有總比沒有好！個(gè)人覺得吳京這句話真的很對，沒有人嘗試著去邁開第一步，那么我們永遠(yuǎn)不知道原來我們還可以在太空如此遨游！一直在想國外的科幻片總是將地球要?dú)�滅什么的，英雄主義突出，保護(hù)地球全靠他們，但是在流浪地球中著實(shí)爭口氣！下面來看看流浪地球國外影評吧。

從《流浪地球》上映起，就引發(fā)了觀眾的熱烈討論，豆瓣評分也因此飽受爭議。電影在美國上映后，外媒影評不少，可大多沒眼看，實(shí)在偏頗。而且很多只是強(qiáng)調(diào)票房收入，沒有從電影本身進(jìn)行分析。好不容易找到一篇比較理智和嚴(yán)肅的美媒影評，和大家分享，當(dāng)然，這是從美國觀眾角度來分析的。

故事情節(jié)有點(diǎn)兒熟

The entire space plot may feel suspiciously familiar to American audiences, who have a strong emotional touchstone when it comes to a calm-voiced computer in space telling a desperate astronaut that it can’t obey his orders, even when human lives are on the line, because it has orders of its own. MOSS even looks something like the HAL 9000 from 2001: A Space Odyssey: it’s represented as a red light on a gimbled panel, like a single unblinking, judgmental red eye.

整個(gè)太空部分的情節(jié)會(huì)讓美國觀眾隱約覺得熟悉。而當(dāng)一個(gè)電腦用平淡語調(diào)對絕望的宇航員說 即便人命攸關(guān)，亦不能從命，因?yàn)樗�有自己要遵守的命令的時(shí)候，美國觀眾馬上就會(huì)意識(shí)到這的確是他們在以往電影里見過的情節(jié)。MOSS甚至在外觀上都和《2001太空漫游》的人工智能HAL9000有幾分相似：在平衡環(huán)架板上有一個(gè)紅色的燈，就像一個(gè)不眨眼的，審視一切的紅色眼睛。

But a good deal of Liu Peiqiang’s space adventure also plays out like a sequence from Alfonso Cuarón’s 2013 Oscar-winner Gravity, with dizzying sequences of astronauts trying to navigate clouds of debris and find handholds on a treacherous moving station while tumbling through space.

劉培強(qiáng)在太空部分的大塊情節(jié)也和2013年奧斯卡獲獎(jiǎng)影片艾方索·柯朗的《地心引力》有相似之處，都是宇航員在太空中跌跌撞撞地行進(jìn)時(shí)躲避飛來的殘骸，嘗試抓住處處是危險(xiǎn)的移動(dòng)空間站。

Meanwhile, the Earthside half of the mission resembles nothing so much as the 2003 nonsense-thriller The Core, about a team trying to drill their way to the center of the Earth to set the planet’s core spinning again. Liu Qi and Han pick up a few distinctive allies along the way, including biracial Chinese-Australian gadabout Tim (viral video star Mike Sui), but mostly, the characters are drawn as blandly and broadly as in any American action movie, and a fair number of them get killed along the journey without ever having developed enough personality for audiences to feel the loss.

同時(shí)，地球這邊的人物又實(shí)在很像2003年的荒誕驚悚片《地心浩劫》，里面有個(gè)(六人)團(tuán)隊(duì)嘗試鉆進(jìn)地心，讓停轉(zhuǎn)的地球重新轉(zhuǎn)起來。劉啟和韓朵朵在拯救地球的路上還多了幾個(gè)能讓觀眾記住的幫手，包括吊兒郎當(dāng)?shù)闹邪幕煅猅im(飾演者是Youtube上的知名播主Mike隋）但大多數(shù)角色都像美國動(dòng)作片里那樣，平淡無奇，粗略模糊，大部分人都在觀眾還沒搞清楚誰是誰，還不會(huì)為這些人的喪生感到難過的時(shí)候就領(lǐng)了盒飯了。

Pretty much any flaw The Wandering Earth can claim — flashy action scenes without much substance, a marked bent toward sticky sentimentality, an insistently pushy score that demands emotional response from the audience at every given moment — are familiar flaws from past blockbusters.

《流浪地球》的所有被詬病的地方 —— 華而不實(shí)的動(dòng)作場景，刻意煽情，還有催促觀眾產(chǎn)生情感觸動(dòng)的無休止的背景音樂 —— 其實(shí)是所有叫座大片的共同缺點(diǎn)。

電影的優(yōu)秀之處

Where the film really stands out, though, is in its eye for grandiose spectacle. Director Frant Gwo gives the film a surprising stateliness, especially in the scenes of the mobile Earth wandering the cosmos, wreathed in tiny blue jets that leave eerie space-contrails behind. His attention to detail is marvelous — in scenes where characters stand on Earth’s surface, contemplating Jupiter’s malicious beauty, the swirling colors of the Great Red Spot are clearly visible in reflections in their suit helmets.

電影真正優(yōu)秀的地方在于，對宏大場面制作的用心。郭帆導(dǎo)演賦予這部電影的雄偉壯麗讓人驚奇，特別是地球在宇宙中移動(dòng)時(shí)，它被藍(lán)色噴氣流包裹著，后面帶著一個(gè)瘆人的尾巴。郭帆對細(xì)節(jié)的注重讓人驚嘆 —— 地球上的人們站在地表，抬頭凝望木星的亦邪亦美時(shí)，圍繞巨大紅色星球的漩渦顏色都反射在每個(gè)人的頭盔上了。

一個(gè)字：美

No matter how familiar the plot beats feel, that level of attention not just to functional special effects, but to outright beauty, makes The Wandering Earth memorable. Not every CGI sequence is aesthetically impeccable — sequences like a vehicle chase through a frozen Shanghai sometimes look brittle and false. But everything having to do with Jupiter, Earth as seen from space, and the space station subplot is visually sumptuous. This is frequently a gorgeously rendered film, with an emphasis on intimidating space vistas that will look tremendous on IMAX screens.

不管情節(jié)讓人感覺多么熟悉，郭帆用心的程度已經(jīng)不只是為了實(shí)現(xiàn)功能特效，而是為了純粹的美，這也是《流浪地球》讓人印象深刻的原因。并不是每個(gè)電腦特效都在美學(xué)上無可挑剔 — 在冰封上海的逐車場景看起來就很不牢固，不夠真實(shí)。但所有木星的場景，地球在宇宙中的場景，以及空間站的細(xì)節(jié)場景都是非常養(yǎng)眼的。電影的大部分場景都相當(dāng)漂亮，凸顯一個(gè)令人生畏的宇宙景觀，在IMAX大屏幕上觀看會(huì)十分過癮。

And while the constant attempts to flee the destructive power of changing weather have their own echoes in past films, from The Day After Tomorrow to 2012, Gwo mostly keeps the action tight and propulsive. The Wandering Earth is frequently breathless, though the action occasionally gets a little muddled in editing. At times, particularly on the surface scenes where everyone is wearing identical pressure suits, it can be easy to lose track of which character is where. It’s often easy to feel that Gwo cares more about the collective rescue project than about any individual character — potentially a value that will work better for Chinese audiences than American viewers, who are looking for a single standout hero to root for.

雖然逃離氣候變化所帶來的災(zāi)難這樣的情節(jié)在電影《后天》《2012》也都是出現(xiàn)過的，郭帆還是做到了讓《流浪地球》里逃難的過程緊湊、推進(jìn)快。電影大部分時(shí)間是緊張刺激的，盡管有時(shí)剪輯得有點(diǎn)兒亂。偶爾會(huì)因?yàn)槿宋镆轮�太過統(tǒng)一，讓觀眾找不到主角去了哪。影片中能明顯感覺到郭帆想突出的是一整個(gè)營救團(tuán)隊(duì)，而非一個(gè)人 —— 這很可能是更讓中國觀眾產(chǎn)生共鳴的價(jià)值觀，美國觀眾想看的往往是個(gè)人英雄主義。

出彩的地方是無聲的時(shí)刻

But the film’s biggest strengths are in its quieter moments, where Gwo takes the time to contemplate Jupiter’s gravity well slowly deepening its pull on Earth’s atmosphere, or Liu Qi staring up, awestruck, at the gas giant dwarfing his home. In those chilly sequences, the film calls back to an older tradition of slower science fiction, in epic-scale classics like 1951’s When Worlds Collide or 1956’s Forbidden Planet. The interludes are brief, but they’re a welcome respite from chase sequences and destruction.

但是電影最大的亮點(diǎn)反倒是幾個(gè)安靜的時(shí)刻，像是凝望木星緩慢加大對地球大氣的引力時(shí)，或像是劉啟抬起頭，目瞪口呆地看著地球和巨大木星的懸殊對比時(shí)。這些讓人感到恐懼的情節(jié)會(huì)讓觀眾回想那些節(jié)奏偏慢的老科幻作品，比如1951年的史詩巨制《世界大沖撞》或1956年的《禁忌星球》。 盡管《流浪地球》里這種間歇的鏡頭很短暫，但看多了追逐和災(zāi)難場面的觀眾，會(huì)渴望片刻的休息。

部分情節(jié)有點(diǎn)傻，有點(diǎn)尬

The Wandering Earth gets pretty goofy at times, with jokes about Tim’s heritage, or Liu Qi’s inexperienced driving and overwhelming arrogance, or with high-speed banter over an impossibly long technical manual that no one has time to digest in the middle of an emergency. At times, the humor is even a little dry, as when MOSS responds to Liu Peiqiang’s repeated rebellions with a passive-aggressive “Will all violators stop contact immediately with Earth?” But Gwo finds time for majesty as well, and makes a point of considering the problem on a global scale, rather than just focusing on the few desperate strivers who’ve tied the Earth’s potential destruction into their own personal issues.

流浪地球里面也有幾個(gè)讓人感到有點(diǎn)傻的情節(jié)，像是Tim的身世啊，劉啟不熟練的駕車和他的狂妄自大啊，還有十萬火急時(shí)還因?yàn)橐槐緵]人來得及讀懂的技術(shù)手冊而邊高速行駛邊斗嘴啊。不過，郭帆還是能找到機(jī)會(huì)把故事的格局做大，講的是全地球共同的危機(jī)，而不是說地球的命運(yùn)只跟少數(shù)幾個(gè)人有關(guān)，讓他們拼死冒險(xiǎn)。

體現(xiàn)中美價(jià)值觀的差異

Much like the Russian space blockbuster Salyut-7 was a fascinating look into the cultural differences between American films and their Russian equivalents, The Wandering Earth feels like a telling illustration of the similarities and differences between Chinese and American values. Gwo’s film is full of images and moments that will be familiar to American audiences, and it has an equally familiar preoccupation with the importance of family connections, and the nobility of sacrifice. But it also puts a strong focus on global collective action, on the need for international cooperation, and for the will of the group over the will of the individual.

正如從俄羅斯太空題材電影《禮炮七號(hào)》(或叫《太空救援》）能看出俄羅斯人和美國人價(jià)值觀的差異，《流浪地球》也是中美價(jià)值觀相似和相反的絕好例證。讓美國觀眾感到熟悉的是郭帆電影的場景和情節(jié)，是對家庭的重要性的執(zhí)著展現(xiàn)，是對自我犧牲的崇尚。但與他們價(jià)值觀相悖的是，郭帆的電影強(qiáng)調(diào)全球共同行動(dòng)，需要國際合作，集體意愿高于個(gè)人意愿。

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