三个影评人中两个人的十佳都有《夜行者》

影评人Inkoo Kang的十佳电影
10. “Beyond the Lights”/”Le Week-end”: We need both the honeyed warmth of romance and the sour realism of relationships in our love stories. “Beyond the Lights” radiates the former while exploring vital questions about identity and performance, while “Le Week-end” pickles in the latter while uncovering a lifetime of utterly identifiable grudges and resentments.
9. “The Homesman”: Director Tommy Lee Jones upends an entire movie genre in this honest and ever-surprising Western, which lends heaps of empathy to its main characters without ever falling for their easy charms. The devastating loneliness and perilous freedom of the frontier are woven into an important tragedy that still feels mighty pertinent today.

杰克扮演的摄影师是本年度最让人胆颤心惊的坏家伙
8. “Nightcrawler”: Los Angeles plays itself (beautifully) in a brutal but necessary satire about the stories we tell and why we tell them. Jake Gyllenhaal’s rapacious cameraman is one of the year’s scariest villains – and the inevitable result of the voyeurism, ratings pressures, and race/class biases that govern TV news today.

7. “Neighbors”: The year’s best comedy is also a deeply humanistic exploration of the lies we begin to tell ourselves when we haven’t yet realized we no longer like who we’ve become. Seth Rogen generously shares the spotlight with Rose Byrne, Zac Efron, and Dave Franco, who all turn out to be as comic revelations.
6. “Belle”: As intellectually ambitious as an intersectionality textbook and as pleasurably familiar as the Austen-esque romance can get, this rare combination of smarts and swoon is anchored by luminous newcomer Gugu Mbatha-Raw (who also stars in “Beyond the Lights”). It’s the only film that’s made me cry out of happiness this year (and maybe any year) — its emotional journey is turbulent but worth the heartbreak.

5. “The Tale of the Princess Kaguya”: Studio Ghibli’s penultimate film is a hand-drawn wonder, a passion project from legendary director Isao Takahata that spins a universal folktale about rebelling against societal dictates while staying true to its 10th-century Japanese roots. An extraordinary visual splendor from the princess’ birth inside a lotus blossom to her mysterious demise, it’s an enthralling reminder of what really matters in life.
Also Read: ‘Top Five’ Review: Chris Rock’s Comedy Is Funny But Flawed
4. “Selma”: Ava DuVernay’s biopic of Martin Luther King, Jr. couldn’t be more relevant during these painfully unjust times — nor more full of heart. DuVernay’s rigorous search for King’s humanity overcomes the film’s conventional structure and explores with political bluntness and dramatic urgency how history is usually made behind back doors.

3. “Only Lovers Left Alive”: Sexy, funny, gorgeous, curious, and deservedly world-weary, Jim Jarmusch’s hipster-vampire romance is a lovely and insightful rumination on decay, history, fame, and how to stay cool when you’re bored with youth culture. It’s also an ardent love letter to Tilda Swinton, one of the most glorious actresses working today.
2. “The Boxtrolls”: Chipped and cracked in all the right places, Laika’s third feature looks — and feels — like no other animated film on the market. A fleet allegory about genocide, produced for children (yes, really), it also thrives in all the wonderful grossness of our bodies while featuring one of the most original and hilariously morbid girl characters in years.
1. “We Are the Best!”: 2014’s best movie is also the most defiantly joyful. A Swedish coming-of-age story about three 13-year-old girls who form a punk band despite only one of them knowing how to play instruments, it’s a rowdy delight that reaches rare levels of emotional honesty and sensitivity, as well as an achingly real portrait of friendship at a crossroads.

影评人James Rocchi的十佳（这个榜单感觉大众化一些）
10. “The LEGO Movie”: What could have been just a toy commercial wound up being more like “The Princes Bride” than many originally expected — big meta laughs wrapped around a touching meditation on play, imagination and connection.
9. “The One I Love”: A small-scale short, sharp shock of an indie re-invents the rom-com by taking it to new places while staying true to its heart. Mark Duplass and Elisabeth Moss are great as a couple whose marriage-saving weekend retreat turns strange … yet speaks real truths.

8. “Edge of Tomorrow”: Brilliantly edited and conceived, this sci-fi action film is the year’s most invisibly incredible blockbuster — and Tom Cruise’s work as a heroic version of Wile. E. Coyote, trying and dying and trying again, is a sly, funny riff on his own on-screen image.
7. “Blue Ruin”: A startling, impressive throwback of a film, a revenge-thriller that counters every expected cliché with dramatic invention, gorgeously threatening cinematography, stunning silences and directorial savvy — plus Macon Blair in a breakout lead performance as an unlikely avenger.

6. “Dear White People”: Justin Simien’s debut film sputters and sizzles with energy, making for comedy that says something and drama that finds the humor in human fallibility; it’s been a long time since a debut by an American writer-director showed so much coordination between its ambitions and execution.
5. “Force Majeure”: A panicked split-second decision on a family’s getaway demands lengthy discussions of all the things they can’t really get away from; Ruben Östlund’s white-knuckle comedy of manners and marriage plays out in wickedly crisp shades of winter.

3. “Gone Girl”: A scarlet-spattered sublime pleasure, with bravura direction from David Fincher, brilliant writing and plenty of social commentary to go with the thriller mechanics like the poison that truly kills you smeared on the shining knife that stabs deep.
2. “Boyhood”: Richard Linklater’s masterwork, and a piece of cinema as superb as it is unique, with one boy’s step-by-step trek through the years brought to meaningful, beautiful life in a film made up almost entirely of the kinds of real, wrenching and funny scenes other, lesser movies either cut or never include in the first place.
1. “Selma”: A film about the past, but also about our present moment; a film about what a man and a movement did, but also a reminder of how much there is left to do. A smart, human-scale procedural about working for change, “Selma” is both real and impressively cinematic, full of facts and feelings both — and a much-needed reminder of what America is capable of in the face of what seem like immovable forces of injustice and inertia.