3. The Bourne Supremacy (2004)
《諜影重重2》（2004）

When Greengrass took the Bourne reins over, he turbo-charged the pace of the contemporary action thriller and made it connect in a wholly new way with the world it wanted to be set in. This wasn't dumb or purely headlong speed, but a kind of intelligent velocity. Many squirmed and struggled to keep pace.
格林格拉斯接棒伯恩之后，將這部現(xiàn)代動(dòng)作驚悚片的節(jié)奏加快，以全新的方式與其設(shè)定的世界相連接。這樣的節(jié)奏并不拙劣，或者操之過急，而是非常聰明。很多人會(huì)感到不安，跟不上節(jié)奏。

But if you threw yourself into the film the way Greengrass intended, the sense of acceleration felt like a chemical upgrade to the synapses: the whirl of detail, sound and ever-present threat ushered in a new age for verité suspense.
但如果你按照格林格拉斯設(shè)計(jì)的方式去欣賞影片，那種加速的感覺好像讓你的感官得到升級(jí)：片中的細(xì)節(jié)、聲音以及永遠(yuǎn)存在的威脅交織成一個(gè)漩渦，為真實(shí)懸疑電影開辟了一個(gè)新時(shí)代。

4. Crouching Tiger, Hidden Dragon (2000)
《臥虎藏龍》（2000）

Somewhere in the unusual hinterland between Oscar-courting prestige art film and delirious blade-swishing extravaganza, Ang Lee managed to, an absolutely whopping global hit which ushered Western viewers very consciously into the scenic glories of its Qing dynasty. Without it, Zhang Yimou's subsequent Hero (2002) and House of Flying Daggers (2004) probably wouldn't have charged into the fray either.
李安的《臥虎藏龍》介于追求奧斯卡聲望的藝術(shù)電影和舞刀弄?jiǎng)Φ囊曈X盛宴之間，這種創(chuàng)新的題材與眾不同。該片在全球熱映，讓西方觀眾在不知不覺間領(lǐng)略了清朝的秀麗風(fēng)光。如果沒有《臥虎藏龍》，可能就沒有張藝謀的同類題材作品《英雄》（2002年）、《十面埋伏》（2004年）與之媲美。