电影《地下6号 / 6 Underground》的评论和摘要(2019). 罗杰.埃伯特
6 Underground movie review & film summary (2019) | Roger Ebert
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2019-12-13 14:17
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火星译客

 |  Brian TallericoDecember 11, 2019   |  

With its makeshift family, high-speed car chases, and elaborate heists, Netflix's action blockbuster “6 Underground” is solid proof that Michael Bay would love to direct a “Mission: Impossible” or “Fast and Furious” movie. It also makes it clear why that would be a bad idea.

凭其临时家庭,高速的汽车追逐,精心设计的抢劫,Netflix的动作大片《6 Underground》充分证明了迈克尔.贝会愿意执导电影《碟中谍6:全面瓦解》或者《速度与激 情》。这也清楚说明为什么这会是个坏主意。

You have to give Bay credit for making a movie that is distinctly his brand. Anyone familiar with the “Bad Boys” or “Transformers” franchises need only see about five minutes of this one to recognize it as a Bay joint. There are the requisite shots of beautiful women from a ground angle, jokes that even the writers would probably say are in bad taste, hyper-kinetic cuts to pop/rock tunes, and nary a thing that resembles human emotion or the actual physics of the real world. And, for a while, especially during an extended car chase through Florence in the film's lengthy opening, the Bay-ness of it all is kind of engaging. The ridiculousness of the opening sequence has a critics-be-damned insanity to it that's almost impressive. As Dave Franco's getaway driver speeds through the city, he nearly runs over a woman with a baby, a couple cute dogs, and even some nuns, who then proceed to flip him off. There's a sense that Bay and writers Paul Wernick and Rhett Reese (who co-wrote the "Deadpool" movies) are embracing the hyperactive action fan out there who's tired of Oscar fare like "Marriage Story" and "The Irishman," and saying, “We know this is dumb fun, but let's just put logic aside for a couple hours. Turn your brain off and just enjoy it.” Sadly, like the ragtag group at the center of the film learns, even the best plans can be hard to follow.

让Bay制作一部与他的风格明显不同的电影,你必须给他赞誉。任何一个熟悉《绝地战警》或是《变形金刚》系列的人,只需要观看其中的五分钟即可识别出来Bay是有参与其中的。这里有一个必要的镜头是从地面角度来拍摄美女,开玩笑说,甚至是作家都可能会说他们的品味很差,流行/摇滚乐中动感十足的剪辑,不会出现类似于人类情感或者现实世界中的实际物理学。而且有一阵子,特别是在电影漫长的开头里,在一辆汽车穿越佛罗伦萨期间,这一切的Bay-ness有点吸引人。几乎令人难以忘记的是开场白里的荒谬之处视它受到批评家的疯狂批评。当戴夫·佛朗哥(Dave Franco)加速穿过城市逃离时,他差点撞到一名带婴儿的妇女,几只可爱的狗狗,甚至是一些尼姑,这些人随后向他竖中指。从某种意义上来说,Bay和作家Paul Wernick 和 Rhett Reese(他们合著了电影《死侍》)正在拥抱那些对像《婚姻故事》和《爱尔兰人》这样的奥斯卡感到厌倦的过度活跃的粉丝,他们说“我们知道这是一种愚蠢的乐趣,但是让我们将理性放在一边一会儿吧,让大脑停止思考并只要享受其中就好”。令人伤心的是,就像在电影学习中心的ragtag小组了解到的一样,即便是最好的计划也很难去遵循。

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“6 Underground” is about an eclectic billionaire (Ryan Reynolds)—it's implied he invented the vibration you feel when you get a text or call—who has faked his own death to go underground and lead a team of similar mercenaries, people who are able to从 to do the jobs that world governments refuse to do. In a film that's clearly designed to be the start of a franchise, their job is nothing less than a military coup, deposing the vicious leader of the fictional country of Turgistan and replacing him with his more peaceful brother. To do so will mean murdering dozens of people in high-powered action scenes that are all vaguely reminiscent of things Bay has done in films like “Bad Boys II” and “Transformers” (he even gets a chance to use the robot sound in his climax). Just know that nothing is simple, everything will involve explosions, and the body count will crest three figures.

《地下6号》是关于一位折衷的亿万富翁(Ryan Reynolds), 暗示他发明了发短信或打电话时你能感觉到的震动,他伪装了自己的死亡并藏在地下带领一支类似雇佣兵的团队,他们是一群有能力越过电网(管控)去做世界政府拒绝做的工作的人。在一部显然是专营权起步的电影中,他们的工作不外乎是一场军事政变,废除虚构的土耳其的恶毒领袖,并用他(更热爱)和平的兄弟替代他。此举意味着将在大动作场景中谋杀数十人,这些隐约让人联想到Bay在《绝地战警II》和《变形金刚》等电影中所做的事情(他甚至有机会在他的电影高潮部分使用机器人的声音)。只知道没有什么是简单的,所有的都会涉及到爆炸,而死亡人数将达到三位数。                

The team, known only by their numbers—Reynolds is #1—also includes a deadly CIA spook (the movie's best performer by far in Melanie Laurent, who can bring depth even to something like this and I would totally watch in a spin-off series), a wisecracking hitman (Manuel Garcia-Rulfo), a sky-jumping kid who is introduced running down the outside of the Duomo (Ben Hardy), a former sniper battling PTSD (Corey Hawkins), and a woman with so little character that I couldn't really tell you her specialty (Adria Arjona). The excellent Iranian actor Payman Maadi (“A Separation”) plays the brother who the team has to exfiltrate and place in power.

该团队仅以数字为名- 雷诺Reynolds是1号; 还包括一名致命的中情局CIA的间谍(影片迄今为止梅兰妮.洛朗的表演中是电影中最佳的,他甚至可以为这类型的影片带来深度,我绝对会看续集的); 一个聪明的杀手(Manuel Garcia-Rulfo); 一个被安排跑到大教堂外面的跳伞的孩子(Ben Hardy);与PTSD作战的前狙击手(Corey Hawkins); 以及一名扮演小角色的女人,我都没法告诉你她的特长(Adria Arjona)。出色的伊朗演员佩曼·马阿迪(Payman Maadi)在出演那位该团队要渗透并掌权的兄弟。

If you're wondering how “6 Underground” handles Middle Eastern politics, it's with all the grace of a runaway truck. The scenes in Turgistan, including an early one in which children are bombed in a chemical warfare attack and a late one that's meant to reflect the Arab Spring, are poorly executed at best and offensively exploitative at worst. One almost longs for a giant robot to pull Bay and company away from issues that arguably shouldn't be used for B-movie action fodder, or at least shouldn't be in a film that pushes the boundaries of cartoonish action choreography.

如果你好奇《地下6号》要如何处理中东的政治,那么这要感谢一辆失控的卡车的恩典。土耳其斯坦的场景,包括早期发生的儿童在化学战中被炸死的场景,和后期本意是想反映“阿拉伯之春”的一幕,在最好的情况下执行不力,在最坏的情况下却具有进攻剥削性。一个巨型机器人几乎要把Bay和公司拉开来,而这个问题被认为不应该用于Bay的电影动作素材,或者至少不应该出现在推动卡通动作编舞界线的电影中。

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It's one thing to see Reynolds nervous that his driver is going to hit an Italian dog; it's another thing to see children bombed in a refugee camp. I don't think the makers of “6 Underground” really see the difference. And the sense that this film is tonally disastrous continues to mount, especially as the initial jolt of stylized action becomes numbing instead of entertaining, and the film keeps flirting with real-world issues it doesn't understand.

有一件事看到Reynolds的紧张,就是他的司机开车去撞一条意大利狗的时候;另一件事就是看到难民营的儿童被炸。我不认为《地下6号》的制作人真的有看到不同之处。而且这部电影在基调上(给观众)带来的灾难性的感觉仍在继续,特别是当这个程式化动作的最初震撼带来的娱乐效果被麻木取代,并且这部电影一直在调侃它不了解的现实世界中的问题。

Before we get up in arms about what's "allowed" to be in an action movie, whether or not the subject matter rubs you the wrong way doesn't really matter because the main purpose of a film like “6 Underground” is to entertain. No one is really arguing otherwise. (I just don't find reflections of the last decade in Syria entertaining.) Most important, the film simply comes apart under that basic definition of its purpose. It becomes repetitive, nonsensical, and just loud after everyone gets an origin story and we're left with nothing to do but go boom. At the end, one of the characters even seems to understand that this is how most viewers will feel after watching, saying that this team can still “do some shit … awfully loud.” “6 Underground” is definitely some awfully loud shit. 

在我们开始讨论、反驳什么样的内容在动作片里是“允许”的之前,这个主题是否以一种错误的方式烦到你了真的不重要,因为像《地下6号》这类型的电影的主要目的就是娱乐性。没有人是真的在辩论。(我只是没有发现过去十年叙利亚有娱乐性) 最重要的是这部电影只在其目的的基本定义下分崩离析。在每个人都知悉原版故事之后,它就变得重复、荒谬,只剩下大声的嘈杂, 我们除了蓬勃发展之外也无路可退。最后,其中一个人物甚至似乎理解大部分观众看完之后会有的感受,并说这个团队还是可以“做些狗shi...非常大声地”。《地下6号》绝对是一些噱头大的狗shi.

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