81. Die Hard (1988)

Action and adventure

Let’s get this out of the way: Die Hard is a Christmas movie. Deal with it. Another, less controversial statement about John McTiernan’s blockbuster: it’s the platonic ideal of an action movie, and Bruce Willis as wiseass New York cop John McClane is the coolest action hero of all-time. The sequels would stretch the limits of his charisma by getting bigger and stupider, but the original hits the perfect amount of big and brash, as McClane attempts to thwart the plans of a European terrorist group that’s seized an LA high-rise and taken his wife hostage. But the truest reason Die Hard succeeds to the degree it does – aside from the cracking dialogue, spectacular stunts and small details, i.e. McClane being forced to fight a bunch of terrorists in his bare foot – is that McClane has the ideal foil in Alan Rickman’s Hans Gruber, who might also be the best action movie villain of all-time, an erudite pseudo-revolutionary who makes it clear that he reads Forbes and doesn’t much care for garrulous American cowboys.

《虎胆龙威》

      让我们从这个角度看这部电影《虎胆龙威》是一部圣诞节时观看的电影。关于它，关于John McTiernan大片的另一个争议较少的声明：这是动作电影的柏拉图式理想，Bruce Willis饰演睿智的纽约警察John McClane是有史以来最酷的动作英雄。续集会通过变得更大和更愚蠢来拓展他魅力的极限，但原作却大而粗鲁无华，因为McClane试图挫败一个欧洲恐怖组织的计划，该组织夺取了洛杉矶的一栋高楼，并将他的妻子作为人质。但《Die Hard》成功的真正原因——除了精彩的对话、壮观的特技和小细节，即McClane被迫赤脚与一群恐怖分子作战——McClane在Alan Rickman的Hans Gruber中拥有理想的陪衬，他也可能是有史以来最好的动作电影反派，一个博学的伪革命者，他清楚地表明他读过《福布斯》，不太关心诽胭乱的美国牛仔。

82. The Conformist (1970)

In Mussolini’s Italy, a repressed homosexual (Jean-Louis Trintignant) joins the Fascist party in order to blend in and hide his true self. Part psychoanalysis session, part colorful genre fantasia, director Bernardo Bertolucci’s enormously influential drama journeys through different styles and aesthetics. As much as Orson Welles’s Citizen Kane did with the films of the ’20s, ’30s, and early ’40s, The Conformist offers a powerful compendium of cinematic techniques from the eras preceding it.

《同流着》

在墨索里尼的意大利，一个被压抑的同性恋者（Jean-Louis Trintignant）加入了法西斯党，以融入并隐藏自己的真实自我。部分是精神分析会议，部分是丰富多彩的流派幻想，导演Bernardo Bertolucci在不同风格和美学中具有巨大影响力的戏剧之旅。正如Orson Welles的《Citizen Kane》对20年代、30年代和40年代初的电影所做的那样，《同流者》提供了之前时代电影技术的强大汇编。

83. The Thing (1982)

Let John Carpenter’s real masterpiece—the one that horror mavens bow down to—take its place in the pantheon. A passion project that got clobbered by audiences and critics alike, The Thing was, in fact, that rarest of remakes: one that improves upon its source. Carpenter’s widescreen elegance and spooky synth minimalism (here furthered by composer Ennio Morricone) found a new counterpoint in some of the most disgusting practical special effects ever sprung on a paying audience. But the film’s ice-cold paranoia, uncut and pharma-grade, has been its most lasting legacy: a template of perfection for all since.

《怪形》