照例先感Jake吧字幕组【木乙耳】TX的勤劳翻译（顺说这篇文章写得很好，翻译得更好）

多伦多国际电影节《夜行者》：杰克·吉伦哈尔的最佳表演
【文章】译自《影痴》
【作者】麦克.瑞恩
（麦克.瑞恩曾为《赫芬顿邮报》、《连线》、《名利场》和《智族》撰稿；亦是《影痴》的高级编辑。你可以直接在推特上和他联系。）
【翻译】木乙耳

几个星期之前，我在纽约我公寓旁边的一家当地杂货店里闲逛。差不多在店子的最里面，有排折扣货架，那里每样东西都打75折。一大堆季节性商品当中，混着一套2010年的电影《波斯王子：时之刃》的乐高玩具。里面有一个杰克·吉伦哈尔的迷你乐高公仔，它骑在鸵鸟上面。我看着乐高杰克·吉伦哈尔骑在鸵鸟上，感觉难以置信，就好像看着另一个平行宇宙当中，吉伦哈尔还在拍这样的电影，而不是像《夜行者》这样精彩的电影。

《波斯王子：时之刃》在美国本土只获得9千万美元票房，但是海外票房表现良好，一共收进3.36亿美元。但这样的票房表现不足以使计划中的续集拍摄得以进行。如果当时《波斯王子》大卖，那么现在吉伦哈尔可能就在拍摄他的第三部“波斯”电影了。看看小罗伯特·唐尼，他的新电影《法官》（也在本次多伦多国际电影节上举行首映），是他自2010年的《预产期》之后，第一部非“钢铁侠”或者“福尔摩斯”电影。当然，我们都喜欢唐尼的钢铁侠，但是如果能看到他扮演不同的角色就好了。

今年，吉伦哈尔又回到多伦多国际电影节，为丹.吉尔罗伊的导演处女作《夜行者》站台。在《夜行者》中，吉伦哈尔饰演路.布鲁姆，一个自来熟过了头的愤青；在看到一个自由摄影师（由复出的比尔·帕克斯顿饰演，他今年表现不俗）拍摄了一段真实的车祸并卖给当地新闻台之后，路.布鲁姆发现这就是他的理想工作。布鲁姆原本是个专偷废金属的小偷，如今开始了他的新职业——“夜行者”，他利用警用频道扫描仪的报道，拍下事故或者谋杀现场，然后卖给当地收视率最差的一家电视新闻台的经理（蕾妮·罗素）。在播出了路的录像之后，电视台收视率上升了，同样上升的还有她的财富，但这些影片有时候并不是通过正规渠道获得的。（这么说吧，路并不害怕在未经允许的情况下进入犯罪现场。）

《夜行者》感觉像是类型片，尽管我觉得参与制作的人会极力避免让本片被打上“类型片”的标签。【吉伦哈尔的表演可能是他从影以来最有意思的一次。路.布鲁姆是个卑鄙的人，但观众会不由自主支持他。我在这部电影里看到了之前从未在吉伦哈尔身上看到过的、一种强烈的个人魅力。】
看完预告片之后，我把吉伦哈尔的布鲁姆和《王牌特派员》中的金·凯瑞联系了起来。这种比较不是很公平。金·凯瑞的有线电视安装工人这个角色荒诞过了头，但是吉伦哈尔不是这样。吉伦哈尔把路.布鲁姆带到了荒诞的顶点，但是没有过界。路.布鲁姆一直让人觉得真有其人，这也是路.布鲁姆会让人觉得恐怖的原因。
（另外，《夜行者》讲了很多关于媒体的事情。它传达了这样一个理念：一个事件的关注度会决定事件的走向，这一趋势从地方新闻开始，然后经互联网发酵恶化。这其中很多都是事实。）

《波斯王子：时之刃》之后，吉伦哈尔出演了《爱情与灵药》、《源代码》、《警戒结束》、《囚徒》、《宿敌》，以及现在的《夜行者》。很明显，吉伦哈尔越发远离主流。与人们的既定思维渐行渐远。【杰克·吉伦哈尔可能是当代最有意思的演员，尽管很多人还没有意识到这点。不过我猜杰克·吉伦哈尔就喜欢这种状态。】

【原文】
‘Nightcrawler’ at TIFF: Jake Gyllenhaal At His Best
by Mike Ryan
September 5, 2014 11:32 PM

A few weeks ago, I was in a local drug store by my apartment in New York City. Near the back of the store, there’s a discount rack where everything is 25 percent off its the original price. Mixed in with overstocked seasonal items was a LEGO set for the 2010 movie ‘Prince of Persia: The Sands of Time.’ Included in the set was a mini LEGO figure of Jake Gyllenhaal. He’s riding an ostrich. As I stared in disbelief at LEGO Jake Gyllenhaal riding an ostrich, it felt a bit like staring into an alternate future where these were the kind of movies that Gyllenhaal was still making … instead of a glorious movie like ‘Nightcrawler.’

‘Prince of Persia: The Sands of Time’ grossed only $90 million domestically, but did very well internationally, pulling in $336 million total. This still wasn’t enough to justify a sequel, which was planned. If ‘Prince of Persia’ had been a hit, Gyllenhaal would probably be on his third ‘Persia’ movie by now. Look at Robert Downey Jr.: his new film, ‘The Judge’ (which also premiered here at the Toronto International Film Festival) is the first non-Iron Man or Sherlock Holmes role for Downey (save a cameo in ‘Chef’) since 2010’s ‘Due Date.’ Granted, we all like Downey as Iron Man, but it would be nice to see him do something different.

Matthew McConaughey, deservedly, gets a lot of credit for changing the narrative of his career from a guy who starred in dopey romantic comedies to the guy who won the Academy Award for Best Actor earlier this year. Granted, Gyllenhaal’s, let’s say, diversion wasn’t as long and wasn’t as obvious. Gyllenhaal’s dumb movies never defined him like McConaughey’s did. Actually, Gyllenhaal doesn’t really have that many bad movies – which makes his participation in what would have been the ‘Prince of Persia’ franchise even more striking.
(At last year’s festival when Gyllenhaal was promoting ‘Prisoners’ and ‘Enemy,’ I asked him if he was happy that ‘Prince of Persia’ failed. He did not say “no.”)

Gyllenhaal is back at TIFF this year in support of Dan Gilroy’s directorial debut, ‘Nightcrawler.’ In ‘Nightcrawler,’ Gyllenhaal plays Lou Bloom, an overenthusiastic misanthrope who finds his career calling after watching a freelance film crew (led by a resurged Bill Paxton, who is having quite a year) film a graphic auto accident, then sell that footage to a local news station. Bloom – already a petty thief; specializing in stolen scrap metal – throws himself into his new job as a “Nightcrawler,” filming any car accident or murder that his police scanner reports, then selling this footage to a local television station manager (Rene Russo) with the worst ratings in town. Her ratings fortunes change after airing Lou’s video, which are sometimes obtained using questionable means. (Let’s just say that Lou isn’t afraid to enter a crime scene without permission.)

‘Nightcrawler’ feels like genre, even though I suspect the people involved with ‘Nightcrawler’ are trying to avoid getting their movie labeled as “genre.” Gyllenhaal gives what just may be the most interesting performance of his career. Lou Bloom is despicable, yet we find ourselves rooting for Lou Bloom. There’s an intense charisma on display here that I’ve never quite seen out of Gyllenhaal before. I’ve already seen Gyllenhaal’s Bloom compared to Jim Carrey in ‘The Cable Guy’ based on the trailers. This isn’t really a fair comparison. Jim Carrey took his Cable Guy character over the edge of the absurd, Gyllenhaal never does that. Gyllenhaal brings Lou Bloom up to the point of absurd, but never over. Lou Bloom always feels real. This is why Lou Bloom is frightening. (And ‘Nightcrawler’ has a lot to say about media in general. It truly believes that the amount of eyeballs on a story will dictate the narrative of that story — a trend that started with local news and has only been exasperated by the Internet. There’s a lot of truth in this.)

Since ‘Prince of Persia: Sands of Time,’ Gyllenhaal has made ‘Love and Other Drugs,’ ‘Source Code,’ ‘End of Watch,’ ‘Prisoners,’ ‘Enemy,’ and now ‘Nightcrawler.’ There’s a definite pattern there, as Gyllenhaal pulls himself further away from the mainstream. Further and further away from “what could have been.” Jake Gyllenhaal might just be the most interesting actor working today, though not a lot of people realize that yet … and I suspect Jake Gyllenhaal prefers it that way.
Mike Ryan has written for The Huffington Post, Wired, Vanity Fair and GQ. He is the senior editor of ScreenCrush. You can contact him directly on Twitter.

The End

正在影院等电影开演，回家上电脑慢慢看

观影归来，激动半天，吃好洗好坐上床来回贴。首先，电影非常震撼，视觉效果自不必说，连里面的配乐和插曲我都好喜欢呢。这一帮亲爱的老家伙们，不得不让人爱啊，老了，神气还在。史泰龙，阿诺，福特，眼神已见混浊，但是兰搏那标志般倔强的嘴角，琼斯坚毅的双眼，终结者“我会回来”那霸气的神情，让人想起就是这样一群人陪着我们走过年轻的岁月，如今用他们的拼搏与努力提醒着我们一切仍在继续。其他各位，杰森，刀锋战士，动作戏一如既往的精彩，虽然枪战占据了大部分时间，但绝不会只动枪不动手脚，梅尔吉普森湛蓝的双眼告诉我们，演技不是一天两天练就的，也不会因为老了就褪色的。安东尼奥太让我惊讶啦，简直是要萌死人的节奏，那小嘴碎的，那无辜的小眼神，我的天哪，什么时候佐罗看到了会跳出来的。几位年轻演员真的不太熟悉，明天好好百度下去，要说现在我最想说什么，就是谁能告诉我，敢死队还会拍下去么？年轻一代已上阵，敢死队后继有人，但也还想看到老棒子们啊。阿诺说他不会退休的，希望他们还能陪我们更多的时间。

我可怜的波子伤很大

每次看到男神电影的消息，第一感觉就是什么时候能看啊

看来只能高冷的坐等了。