3. The Bourne Supremacy¹ (2004)

《谍影重重2》（2004）

When Greengrass took the Bourne reins² over, he turbo-charged the pace of the contemporary action thriller³ and made it connect in a wholly new way with the world it wanted to be set in. This wasn't dumb or purely⁴ headlong speed, but a kind of intelligent velocity⁵. Many squirmed and struggled to keep pace.

格林格拉斯接棒伯恩之后，将这部现代动作惊悚片的节奏加快，以全新的方式与其设定的世界相连接。这样的节奏并不拙劣，或者操之过急，而是非常聪明。很多人会感到不安，跟不上节奏。

But if you threw yourself into the film the way Greengrass intended, the sense of acceleration⁶ felt like a chemical upgrade to the synapses⁷: the whirl of detail, sound and ever-present threat ushered⁸ in a new age for verité suspense⁹.

但如果你按照格林格拉斯设计的方式去欣赏影片，那种加速的感觉好像让你的感官得到升级：片中的细节、声音以及永远存在的威胁交织成一个漩涡，为真实悬疑电影开辟了一个新时代。

4. Crouching¹⁰ Tiger, Hidden Dragon (2000)

《卧虎藏龙》（2000）

Somewhere in the unusual hinterland between Oscar-courting prestige art film and delirious¹¹ blade-swishing extravaganza, Ang Lee managed to, an absolutely whopping global hit which ushered Western viewers very consciously into the scenic¹² glories of its Qing dynasty. Without it, Zhang Yimou's subsequent Hero (2002) and House of Flying Daggers¹³ (2004) probably wouldn't have charged into the fray¹⁴ either.

李安的《卧虎藏龙》介于追求奥斯卡声望的艺术电影和舞刀弄剑的视觉盛宴之间，这种创新的题材与众不同。该片在全球热映，让西方观众在不知不觉间领略了清朝的秀丽风光。如果没有《卧虎藏龙》，可能就没有张艺谋的同类题材作品《英雄》（2002年）、《十面埋伏》（2004年）与之媲美。