外國人如何評價《流浪地球》？每個角色都是英雄，不再是一個角色成為地球的救世主_風聞

作者：Karen Han 來源：polygon.com 編譯：篝火營地/枚堯

編者按：奪得全球非英語電影總票房第二的《流浪地球(The Wandering Earth)》近日登陸美國知名視頻網站 Netflix，其「中文原音，英文字幕」的待遇令不少國外觀眾表示跟不上影片節奏，但本片出彩的質量依舊贏得了不少觀眾的青睞。本文是Polygon編輯對《流浪地球》作出的點評。

網飛上線的《流量地球》，是一部融合了《2001太空漫遊》、《世界末日》和《地心引力》的精彩影片

——這部創造紀錄的中國大片，化平凡為神奇

　　如果一場電影事關兩起太空災難、無數視死如歸的犧牲、以及一位軍人舉起機槍，對着碩大無朋的木星天象開火嘶吼，發泄心中悲憤 ……這些描述聽起來正對你胃口的話，那我有一部合適的電影想要推薦給你。

　　今年早些時候，中國首部史詩級太空災難片《流浪地球》正式上映，並很快成為中國有史以來總票房第二高的電影，同時也在所有非英語影片的全球票房中居於第二。這部潛力非凡的電影因此被Netflix 看中，在獲得全球放映權後，5 月 6 號在自己視頻平台上進行投放。而你離這部大作只有一次鼠標點擊的距離，千萬不要錯過。

　　根據「雨果獎」得主劉慈欣的同名小説改編，由龔格爾擔任編劇兼製片，影版《流浪地球》的成功絕非徒有虛名。它有着票房大作的共同特質，集通俗與愉悦大眾於一體，而震撼眼球的CGI特效也讓電影的表現力更加驚人，歎為觀止。

　　在這部電影的設定中，太陽急速衰老膨脹，即將把整個太陽系吞沒，地球與人類的命運危在旦夕。這一事件催生了地球聯合政府的成立，「流浪地球」計劃也隨之啓動，通過在地表建設大量巨型發動機，將整個地球當作一艘行星飛船，推出原有軌道，向臨近的半人馬座阿爾法星進發。與此同時，由於地球停止自轉，加上遠離太陽導致温度驟跌，地表不再適宜居住，人類被迫遷移至龐大的地下城繼續生活。

　　主角劉啓憧憬着地表生活。他的父親劉培強離家17年，前往國際空間站為地球的軌道引航，這讓從小缺少父愛的他內心充滿了叛逆，並策劃了一次離家出走。他帶上了自己的妹妹，偷開姥爺的運輸車，前往地表旅行。這起平日裏微不足道的叛逆出逃，卻不幸趕上了最錯誤的時間與地點，他們被迫參與到拯救地球的拼死一搏中來。

　　「流浪地球」計劃中必經的一道險關，在於跟木星軌道的牽扯。木星巨大的引力捕獲了地球，導致大規模地震，星球面臨解體風險，地表發動機也接連失效。劉啓偷開的運輸車被幾名軍人徵用，用於運輸點火器到臨近的行星發動機，他與自己的姥爺和妹妹也被捲入到這次至關重要的行動中。

　　《流浪地球》包含許多科幻題材作品中常見的元素，故障的A.I.、父子間的心結、為了大我犧牲小我、無重力環境下的動作場景、以及至暗時掙扎閃爍的人性光芒與未來希望。如此多的內容，共同構成了未必好用，但從來不缺亮點的情節片段，讓偶爾平淡的劇情再起波瀾。

　　相對單調的人設通過演員們的精彩演出得到了調和，一些創新之處也讓表演不至於成為照本宣科的念台詞。龔格爾所描繪的未來中，包含一種手雷狀的微型設備，危急時刻能夠變形成一個巨型倉鼠球般的防護載具，而且影片全程幾乎看不到美國的摻和(終於？)，這兩者都頗有新意。雖然影片中隨處可見美國流行文化的影響，但幾乎都是中國角色，只有少數俄羅斯宇航員例外，而且每個角色都有危急時刻的英雄表現，不再是某個角色成為整顆星球的孤膽救世主。

　　《流浪地球》的配樂感覺有點跟同類型電影大同小異，但很好地烘托了關鍵時刻的動人氛圍。一些地方的劇情顯得有些智商下線，但和朋友抱着爆米花在屏幕前度過兩個小時再合適不過了。尤其是到了影片的後半段，高潮迭起的劇情時而讓你屏息揪心，時而又讓你驚歎出聲，足以讓人心滿意足。

原文：

Netflix’s The Wandering Earth is a thrilling mix of 2001: A Space Odyssey, Armageddon, and Gravity

——The record-breaking Chinese blockbuster turns the familiar into the fantastic

if a movie that features two imminent space disasters, several stoic sacrifices, and a man screaming and shooting his monstrously large machine gun into the air and screaming, “SCREW YOU, DAMN JUPITER!” sounds like your idea of a good time, have I got the movie for you.

When The Wandering Earth hit theaters earlier this year, touted as the first Chinese space epic, the blockbuster quickly rose to become China’s second highest-grossing film of all time, as well as the second highest-grossing non-English language film of all time. It’s a bona fide hit, which makes it a coup for Netflix, which snapped up the global streaming rights, then dropped it on the platform with little fanfare on May 6. One of the biggest movies in recent history is now just a click away, without you realizing it.

Directed by Frant Gwo and adapted from a novella by Hugo Award-winner Liu Cixin, The Wandering Earth more than earns its reputation as a smash. It’s exactly the mix of cheesy and crowd-pleasing that you’d expect from a blockbuster, with eye-popping CGI sci-fi set dressing to give it a little extra oomph.

In the world of the film, the impending death of the Sun leads to the creation of the United Earth Government, a single global government, and the initiation of the Wandering Earth Project. Earth will be propelled out of the Solar System via giant thrusters, turning the planet into a living spaceship en route to the Alpha Centauri system. In the meantime, humanity retreats to vast underground cities (of limited capacity, and filled by lottery), as the surface of the planet is made uninhabitable by the effects of the cessation of Earth’s rotation as well as the drop in temperature caused by the increasing distance from the Sun.

Liu Qi (Qu Chuxiao) dreams of a life on the surface. In the 17 years since his father, Liu Peiqiang (Wu Jing), left him to take a position on the space station that guides Earth on its new course, Liu Qi has developed something of a rebellious streak. In an attempt to escape the quotidian, he steals his grandfather’s (Ng Man-tat) vehicle license, barters for two illegal thermal suits, and takes his adopted little sister (Zhao Jinmai) along with him for a joyride on the surface. These petty crimes, however, put him in the wrong place at the wrong time — or maybe the right place at the right time.

As it turns out, the plan to save Earth requires a second plan to save Earth. The current trajectory puts it on a collision course with Jupiter, and earthquakes caused by Jupiter’s gravitational spike have put some of Earth’s engines out of commission. The truck Liu Qi has stolen is commandeered by a handful of military officers to transport a lighter core to restart the nearest planetary thruster engine, and so he — and his grandfather, sister, and a few civilians similarly caught up in the chaos — becomes a part of the plan to save the world.

Zhao Jinmai as a despairing Han Duoduo in The Wandering Earth. Netflix

The Wandering Earth is that it’s a blast. It’s an amalgamation of every single science-fiction action trope, with errant A.I., daddy issues, sacrifice for the sake of the greater good, a zero gravity ballet, and heartfelt appeals to humanity and hope for the future. The sheer amount of stuff that’s packed into the movie make a little unwieldy, yes, but there’s always another gonzo set piece on the way just when the movie starts feeling stretched thin.

The one-note characterizations also manage to skate by on the strength of the performances (Ng Man-tat and Wu Jing wring drop of pathos from the action-forward script) as well as a few inventions unique to the movie that help keep it from being totally rote. Gwo’s vision of the future includes a grenade-like device that turns into an oversized, protective hamster ball, as well as a curiously (refreshingly?) minimal American presence. American pop culture’s fingerprints are all over the movie, but the characters are almost entirely Chinese, with the exception of a few Russian cosmonauts, and almost every character gets a heroic beat rather than a single character becoming the planet’s savior.

Even the music feels like it’s been cribbed from previous movies in the same genre — Roc Chen’s score is like Hans Zimmer with emotional manipulation cranked up to 100 — but all of those familiar aspects don’t scuttle The Wandering Earth’s effectiveness as a box office behemoth. The movie’s a little silly, but it’s the perfect way to kill two hours with friends and a bucket of popcorn. Every beat is bigger and goofier than the last, to the point that it’s impossible not to cheer when — I’d say “if,” but the surprises in a movie like this aren’t in the destination but the journey — things finally work out. The film is spectacle after spectacle, and thank goodness for that.