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The film critics of The New York Times — Manohla Dargis and A. O. Scott — share their picks for the best movies of the year.
时报影评人曼诺拉·达吉斯(Manohla Dargis)与A·O·斯科特(A. O. Scott)分享他们挑选的年度最佳电影。
8. “Mad Max: Fury Road”(George Miller)
8. 《疯狂的麦克斯4：狂暴之路》，导演：乔治·米勒。
A master class in old-school, super-linear action filmmaking, full of nasty, punk-rock, dystopian Australian humor. Also the best recent eco-feminist-socialist allegory that isn’t a novel by Margaret Atwood. (Read the review)
大师级别的老式、线性的动作电影拍摄，充满污秽、朋克、反乌托邦的澳大利亚式幽默。也是最近除玛格丽特·阿斯特伍德(Margaret Atwood)的小说之外，最好的生态-女权-社会主义作品。
9. “Creed”(Ryan Coogler)
9. 《奎迪》(Creed)，导演：瑞恩·库格勒(Ryan Coogler)。
If any movie can bridge the deep racial, generational and class divides in American life — at least for a couple of hours — it would have to be this revival of the ancient “Rocky” franchise. Sylvester Stallone, shuffling into the wise old trainer role, gives perhaps the loosest, warmest performance of his career. Michael B. Jordan, as Adonis Johnson, Rocky’s protégé (and the illegitimate son of his onetime rival and long-lost friend, Apollo Creed), continues his emergence as one of the vital movie stars of our moment. As for Mr. Coogler, with his second feature as a director he proves himself to be a true contender. (Read the review)
如果有什么电影能够至少在两个小时里，为美国生活中深刻的种族、代际与阶层鸿沟架起桥梁，那可能就是这部古老的《洛基》(Rocky)系列的复活影片。西尔维斯特·史泰龙(Sylvester Stallone)拖着脚步，饰演这个聪明的老教练角色，给出了他演艺生涯中或许是最松弛、最温暖的表演。迈克尔·B·乔丹饰演洛基的被保护人阿多尼斯·约翰逊(Adonis Johnson)，他也是洛基一度的竞争对手和早已丧失的朋友阿波罗·奎迪(Apollo Creed)的私生子，他成了我们这个时代重要的影星。至于库格勒，这是他执导的第二部唱片，证明他是一个真正的斗士。
10. “Results” (Andrew Bujalski)
10. 《结果》(Results)，导演：安德鲁·布西内斯克(Andrew Bujalski)。
“Welcome to Me” (Shira Piven)
《欢迎来到我的世界》(Welcome to Me)，导演：舍拉·皮文(Shira Piven)。
A pair of post-mumblecore comedies about self-realization and its limits. Mr. Bujalski’s is a flawless screwball triangle (with Guy Pearce, Cobie Smulders and Kevin Corrigan as the sides) masquerading as an easygoing hangout with the oddballs of Austin, Tex. Ms. Piven surveys the darker territory of mental illness and daytime television. Thanks to Kristen Wiig’s astounding performance (as a lottery winner named Alice Klieg), “Welcome to Me” is a portrait of an American dreamer that is unsettling and inspiring in equal measure.
这是两部后自语核(post-mumblecore)喜剧，讲述自我认知及其边界的故事。布西内斯克的影片是完美的怪人三角，三条边分别是盖·皮尔斯(Guy Pearce)、寇碧·史莫德斯(Cobie Smulders)和凯文·科利根(Kevin Corrigan)，以德克萨斯州奥斯汀怪人们轻松胡混的伪装出现。皮文的影片探索精神病以及日间电视节目的的黑暗疆域。由于克里斯汀·韦格(Kristen Wiig)的精彩演出（她饰演一个名叫爱丽丝·克里格的彩票得主），《欢迎来到我的世界》成了关于美国梦想者的精彩肖像，既令人不安，也鼓舞人心。
11. “The Black Panthers: Vanguard of the Revolution” (Stanley Nelson)
11. 《黑豹党：革命先锋》(The Black Panthers: Vanguard of the Revolution)，导演：斯坦利?尼尔森(Stanley Nelson)。
“What Happened, Miss Simone?” (Liz Garbus)
《发生什么了，西蒙妮小姐?》(What Happened, Miss Simone?)，导演：利兹·加布斯(Liz Garbus)。
These documentaries use the standard tools — archival footage, talking-head interviews, carefully selected musical cues — to write history in the present tense. In the era of Black Lives Matter, the stories of the Black Panthers and the jazz singer and activist Nina Simone could hardly be more relevant. Mr. Nelson and Ms. Garbus tell them beautifully.
这两部纪录片都使用标准工具——资料影像、人物采访，悉心选择的音乐资料——在目前的紧张局势中书写历史。在“黑人的命也是命”(Black Lives Matter)的时代，关于黑豹党和爵士歌手兼行动分子妮娜·西蒙妮的影片确实意义重大。尼尔逊和贾巴斯精彩地讲述了他们的故事。
12. “The Kindergarten Teacher” (Nadav Lapid)
12. 《教师》，导演：那达夫·拉皮德。
This quiet, intense Israeli film unfolds like a psychological thriller. A poetry-loving teacher discovers that one of her young pupils is a literary prodigy, and takes increasingly extreme measures to protect his gift from an indifferent world. As the story unfolds, it becomes clear that Mr. Lapid is engaged in a stealthy, ferocious critique of a society that has sacrificed its spiritual values and its cultural inheritance on the altar of power and materialism.
这部安静而又激烈的以色列电影最后呈现为一部心理惊悚剧。一个热爱诗歌的教师发现自己的一个年轻学生是文学申通，她采取日益极端的措施，在这个冷漠的世界上保护他的天分。随着故事展开，显然，拉皮德想对这个在权力与拜金的祭坛上牺牲灵性价值和文化遗产的社会进行一番隐秘而激烈的批判。
13. “Girlhood” (Céline Sciamma)
13. 《女孩帮》(Girlhood)，导演：瑟琳·席安玛(Céline Sciamma)。
“The Diary of a Teenage Girl” (Marielle Heller)
《少女日记》，导演玛丽尔·海勒。
Coming of age: in the modern banlieues of Paris and in San Francisco in the 1970s. These movies dramatize the harrowing, thrilling passage to womanhood with unsparing honesty and infinite compassion.
成长的故事：现代的巴黎郊区与20世纪70年代的旧金山，这两部影片以残酷的城市和无尽的热情，把成长为女人的可怕惊险之路变得戏剧化。
14. “Grandma” (Paul Weitz)
14. 《与外婆同行》(Grandma)，导演：保罗·韦兹(Paul Weitz)。
“Tangerine” (Sean Baker)
《橘色》，导演：肖恩·贝克(Sean Baker)。
Two against-the-clock tours of Los Angeles. Two celebrations of the sometimes prickly solidarity among women. Four tremendous performances, from Kitana Kiki Rodriguez, Mya Taylor, Julia Garner and the great Lily Tomlin. “Grandma” is the work of a studio veteran. “Tangerine” was shot on iPhones. Anyone prone to lamenting the death of movies needs to shut up and watch these.
两次发生在洛杉矶的反抗时间之旅。两次对女人之间时而棘手的团结的赞颂。四位演员的精彩表演，来自吉塔娜·基基·罗德里格斯(Kitana Kiki Rodriguez)、米娅·泰勒(Mya Taylor)、茱莉亚·加纳，以及了不起的莉莉·汤姆林。《与外婆同行》是制片公司资深导演的作品，《橘色》是用iPhone手机拍摄。任何哀悼电影已死的人，都应该闭上嘴巴，看看这两部影片。
15. “The End of the Tour” (James Ponsoldt)
15. 《旅行终点》(The End of the Tour) ，导演：詹姆斯·庞索特(James Ponsoldt)。
Widely misunderstood as a biopic about the novelist David Foster Wallace, Mr. Ponsoldt’s film is a comedy of journalistic bad manners and a bitter, knowing satire of the machinery of literary fame. Jesse Eisenberg and Jason Segel use the conventions of the buddy movie to perfect a new subgenre: the frenemy film.
它被广泛误解为一部关于小说家大卫·福斯特·华莱士(David Foster Wallace)的传记电影，其实庞索特的这部影片是一部关于新闻的坏方法的喜剧，以及对文学名誉机制充满了解的辛酸讽刺。杰西·艾森伯格(Jesse Eisenberg)与杰森·西格尔(Jason Segel)使用“男人老友电影”(buddy movie)的传统方式，完美地呈现出一个新的子类：亦敌亦友电影。
