一向苛刻的Indiewire近年来越来越待见老吉了

The 21 Best Performances Of 2014
By The Playlist Staff | The Playlist
十二月 17, 2014 at 2:33下午

鉴于LZ懒人谷出身，只搬了前六，其他的15个大家有兴趣请自行点击原文链接。

6. Guy Pearce - “The Rover”【盖.皮尔斯——沙海漂流人（里面竟然还有好久不见的嫩牛五方兄）】
With apologies to Robert Pattinson (and his legion of fans) who is very, very good in this movie and continues to reinvent himself in each new role, Guy Pearce owns "The Rover." David Michôd's post-economic collapse dystopian picture is very, very angry and mortally disillusioned, and Pearce embodies these qualities like a blackened-heart furnace on the verge of eruption. The harsh, silent and severe nature of Pearce’s character (who's in search of a car that embodies all that he no longer has) is also a canvas that echoes back to us; we can imagine the family he’s lost and the life that once had meaning. But his humanity is also occasionally glimpsed and it’s utterly heartbreaking when it briefly peeks through. Like a ratty, emaciated, lonely dog let loose in a ravaged outback, Pearce relentlessly forces his way back home, to the one thing left his is life that has consequence and buries it for good. Pearce’s character is already resigned to all forms of death, you cannot do him any worse, and the affect that he transmits mostly through pained expression is devastating.

5. Ralph Fiennes in “The Grand Budapest Hotel”【拉尔夫.费因斯——布达佩斯大饭店（今年看过的最喜欢电影TOP 3之内）】
We're sure Johnny Depp (Wes Anderson's original choice for Monsieur Gustave H.) would have been great —actually, no. We're not sure about that. What we are most definitely and assuredly sure of and endlessly grateful for is that Ralph Fiennes took over and indubitably nailed it. Everyone's great in Anderson's "The Grand Budapest Hotel," yet the entire film would have collapsed and been rendered merely great-looking had it not been for Fiennes' uproarious performance as the concierge of the Grand Budapest. It's hard to imagine this is the same man who made a career from playing mostly serious roles, and while he's had cracks at comedy before (though we'd all rather forget the abominable "Avengers"), he's never ever been able to turn his refined and debonair persona into such a dainty, comical and posh performance as Gustave H. His timing is genius, his reactions even more so, and the exchanges he has with Tony Revolori's Zero and Tilda Swinton's Madame D. are among the film's glowing highlights mainly because of his grandiosity. No other actor could have embodied this role and spoken Anderson's quick-witted dialogue with such splendid results as Fiennes. He deserves every accolade under the sun.

3. David Oyelowo – "Selma"【大卫.奥伊罗——塞尔玛】
The most profoundly dazzling moment in David Oyelowo's stunning performance as Martin Luther King, Jr. in "Selma" happens without any dialogue at all. It's in an insanely tense scene where MLK Jr. is being interrogated by his wife, Coretta Scott King (Carmen Ejogo). She finally confronts him about the other women in his life, which is shocking given how safe most biographical films are (even if MLK Jr's philandering is irrefutably well-documented). She finally asks him if he loved any of them. And there's a pause. Director Ava DuVernay and her cinematographer Bradford Young linger on Oyelowo's face, as a storm cloud comprised of various emotions roils underneath the surface. Is he thinking about these women? Cataloging them? How does this compare with all the world-changing good that he's done? And will continue to do? Finally, he says, simply, "No." The word bubbles out of him, like lava out of a lazy volcano. It's possibly the most powerful moment in a movie made almost exclusively of powerful moments, because it chips away at Martin Luther King, Jr. the icon and the martyr and the legend, and gives us unflinchingly Martin Luther King Jr. the man. It's the most beautiful aspect of Oyelowo's performance and the reason why "Selma" is such a singular emotional triumph.

2. Marion Cotillard in “Two Days, One Night” & “The Immigrant”【玛丽昂.歌迪亚——两天一夜&移民】
Funny that here we are in the thick of another awards season, and the common complaint persists: there’s not nearly as many strong, complex and/or leading roles for women in film. Yet who had a better 2014 than Marion Cotillard? In a just world, she’d be nominated for both her towering lead performances that graced screens this year. In the Dardennes Brothers’ latest and perhaps finest, the film completely rests on her shoulders. Watch every stomach-churning, emotional sequence in which Sandra encounters her co-workers and is essentially left to beg for her livelihood, and there’s an actor completely immersed in the material and with her co-stars. Meanwhile, in James Gray’s period piece, her portrayal of Ewa is layered and thrilling to watch. Her arc from wilting, manipulated naif to hardened survivor is so satisfying and subtle you don’t even see a switch, but a gradual change as the film moves fluidly through its narrative. Ms. Cotillard is indeed one of our finest actors working today, a celebrity completely able to disappear into her roles.

当当当，重点来啦！！
1. Jake Gyllenhaal in “Nightcrawler”【杰克.吉伦哈尔——夜行者】

杰克.吉伦哈尔在《夜行者》中的表演如此精彩，几乎可以说是一次突破性的表演。事实上，自2011年的《源代码》以来，从《警戒结束》、《宿敌》和《囚徒》中强悍且激动人心的表演，到如今塑造出这个肯定是他从影以来最令人难忘的角色之一，他一直在暗暗努力。他扮演的路.布鲁姆被拿来与经典的特拉维斯.比克尔和帕特里克.贝特曼相提并论。虽然这三个角色都有着比较类似的反社会性，但吉伦哈尔却并非仅仅是照搬别人的演绎。减肥30磅，只为感受角色的饥饿感；片中的吉伦哈尔滔滔不绝地说个不停，像是生来就是用丹.吉尔罗伊的台词在说话。今年除了他没有人能一脸瞌睡无神样还能让你盯住银幕不放，同时吓得你半死。吉伦哈尔让观众为这个人渣喝彩加油，而凭借路.布鲁姆这个角色，他也成为了疯子扮演者名人堂中的一员。

Jake Gyllenhaal is so brilliant in "Nightcrawler" that it almost feels like it's a breakthrough performance. In reality, he's been slowly surging ever since 2011's “Source Code,” and through gritty and psychologically pulsating turns in “End of Watch,” “Enemy,” and “Prisoners,” he's landed what's sure to stay one of his most memorable roles, giving the performance of his career thus far. His Louis Bloom has been compared to Travis Bickle and Patrick Bateman, and the sociopathic similarities are certainly there, but Gyllenhaal has evolved far beyond merely channeling other actors' performances. He's made the demented, determined and diabolical Lou Bloom completely his own creation. Losing pounds for the role in order to embody a starved vulture, Gyllenhaal connects with Dan Gilroy's crackling dialogue as if he's been speaking it since birth. No one else this year will transfix you to the screen, almost through sleep-deprived glazed hypnosis, while simultaneously creeping you the fuck out. Gyllenhaal manages to make the audience root for a scumbag, and with Lou Bloom, has his name etched in the hall of fame for playing twisted maniacs.

The End

深夜支持。。布达佩斯确实很好看。。

啊？！

在隔壁@长醉云城 的贴子找到了4，现在补上
4. Rosamund Pike – "Gone Girl" 【罗莎曼德·派克 ——消失的爱人】
Anyone who had read Gillian Flynn's best-selling novel "Gone Girl" (so… pretty much everyone) knew what a complex and iconic role Amy Elliott-Dunne was and how any actress would relish the opportunity to take it on. As a suburban wife who goes missing (and is presumed murdered by her smarmy, cheating husband played by Ben Affleck), Amy is a victim that in a key twist (spoiler alert!), becomes so much more. In the weeks and months leading up to the final casting decision, it seemed like every actress in Hollywood was clamoring for the part, so it was something of a surprise when director David Fincher cast Rosamund Pike in the role. Not only was Pike younger than her costar (she's an older character than the husband in the book), but she was also virtually unknown in the United States, with the handful of performances that had made it here were largely forgettable. Amy Elliott-Dunne is a great character on the page, but Pike made her breathlessly alive. There's so much subtlety in her performance, and so many layers of granulated nuance, that it's impossible to feel anything but shocked admiration. With Amy, Pike was by turns intellectual and amazingly physical (not only her weight gain/loss, but the murder sequence and escape), a woman who could steal your cast her spell on you, and then never, ever let you go.

明年老吉会不会爆火

老吉以前是不认真，一认真起来就要火

楼上这样说就不对了。你吉一向很认真。

对啊。什么时候不认真了

明年还有左拳呢