有总比没有好！个人觉得吴京这句话真的很对，没有人尝试着去迈开第一步，那么我们永远不知道原来我们还可以在太空如此遨游！一直在想国外的科幻片总是将地球要毁灭什么的，英雄主义突出，保护地球全靠他们，但是在流浪地球中着实争口气！下面来看看流浪地球国外影评吧。
从《流浪地球》上映起，就引发了观众的热烈讨论，豆瓣评分也因此饱受争议。电影在美国上映后，外媒影评不少，可大多没眼看，实在偏颇。而且很多只是强调票房收入，没有从电影本身进行分析。好不容易找到一篇比较理智和严肃的美媒影评，和大家分享，当然，这是从美国观众角度来分析的。
故事情节有点儿熟
The entire space plot may feel suspiciously familiar to American audiences, who have a strong emotional touchstone when it comes to a calm-voiced computer in space telling a desperate astronaut that it can’t obey his orders, even when human lives are on the line, because it has orders of its own. MOSS even looks something like the HAL 9000 from 2001: A Space Odyssey: it’s represented as a red light on a gimbled panel, like a single unblinking, judgmental red eye.
整个太空部分的情节会让美国观众隐约觉得熟悉。而当一个电脑用平淡语调对绝望的宇航员说 即便人命攸关，亦不能从命，因为它有自己要遵守的命令的时候，美国观众马上就会意识到这的确是他们在以往电影里见过的情节。MOSS甚至在外观上都和《2001太空漫游》的人工智能HAL9000有几分相似：在平衡环架板上有一个红色的灯，就像一个不眨眼的，审视一切的红色眼睛。
But a good deal of Liu Peiqiang’s space adventure also plays out like a sequence from Alfonso Cuarón’s 2013 Oscar-winner Gravity, with dizzying sequences of astronauts trying to navigate clouds of debris and find handholds on a treacherous moving station while tumbling through space.
刘培强在太空部分的大块情节也和2013年奥斯卡获奖影片艾方索·柯朗的《地心引力》有相似之处，都是宇航员在太空中跌跌撞撞地行进时躲避飞来的残骸，尝试抓住处处是危险的移动空间站。
Meanwhile, the Earthside half of the mission resembles nothing so much as the 2003 nonsense-thriller The Core, about a team trying to drill their way to the center of the Earth to set the planet’s core spinning again. Liu Qi and Han pick up a few distinctive allies along the way, including biracial Chinese-Australian gadabout Tim (viral video star Mike Sui), but mostly, the characters are drawn as blandly and broadly as in any American action movie, and a fair number of them get killed along the journey without ever having developed enough personality for audiences to feel the loss.
同时，地球这边的人物又实在很像2003年的荒诞惊悚片《地心浩劫》，里面有个(六人)团队尝试钻进地心，让停转的地球重新转起来。刘启和韩朵朵在拯救地球的路上还多了几个能让观众记住的帮手，包括吊儿郎当的中澳混血Tim(饰演者是Youtube上的知名播主Mike隋）但大多数角色都像美国动作片里那样，平淡无奇，粗略模糊，大部分人都在观众还没搞清楚谁是谁，还不会为这些人的丧生感到难过的时候就领了盒饭了。
Pretty much any flaw The Wandering Earth can claim — flashy action scenes without much substance, a marked bent toward sticky sentimentality, an insistently pushy score that demands emotional response from the audience at every given moment — are familiar flaws from past blockbusters.
《流浪地球》的所有被诟病的地方 —— 华而不实的动作场景，刻意煽情，还有催促观众产生情感触动的无休止的背景音乐 —— 其实是所有叫座大片的共同缺点。
电影的优秀之处
Where the film really stands out, though, is in its eye for grandiose spectacle. Director Frant Gwo gives the film a surprising stateliness, especially in the scenes of the mobile Earth wandering the cosmos, wreathed in tiny blue jets that leave eerie space-contrails behind. His attention to detail is marvelous — in scenes where characters stand on Earth’s surface, contemplating Jupiter’s malicious beauty, the swirling colors of the Great Red Spot are clearly visible in reflections in their suit helmets.
电影真正优秀的地方在于，对宏大场面制作的用心。郭帆导演赋予这部电影的雄伟壮丽让人惊奇，特别是地球在宇宙中移动时，它被蓝色喷气流包裹着，后面带着一个瘆人的尾巴。郭帆对细节的注重让人惊叹 —— 地球上的人们站在地表，抬头凝望木星的亦邪亦美时，围绕巨大红色星球的漩涡颜色都反射在每个人的头盔上了。
一个字：美
No matter how familiar the plot beats feel, that level of attention not just to functional special effects, but to outright beauty, makes The Wandering Earth memorable. Not every CGI sequence is aesthetically impeccable — sequences like a vehicle chase through a frozen Shanghai sometimes look brittle and false. But everything having to do with Jupiter, Earth as seen from space, and the space station subplot is visually sumptuous. This is frequently a gorgeously rendered film, with an emphasis on intimidating space vistas that will look tremendous on IMAX screens.
不管情节让人感觉多么熟悉，郭帆用心的程度已经不只是为了实现功能特效，而是为了纯粹的美，这也是《流浪地球》让人印象深刻的原因。并不是每个电脑特效都在美学上无可挑剔 — 在冰封上海的逐车场景看起来就很不牢固，不够真实。但所有木星的场景，地球在宇宙中的场景，以及空间站的细节场景都是非常养眼的。电影的大部分场景都相当漂亮，凸显一个令人生畏的宇宙景观，在IMAX大屏幕上观看会十分过瘾。
And while the constant attempts to flee the destructive power of changing weather have their own echoes in past films, from The Day After Tomorrow to 2012, Gwo mostly keeps the action tight and propulsive. The Wandering Earth is frequently breathless, though the action occasionally gets a little muddled in editing. At times, particularly on the surface scenes where everyone is wearing identical pressure suits, it can be easy to lose track of which character is where. It’s often easy to feel that Gwo cares more about the collective rescue project than about any individual character — potentially a value that will work better for Chinese audiences than American viewers, who are looking for a single standout hero to root for.
虽然逃离气候变化所带来的灾难这样的情节在电影《后天》《2012》也都是出现过的，郭帆还是做到了让《流浪地球》里逃难的过程紧凑、推进快。电影大部分时间是紧张刺激的，尽管有时剪辑得有点儿乱。偶尔会因为人物衣着太过统一，让观众找不到主角去了哪。影片中能明显感觉到郭帆想突出的是一整个营救团队，而非一个人 —— 这很可能是更让中国观众产生共鸣的价值观，美国观众想看的往往是个人英雄主义。
出彩的地方是无声的时刻
But the film’s biggest strengths are in its quieter moments, where Gwo takes the time to contemplate Jupiter’s gravity well slowly deepening its pull on Earth’s atmosphere, or Liu Qi staring up, awestruck, at the gas giant dwarfing his home. In those chilly sequences, the film calls back to an older tradition of slower science fiction, in epic-scale classics like 1951’s When Worlds Collide or 1956’s Forbidden Planet. The interludes are brief, but they’re a welcome respite from chase sequences and destruction.
但是电影最大的亮点反倒是几个安静的时刻，像是凝望木星缓慢加大对地球大气的引力时，或像是刘启抬起头，目瞪口呆地看着地球和巨大木星的悬殊对比时。这些让人感到恐惧的情节会让观众回想那些节奏偏慢的老科幻作品，比如1951年的史诗巨制《世界大冲撞》或1956年的《禁忌星球》。 尽管《流浪地球》里这种间歇的镜头很短暂，但看多了追逐和灾难场面的观众，会渴望片刻的休息。
部分情节有点傻，有点尬
The Wandering Earth gets pretty goofy at times, with jokes about Tim’s heritage, or Liu Qi’s inexperienced driving and overwhelming arrogance, or with high-speed banter over an impossibly long technical manual that no one has time to digest in the middle of an emergency. At times, the humor is even a little dry, as when MOSS responds to Liu Peiqiang’s repeated rebellions with a passive-aggressive “Will all violators stop contact immediately with Earth?” But Gwo finds time for majesty as well, and makes a point of considering the problem on a global scale, rather than just focusing on the few desperate strivers who’ve tied the Earth’s potential destruction into their own personal issues.
流浪地球里面也有几个让人感到有点傻的情节，像是Tim的身世啊，刘启不熟练的驾车和他的狂妄自大啊，还有十万火急时还因为一本没人来得及读懂的技术手册而边高速行驶边斗嘴啊。不过，郭帆还是能找到机会把故事的格局做大，讲的是全地球共同的危机，而不是说地球的命运只跟少数几个人有关，让他们拼死冒险。
体现中美价值观的差异
Much like the Russian space blockbuster Salyut-7 was a fascinating look into the cultural differences between American films and their Russian equivalents, The Wandering Earth feels like a telling illustration of the similarities and differences between Chinese and American values. Gwo’s film is full of images and moments that will be familiar to American audiences, and it has an equally familiar preoccupation with the importance of family connections, and the nobility of sacrifice. But it also puts a strong focus on global collective action, on the need for international cooperation, and for the will of the group over the will of the individual.
正如从俄罗斯太空题材电影《礼炮七号》(或叫《太空救援》）能看出俄罗斯人和美国人价值观的差异，《流浪地球》也是中美价值观相似和相反的绝好例证。让美国观众感到熟悉的是郭帆电影的场景和情节，是对家庭的重要性的执着展现，是对自我牺牲的崇尚。但与他们价值观相悖的是，郭帆的电影强调全球共同行动，需要国际合作，集体意愿高于个人意愿。
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