The movie opened just 1 percent below the 55.79 million dollars debut of October record holder Gravity back in 2013. The comparison was especially impressive given that The Martian did not have the advantage of higher priced IMAX admissions that Gravity had. It also opened 16 percent ahead of the 47.51 million dollars debut of last year s space film
Interstellar
.
The possibility that such a "you" might be out there, in a position to grant clemency, is one of the movie's tantalizing puzzles. Some kind of message seems to be coming across the emptiness of space and along the kinks in the fabric of time, offering a twinkle of hope amid humanity's rapidly darkening prospects. For most of "
Interstellar
," the working hypothesis is that a benevolent alien race, dwelling somewhere on the far side of a wormhole near one of the moons of Saturn, is sending data across the universe, encrypted advice that just may save us if we can decode it fast enough.
The film is at its strongest when it remains Earthbound (however ironic that may sound for a film about
interstellar travel
). When the focus is on tragedy - a loving father potentially leaving his children forever with no guarantee that his sacrifice won't be in vain - Interstellar shows an emotional heft. Even when the film throws out typical sci-fi tropes (the nature of time and space, the place of humanity in the universe) for viewers to think about, Nolan explores these ideas in human terms.
但我也同意你对我的《
星际穿越
》观点做出的修正:诺兰的科幻构想虽然偶有带宗教色彩的元素,但基本上是自由意志主义的右翼,而不是宗教或社会保守主义的调子。我不知道自己能否像Dissolve网站上的一篇文章那样,把该片说成是一个证据,证明了导演是个"铁杆唯物主义" - 片中有太多黏糊糊的、关于爱的宇宙能量的东西了 - 但是最起码,他煞费苦心,试图把片中最大的谜团解释为一种自然力量,而非神迹,即使这样做需要进行一些牵强附会,致使我觉得片子的结尾本来可以很完美,现在就没有那么完美了。是的,该片的部分乐观幻像,尤其是最后阶段,明显也是超人类主义的,自由意志主义者往往会赞赏它,但大多数的宗教保守派至少可以说是怀疑它。(我之所以在讨论这部电影时谈到彼得·蒂尔[Peter Thiel]想法,这也是另一个原因,因为他把一些用来反停滞论的种子资金投入到了超人类主义的项目里 - 虽然,话又说回来,他也算是某种宗教信徒。)
But I also agree with your emendation to my point about "
Interstellar
": Nolan's sci-fi vision, despite occasional spiritual-ish elements, is basically right-wing in a libertarian rather than a religious or socially conservative key. I don't know if I'd quite describe the film as a proof that its director is a "die-hard materialist," as this Dissolve essay does - there's too much gooey stuff in there about the cosmic power of Love - but at the very least he's at pains to try to keep his biggest mysteries somehow natural rather than divine, even when doing so requires a kind of jerry-rigging that I thought made the ending less perfect than it could have been. And yes, part of the movie's optimistic vision, especially at the end, is also plainly transhumanist in a way that libertarians tend to appreciate but most religious conservatives consider, well, suspect to say the least. (Which is another reason I name-checked Peter Thiel's ideas in discussing the film, since some of his anti-stagnationist seed money has gone to transhumanist projects - though, to bring things full circle, he's also some sort of religious believer as well.
Globes voters, which are typically eager to lean into commercial hits (as they did on Thursday with "Gone Girl," giving it four nominations, a strong showing), only found Christopher Nolan's "
Interstellar
" worthy of a lone nod, for best score. "Wild" stayed alive, but only barely, receiving a single nomination, for its actress, Reese Witherspoon.
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