《遺落戰(zhàn)境》：一場科幻視覺盛宴
As I sat in the cinema watching Oblivion unfold, I couldn’t stop myself from thinking, “I wouldn’t have expected that if they hadn’t already done it in Planet of the Apes,” or “That was a nice touch, but they did it better in Wall-E,” or “This whole scene would have had more impact if they hadn’t aced it in Independence Day.”
當我坐在影院中觀看《遺落戰(zhàn)境》時，腦海中一直在思考：“既然《決戰(zhàn)猩球》有些東西沒有做到，那么對本片中不要抱什么期望。”“這是個神來之筆，但《機器人總動員》做得更好。”或者“如果不是有影片《獨立日》珠玉在前的話，這部片子會更具影響力。”
I don’t want to brag about how many sci-fi films I’ve seen, but you get the idea.
盡管我并不想吹噓自己曾經(jīng)看過的科幻片有多少，但是你肯定明白我的意思。
Oblivion borrows from ― or pays homage to, if put charitably ― just about every sci-fi movie I know. But that doesn’t mean it’s a bad film.
《遺落戰(zhàn)境》幾乎借鑒了所有我知道的科幻影片——說的客氣一點，是向它們表示致敬。但并不意味著這是部爛片。
You have to give it credit for trying, really hard. All the familiar elements from different sci-fi movies come together to make the idea behind Oblivion quite original.
對于片中的大膽嘗試，你不得不豎起大拇指。將不同科幻片中的相似元素整合起來，使得本片在創(chuàng)意上匠心獨運。
Set in 2077, Jack Harper (Tom Cruise) is one of the last remaining men stationed on an evacuated Earth, which was nearly destroyed 60 years ago in an alien invasion. Helping Jack is Victoria (Andrea Riseborough) who mans the operations post at their sky-high condominium. Their mission control commander is Sally (Melissa Leo), who guides them from Tet, a space station that was humanity’s escapevessel after the war.
故事被設(shè)定在2077年，那時的地球已在60年前的一次外星人入侵后變成一片滿目瘡痍之地，杰克•哈伯(湯姆•克魯斯飾演)是為數(shù)不多駐守地球的人。搭檔維多利亞(安德麗亞•瑞斯波羅格飾演)在居住的“摩天塔”內(nèi)負責運轉(zhuǎn)工作。他們的軍事指揮官莎莉(梅麗莎•里奧飾演)在泰特空間站上指揮他們的行動，那里是外星人大戰(zhàn)后的人類避難所。
Like most sci-fi stories, the more you examine the plot, the less sense it makes. But director Joseph Kosinski (Tron: Legacy) and his screenwriters do come up with truly imaginative details.
同大多數(shù)科幻故事一樣，你對情節(jié)審視得越多，就越發(fā)覺得說不通。但曾執(zhí)導(dǎo)過《創(chuàng)：戰(zhàn)紀》的約瑟夫•科金斯基和編劇們顯然構(gòu)想出許多極富想象力的情節(jié)。
You may wonder why Jack’s nose is wounded in an early fight, for example, but the scar becomes crucial later on. Guns, motorcycles, even Jack’s jet-powered helicopter are just plausible enough to keep you involved in the story.
比如，你會想為何要設(shè)置杰克在先前的一次打斗中鼻子受傷的場景，而接下來這處疤痕卻在后面的劇情中起到至關(guān)重要的作用。槍支、未來摩托、以及杰克駕駛的噴氣式直升飛機都足夠逼真，引人入勝。
One of the best things about the film is that Kosinski has put his background in architecture and design to good use and created a story full of visual treats. He really focuses on building atmosphere, which is essential in this genre. Just by looking at the scenery you feel sadness, loneliness, hopelessness, uncertainty and fear.
該片的一大亮點在于，導(dǎo)演科金斯基把影片背景設(shè)置在建筑群中，并充分利用這點，打造了一場視覺盛宴。他的主要精力在于營造氛圍，這是該類型影片大獲成功的關(guān)鍵。只要看到一處場景，你就會如臨其境地感到悲傷、孤獨、無望、迷茫與恐懼。
My feeling is that Kosinski’s heart seems to be in making smaller, more intimate movies than Oblivion’s impressive budget and the presence of superstar Tom Cruise would suggest. But without these factors, Chinese sci-fi fans would have missed out on a chance to enjoy a cinematic feast.
在我看來，相對于《遺落戰(zhàn)境》的高成本以及巨星阿湯哥的加盟這些話題，科金斯基其實更想花心思來拍一部更具個人色彩的小制作電影。但是如果沒有這些元素的話，中國的科幻迷們也就會錯過一次享受電影盛宴的機會。
Let the critics say what an “empty thriller” the film is as many times as they want, it’s not our concern.
很多影評人將該片大肆批評為“空洞的驚悚片”，盡管讓他們說去吧，因為這些都不是我們所在乎的。
