在手持攝影機一路跟拍的自然取鏡下，真實地顯現出每一個場景下的自然反應，真實形成了全片最大的魅力，完全看不出做戲的場面調度讓一個虛擬的故事，產生了比真實人生更震撼的力量。

《孩子》一開場就是女主角Sonia帶著剛出生的孩子回家，但是房子已經被男友 Bruno租給別人了。Sonia回頭找到Bruno時，他正替闖空門的同夥把風，Bruno沒有做爸爸的喜悅，他不懂得怎麼抱孩子，也不想抱孩子。 Sonia沒嫌Bruno不務正業，沒嫌他打家劫舍，帶壞別人家小孩，她只是戀著黏著Bruno，也樂於分享Bruno劫掠旁人的金錢和溫飽……

短短五分鐘的兩場開場戲中，男女主角的身份、個性和潛伏危機都已經全部交代清楚了，乾淨俐落到只能以一氣呵成來形容，沒有曖昧不明的空鏡頭，沒有情緒培養的閒逸畫面，看起來活像是隨意在街頭拍攝的畫面，卻完全沒有閃失與錯焦，極其精準地捉下了人物的情貌與情思，極其精準地反應出導演的創作意圖，人物的真情互動直接構成影像和觀眾的訊息交流。

孔子曾以「觀其眸子，人焉廋哉！」來形容他的觀人術，如今我們則可以改用「觀其菲林，人焉廋哉」來形容達頓兄弟的電影。

ＭＴＶ風行的年代，快速閃動的影像節拍刺激了瞳孔和大腦，一切只有消費，而且是瞬間的消費，卻不能在心靈烙下任何深刻的影像。高速氾濫的影像有的是意義虛浮，內容空洞；有的是故做姿態，內容蒼白，然而達頓兄弟的影像卻是緊守著「人」的原則，讓觀眾清楚看到人處於某些特定場景時產生的各種自然反應，鏡頭緊緊貼著人，讓觀眾因為目擊，所以相信；因為相信，所以認同；因為認同，所以悲憫，這麼嚴緊的影像與心理環扣，造就了《孩子》非凡的寫實美學。

坦白說，二十歲的Bruno和十八歲的Sonia其實只是不知天高地厚的一對鴛鴦，只知道歡情做愛，卻沒想過小生命來到他們的世界後，會帶來多大的混亂，電影片名的《孩子》不但直指著剛闖人他們生活的小寶貝，也暗示著這兩位手足無措的Bruno和Sonia根本也還是個孩子，都因為還年輕，手頭緊蹙的Bruno才會想到去變賣孩子換錢，心裡想著反正他們再生一個，偏偏把寶貝孩子當商品的幼稚心思，觸痛了孩子媽的心，開始冷戰，開始報警，開始面對黑社會的剝削，良心發現的Bruno採取所有的自力救濟行為，註定要如熱鍋上的螞蟻，毫無頭緒地四處奔跑卻治絲益棼。

Bruno不會喊疼，不會呼天搶地，有如一隻碰到挫折就轉彎的生存動物，就在你正要罵他冷血可鄙時，卻因為鏡頭隨伺在旁，你清楚看到他想要彌補錯誤，想要挽回愛情，看著他冷汗直冒，苟延殘喘，甚至躲到冰凍的海水裡逃避警方追捕的場景時，觀眾卻突然不再鄙夷他那凡事總是少根筋的魯莽行徑，反而期待他能掙脫垂天而降的命運羅網。

沒有訓誨，卻提示了無盡的生命啟示；沒有哀告，卻掙得了觀眾的同情。達頓兄弟示範的是一套讓你看不出工法，看不到雕琢的場面調度手法，他帶領大家先進入一個詩人楊萬里所寫的「眾山不許一溪奔，攔得溪聲日夜喧」生命困境中，跌撞得滿頭包的Bruno渾身是傷後，卻有「到得前頭山腳盡，堂堂溪水出前村」的豁然開朗。

達頓兄弟曾經說他們拍電影的最高境界就是要在拍片現場中找到生命和自由，看完《孩子》，Bruno和Sonia的悲歡人生歷歷如現，栩栩如生得宛如一部街頭紀錄片；再看他們自在裕如的場面調度和極其精準的鏡位，你更明白了只有這種充滿自信的電影拍攝法，才是衝破傳統戲劇總是虛構的自由動力。