《经济学人》影评人真的越来越装？数据揭开二十年评分真相 [B

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P1	《经济学人》影评人真的越来越装？数据揭开二十年评分真相 [B	7:29

P1 · 《经济学人》影评人真的越来越装？数据揭开二十年评分真相 [B2] p01 原声 (P1)

《经济学人》影评人真的越来越装？数据揭开二十年评分真相 [B2] p01 原声 (P1)

发布于 2026-11-01 · 时长 7:29

字幕摘录

时间	英文	中文
0:06	ENTERTAINMENT The good and the… not great.	军备善良和... 不伟大。
0:12	Are film critics as snooty and out of touch as people think?	影评人是否像人们所认为的那样自以为是和不相干?
0:18	Whether a film is good enough to warrant a trek to the cinema is not always easy to ascertain.	一部电影是否足够好,可以去电影院旅行,并不总是容易确定的.
0:24	Recently viewers have praised Digger, a satirical black comedy about a wealthy oil tycoon whose	最近有观众赞扬迪格尔, 一个讽刺的黑色喜剧关于一个富有的石油大亨
0:30	company triggers an environmental catastrophe.	公司引发环境灾难。
0:33	It has a 76% audience approval score on Rotten	观众对罗腾的支持率是76%
0:37	Tomatoes, a review aggregator.	番茄,一个评论汇总器。
0:40	But critics did not dig the film.	但影评人并不欣赏这部电影.
0:42	Only 53% reviewed it positively,	只有53%的人评价过
0:46	complaining it was ponderous and preachy.	抱怨说,那确是沉思和传道的。

展开字幕全文（116 条）

序号	英文	中文
1	ENTERTAINMENT The good and the… not great.	军备善良和... 不伟大。
2	Are film critics as snooty and out of touch as people think?	影评人是否像人们所认为的那样自以为是和不相干?
3	Whether a film is good enough to warrant a trek to the cinema is not always easy to ascertain.	一部电影是否足够好,可以去电影院旅行,并不总是容易确定的.
4	Recently viewers have praised Digger, a satirical black comedy about a wealthy oil tycoon whose	最近有观众赞扬迪格尔, 一个讽刺的黑色喜剧关于一个富有的石油大亨
5	company triggers an environmental catastrophe.	公司引发环境灾难。
6	It has a 76% audience approval score on Rotten	观众对罗腾的支持率是76%
7	Tomatoes, a review aggregator.	番茄,一个评论汇总器。
8	But critics did not dig the film.	但影评人并不欣赏这部电影.
9	Only 53% reviewed it positively,	只有53%的人评价过
10	complaining it was ponderous and preachy.	抱怨说,那确是沉思和传道的。
11	Fans calling themselves Digger Nation have mobilized	粉丝自称是掘墓者已经动员起来
12	online to defend the movie.	在网上为电影辩护。
13	Signals about film's quality can be confusing to decipher.	有关胶片质量的信号可以混淆为解密.
14	In April	4月时
15	fans judged a biopic of Michael Jackson to be a thriller, with 97% of them enjoying it.	粉丝们将迈克尔·杰克逊的生动画评为惊悚片,其中97%享受.
16	But most critics thought Michael was bad.	但大多数批评家认为迈克尔是坏人.
17	In January, Melania, a documentary about	1月,梅拉尼亚,一部关于
18	America's First Lady, reflected the politically polarized times with a 90-point gap.	美国第一夫人,以90分的差距反映了政治上两极分化的时代.
19	An absolute masterpiece, gushed one audience member.	一个绝对的杰作, 涌出一个观众成员。
20	Gilded垃圾, 守护者说。
21	Critics and audiences have often failed to see eye to eye.	批评家和观众往往视而不见。
22	The history of film criticism is	电影批评的历史是
23	littered with judgments that aged badly.	充满了过时的判断
24	Pity the reviewer who dismissed Citizen Kane, now considered	可惜驳回公民凯恩案的审查员
25	one of the greatest films ever made, as well-intentioned, muddled, amateurish.	有史以来最伟大的电影之一, 以及善意的,泥巴的,业余的。
26	Today many think that critics seem out of step, perhaps more than ever before.	今天,许多人认为批评者似乎步入歧途,也许比以往任何时候更为严重。
27	But are they really?	但他们是真的吗?
28	To test whether critical and popular opinion are drifting apart,	为了检验批判和民意意见是否飘散
29	the Economist compiled two decades of reviews of more than 10,000 films, from Metacritic,	"经济学人"编纂了20年的评论超过10,000部电影, 来自Metacritic,
30	an aggregator site.	一个集合网站。
31	We did not use Rotten Tomatoes because the website changed its audience score	我们没有使用罗腾番茄,因为网站改变了观众得分
32	methodology in 2019.	2019年的方法。
33	Then we matched the reviews with box office data from the Numbers, a film	然后我们把评论与票房数据比对从数字,一部电影
34	industry database.	工业数据库。
35	Talk of a critic-audience divide, it turns out, is overblown.	说一个批评者-观众的鸿沟,结果发现,是夸张的。
36	For most	对大多数
37	of the past 20 years reviewers and moviegoers have been in broad agreement.	过去20年中,审查者和电影制作者已达成广泛一致。
38	Around a decade ago	大约十年前
39	their views began to diverge, but by 2025 critic and audience ratings were more aligned than at	他们的观点开始出现分歧,但到2025年,评论家和观众的收视率比
40	any point since 2005.	自2005年以来的任何一点。
41	The real difference is not how critics and audiences rate films, but which	真正的区别不是评论家和观众如何评分电影,而是
42	films they rate.	他们拍的电影。
43	For every 10 audience reviews of a documentary, there are six from critics.	每10名观众评论一部纪录片就有6名来自批评家.
44	For dramas and comedies there are around three, and for action less than one.	对于戏剧和喜剧,有大约3个, 对于动作少于一个。
45	Foreign language	外语
46	and low-budget films attract disproportionately more attention from critics than from audiences.	与观众相比,低预算电影吸引了过多的批评者关注。
47	Critics and audiences may gravitate towards different films, yet their judgments often align.	批评者和观众可能会向不同的电影倾斜,然而他们的判断往往一致.
48	Between 2005 and 2016 the correlation between critic and audience scores, where zero implies	从2005年到2016年评论家和观众的关联性
49	no relationship and one means the scores move perfectly in step, averaged around 0.6.	没有关系一个意味着分数完全步入正轨平均在0.6左右
50	Then opinions began to diverge.	后来意见开始分歧.
51	Before 2017 a 10-point increase in a film's audience score	2017年之前,电影观众分数增加10分
52	was associated with a 10-point increase in its critic score.	和批评者得分增加10分有关
53	Over the next six years that figure	在接下来的六年里,这个数字
54	fell to just 8 points.	跌到8点
55	The correlation between critic and audience scores also dropped from 0.6	评论家和观众的得分之比也从0.6下降。
56	to around 0.5.	到约0.5。
57	In short, critics' enthusiasm for a film told you less about how much viewers liked	简而言之,批评家对一部电影的热情并没有告诉你有多少观众喜欢
58	it.	这个
59	To understand why we tested a few hypotheses.	来理解我们为什么测试一些假设.
60	The first was that the mix of films had changed,	第一,电影的组合已经改变,
61	as film critics and audiences turned to agree more on some genres than others, but changes in	因为影评人和观众更同意一些流派而不是其他,
62	genre, budget, sequel status, and studio did little to explain the degree of disagreement.	流派,预算,续集状态,和工作室都很少解释分歧的程度.
63	In fact, much of the divergence happened within two of Hollywood's biggest categories – big	事实上,这些分歧大多发生在好莱坞最大的两大类别之中,即:
64	budget action and family films.	预算行动和家庭电影。
65	Before 2017 critics' opinions of these films tracked audience	在2017年之前,批评者对这些电影的看法跟踪观众
66	opinions about as closely as they did for any other genre.	对其他流派的看法和他们对其他流派的看法一样密切
67	Between 2017 and 2022, however,	但在2017年至2022年间,
68	that relationship collapsed.	关系崩溃了
69	Critics' scores on such releases were a poor guide to how audiences	批评者在这种发行上的分数不足以指导观众
70	would rate them.	会给他们评分的
71	All told, we estimate, that roughly 43% of the divergence between critics	据我们估计批评者之间的分歧大约有43%
72	and audiences was concentrated in these two types of film.	观众集中在这两类电影中
73	Most industry experts attribute the	大多数行业专家认为
74	deviation to franchise fatigue.	偏离到特许疲劳。
75	Film reviewers got tired of superhero movies before the general	影评人厌倦了超级英雄电影在将军之前
76	audience did, says Bruce Nash of The Numbers.	观众是这么说的 "数字报"的布鲁斯·纳什
77	It gets boring, says Mathias Frey of City St	城市街的马蒂亚斯·弗雷说这很无聊
78	University of London if you're seeing Fast and Furious 23 or Avengers Part 27.	伦敦大学,如果你看到快怒23 或复仇者部分27。
79	Political	政治
80	polarisation may have also played a part.	极化也可能发挥了作用。
81	When studios cast more female and minority actors	当工作室推出更多的女性和少数群体演员时
82	像Marvel Studios和Marvel队长一样以大预算为中心
83	its first female-led film, which was described as a big feminist movie, audiences tend to be	其第一部女性主导的电影被描述为一部大型女权主义电影观众倾向于
84	more critical.	更关键。
85	Since 2022 critics and audiences have found more common ground.	自2022年以来,批评家和观众找到了更多的共同点.
86	Across all major	在所有重要领域
87	genres, the correlation between their ratings now sits at nearly 0.7.	流派,他们收视率的关联度现在几乎为0.7。
88	Some reckon the film	有人会看电影
89	industry's woes may be a factor.	工业的不幸可能是一个因素。
90	Reviewers may be going easier on films they would once have panned.	评论家们可能比较容易拍到他们曾经拍过的电影。
91	There is this idea that there's an existential crisis in movies and that may be changing the	这种想法是电影中存在危机可能正在改变
92	operate, says Daniel Paris, a data scientist.	丹尼尔·帕里斯说数据科学家
93	James McMahon, an entertainment researcher, agrees	娱乐研究者詹姆斯·麦克马洪同意
94	as a critic, if you crap on every movie you may be thinking the very thing that you really love.	作为一个评论家,如果你在每部电影上拉屎, 你可能会在想你真正爱的东西。
95	Journalism's woes may be a factor too.	新闻界的灾难也可能是一个因素。
96	The era of the esteemed staff reviewer is long over.	尊敬的工作人员审查员的时代早已过去。
97	The last movie critic, a documentary about Roger Ebert, puts it bluntly.	最后一部影评人,一部关于罗杰·埃伯特的纪录片,直截了当地说.
98	Publications have laid	已经出版
99	off scores of arts journalists.	关闭几十个艺术记者。
100	Those who remain must compete with influencers and podcasters to	留下来的人必须与影响者和播客竞争
101	take part in the cultural conversation.	参加文化对话。
102	They cannot afford to ignore the biggest blockbusters	他们不能忽视最大的破坏者
103	or write only for the connoisseurs.	或只为传教士写作。
104	All this raises the question of what film critics are	所有这一切引起了一个问题谁是影评人
105	for today.	为今天。
106	Our data suggests they still have commercial clout.	我们的数据显示他们还有商业影响力
107	We found that higher critic	我们发现那个高级评论家
108	scores are associated with significantly higher ticket sales in America, even after controlling	得分与美国票价大幅提高有关即使在控制之后
109	for factors including genre and budget.	包括流派和预算因素。
110	Their allure is also intellectual.	他们的吸引力也是知识分子
111	Critics get you	批评你
112	thinking about things that you might not have thought about, says Kevin Gertz, an entertainment	想想你可能没想过的事凯文·格兹说是个娱乐
113	researcher.	研究员
114	Many read reviews only after they have seen a film, as a way of extending the experience,	许多人在看过电影后才阅读评论,
115	positive or negative.	阳或阴.
116	Everyone can appreciate a good roast.	每个人都可以欣赏一个好烤肉。

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