导演拿着摄像机拍了一个美男纸12年，这样记录了成长的电影你怎能错过？尤其是它很可能包揽金球和奥斯卡的时候...先来看看影评，高冷一下吧！点击我们今天的微信有更多惊喜哦：搜索英语环球 NEWSPlus

When people talk about Richard Linklater's ground-breaking film "Boyhood", they always speak of the 12 years the project has spanned, as if time when it reaches certain scale acquires a magical ability to amplify the nature of things. In certain sense it is true. For example, solitude can be kind of sad, but if you add 100 years to it, you get the inconsolable sadness of a literary masterpiece.

But it is not always the case, a lot of us live to the age of 80 without achieving anything but sustained banality. Time does not automatically translate those unfruitful decades into polished brilliance. Richard Linklater's movie is intimately married to time, but it is something in the movie that keeps the marriage a happy union.

The excellence of "Boyhood" comes not only from the dogged perseverance and priestly devotion to keep the project going for 12 years, but from the ways in which ideas have been shaped and acted out, filmed and edited, before they are unveiled to the world.

Essentially a coming-of-age film about a boy who grows up to be a young adult under adverse circumstances, "Boyhood" was conceived by a director whose fascination with motion pictures takes on unique forms. His love for long-term projects has already been proved by the "Before …" films, but "Boyhood" obviously required more understanding and cooperation on the part of its cast members. Luckily, they not only went along with the plan, but also contributed precious ideas to the story they were telling.

Filming over such a large time span involves plenty of risks, for instance it is impossible to travel back in time for extra filming should something go missing in previous shooting. The director and cast members had to determine the basic plot at an early stage and stick to it with precision.

Such planning and execution bore fruit. At the end of the film, viewers are accustomed to the quiet, sensitive and thoughtful personality of the boy, partly because of the ever-improving skill of actor Ellar Coltrane, but also because previous events have all led up to the last scene. Dramatic, character-defining moments such as a row between the parents are important but easy to arrange; but subtle moments such as the kid's troubled look at the fighting parents are much more eloquent landmarks in character development.

"Boyhood" is a realistic chronicle of a boy's encounters as he gradually matures, the scenes are pieced together in such a way that perfectly accommodates the changes in the boy's physical appearance and intellectual makeup over the decade. Empathizing viewers could easily fall prey to its melancholy, the type of melancholy only hours of senseless social networking could avert.