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Inherent Vice
Inherent Vice
Joaquin Phoenix, Josh Brolin
Directed by Paul Thomas Anderson
December 11, 2014
Joaquin Phoenix and Josh Brolin in 'Inherent Vice.'
Warner Bros
PTA takes on Pynchon in this mammoth adaptation of the author's sprawling SoCal-Seventies noir
Something's a little off in Paul Thomas Anderson's cinematic excursion into the literary wilds of Thomas Pynchon's Inherent Vice. It's tough to pinpoint where the equilibrium goes flooey, mostly because Anderson & the best and most audaciously original filmmaker of his generation & can't compose a dull shot or one that doesn't pulsate with the infinite mathematical possibilities for fucking up that circulate within the human psyche. Inherent Vice is packed with shitfaced hilarity, soulful reveries, stylistic& ingenuity and smashing performances that keep playing back in your head. It may not demand repeat viewings, but it sure as hell rewards them. It's the work of a major talent.
And yet, it's a struggle. If forced to diagnose the problem, I'll have to go with Anderson's understandable, if excessive loyalty to Pynchon, a gnarly genius of a writer whose near-Joycean language defies translation into other forms. The filmmaker takes babysteps into the minefields erected by the hermit author, 77, who rivals J.D. Salinger in reclusiveness. Anderson is not climbing the Pynchon mountain, the Old Testament of cyberpunk that is Gravity's Rainbow. Inherent Vice is regarded as a playful throwaway. It's set in Southern California in 1970 (Anderson's birth year) just as the psychedelic Age of Aquarius with its peace-love-stoned sense of community is being replaced by the decade of Manson, Altamont, Nixon and Me Me Me. Inherent Vice is a film noir laced with pot and shrooms and the sense of lost ideals. And, yeah, lost fun too. It's definitely in Anderson's wheelhouse.
It would be a kick to see Anderson take this material and go it alone. But Pynchon is with him at every turn and right from the start. The setup intros us to our guide, Larry "Doc" Sportello (Joaquin Phoenix), a private eye in a perpetual haze in his beach bungalow. Phoenix, unwashed and unfettered, plays him to the manner born. A visitor wakes Doc. She's his former flame, Shasta Fay Hepworth, played with slinky carnality by Katherine Waterston (daughter of Sam). Like every dame& in the crime fiction of Raymond Chandler and Dashiell Hammett, she needs help. But wait. Before we get the plot moving, we get voiceover. It comes from Doc's ex-assistant, Sortilege (singer-songwriter Joanna Newsom). She has things to tell us about Shasta:
"She came along the alley and up the back steps the way she always used to. Doc hadn't seen her for over a year. Nobody had. Back then it was always sandals, bottom half of a flower-print bikini, faded Country Joe & the Fish T-shirt. Tonight she was all in flatland gear, hair a lot shorter than he remembered, looking just like she swore she'd never look."
It's lovely stuff, &gorgeously rendered by Newsom. But the words are straight from Pynchon, the very first paragraph of his book, and the movie stops to let us hear them. Anderson is tipping his hat to Pynchon, which he will do frequently, but this PTA enthusiast yearns to see him show, not tell. In his six previous films (Hard Eight, , , , , ), Anderson let the stories flow from his own fervid imagination. There Will Be Blood drew on Upton Sinclair's 1927 novel Oil, but barely and not so as you'd recognize it. Inherent Vice plays like a collaboration, a sign of respect to a virtuoso. It's Anderson's first constricted film, the one that never completely breaks free.
And yet, the movie's pleasures are undeniable. The plot, such as it is, kicks in when Shasta persuades Doc to find to find her new love, Mickey Wolfmann (Eric Roberts), a real-estate tycoon whose wife wants him& institutionalized. The search leads through an L.A. turf brimming with the surfers, New-Agers, Nazi bikers, acid heads, tax-dodging dentists and mysterious consortium called the Golden Fang. The mood has the loose, easy feel of 1973's The Long Goodbye, a hypnotic update on Raymond Chandler's private eye Philip Marlowe (Elliot Gould) from Anderson's beloved mentor, Robert Altman. You can barely stop and smell the patchouli& before the inevitable &pileup of characters & a coke-addled dentist (a terrific Martin Short,) with a thing for an underage heiress (Sasha Pieterse), a missing musician (Owen Wilson) with a junkie wife& (Jenna Malone), an assistant D.A. (Reese Witherspoon) who takes Doc to bed, and a lawyer (Benicio Del Toro) who keeps Doc on the go. It's definitely overload, but I still missed the book's Las Vegas interlude. I also missed the period atmosphere since the great cinematographer Robert Elswit is mostly restricted to closeups.
The actors earn the close attention, most of all Josh Brolin, who gives the film a seismic charge as buzz-cut cop Bigfoot Bjornsen, who does extra work on the TV series Adam-12. Not only does Brolin get big laughs, he breaks your heart when he finally opens up to Doc about who he really is.
There you have it. Inherent Vice, brilliantly scored by Jonny Greenwood, is an Anderson head trip, impure jazz with a reverb that can leave you dazed, confused and even annoyed. But at no time do you doubt that you are in the hands of a master.洛杉矶影评人协会奖揭晓 《爱》登顶最佳影片
来源:搜狐娱乐
作者:耷子
《爱》Amour 
  搜狐娱乐讯 2012年美国洛杉矶影评人协会奖(Los Angeles Film Critics Assn)今日凌晨揭晓,由迈克尔-哈内克执导的戛纳金棕榈得主影片《爱》,击败《刺杀本-拉登》《逃离德黑兰》等本土热门电影,摘取最佳影片大奖。保罗-托马斯-安德森则凭借《大师》摘取最佳导演奖。之前呼声奇高的《林肯》,则在本届洛杉矶影评人协会奖中全军覆没。
  美国洛杉矶影评人协会成立于1975年,会员主要来自《综艺》、《好莱坞报道者》、《烂番茄》等各种娱乐媒体的电影评论家,会员已达50多人。与平均年龄为48岁的纽约影评人协会不同,平均年龄为37岁的洛杉矶影评人协会,审美趋向一方面更注重多元化,另一方面又对电影产业,以及电影所辐射的社会影响,有着独到的洞察力。1977年它把最佳影片颁给商业大片《星球大战》,1982年奖赏老斯的《外星人ET》,业已成为一段传世佳话。2008年年初,洛杉矶影协在《贫民窟的百万富翁》的压倒优势中,硬把最佳影片颁给了《机器人瓦利》,再一次试图区别纽约影协的评片风格。除了2010年的《拆弹部队》,洛杉矶影评人协会在之前的15年中,没有一次和奥斯卡结果产生任何交集,2007年颁出的《硫磺岛来信》,已彻底和奥斯卡大势相背离,去年在《艺术家》大热的情况下,他们把最佳影片颁发给了《后人》。历史上,它的最佳影片命中率为23% ,最佳导演命中率为28% 影帝命中率为40% ,影后命中率为32%。因此这份获奖名单只能作为奥斯卡提名的参考。
  最佳影片: 《爱》Amour
  (第二名:《大师》 The Master )
  最佳导演: 保罗-托马斯-安德森Paul Thomas Anderson, 《大师》 The Master
  (第二名: 凯瑟琳-毕格罗Kathryn Bigelow,《刺杀本-拉登》)
  最佳女主角:詹妮弗-劳伦斯 Jennifer Lawrence, 《乌云背后的幸福线》 Silver Linings Playbook
  (第二名: 艾曼纽-丽娃Emmanuelle Riva,《爱》)
  最佳男主角:`乔奎因-菲尼克斯Joaquin Phoenix, 《大师》 The Master
  (第二名: 丹尼斯-拉维特Denis Lavant, 《神圣车行》Holy Motors
  最佳男配角: 达维特-亨利Dwight Henry, 《南国野兽》Beasts of the Southern Wild
  (第二名: 克里斯托弗-瓦尔兹Christof Waltz, 《被解放的迪亚哥》Django Unchained)
  最佳女配角: 艾米-亚当斯Amy Adams, 《大师》 The Master
  (第二名:安妮-海瑟威 Anne Hathaway,《黑暗骑士崛起》The Dark Knight Rises/ 《悲惨世界》 Les Miserables)
  最佳剪辑:《刺杀本-拉登》Zero Dark Thirty
  (第二名:《逃离德黑兰》Argo)
  最佳摄影:《007之大破天幕杀机》Skyfall
  (第二名:《大师》 The Master)
  最佳电影音乐:《南国野兽》Beasts of the Southern Wild
  (第二名:《大师》 The Master)
  最佳电影剧本:《逃离德黑兰》Argo
  (第二名:《乌云背后的幸福线》 Silver Linings Playbook)
  最佳艺术设计:《大师》 The Master
  (第二名:《月升王国》Moonrise Kingdom)
  最佳动画片: 《科学怪狗》Frankenweenie
  (第二名:《美丽的一天》 It&s Such a Beautiful Day)
  最佳纪录片:《守门人》The Gatekeepers
  (第二名:《寻找小糖人》Searching for Sugar Man)
  最佳外语片:《神圣车行》Holy Motors
  文/耷子
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