搬運自：微信公眾號【評論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

翻譯：Ivory Ye

校正：Ryan-Chopin

排版：Ryan-Chopin

Ariana Grande executive produces the latest entry into the pop-camp franchise, but the collection feels warmed over, too glossy, and only remedially empowering.

由Ariana Grande擔(dān)綱制作人的這張電影原聲帶，融入了流行和坎普元素，但風(fēng)格老套，內(nèi)容浮華，僅能起到撫慰情感之用。

Pop music shows up in prominent and irreverent ways within the?Charlie’s Angels?universe. The original TV show’s brassy?theme song?is as indelible as the image of the franchise’s three detectives in silhouette, and the campy film reboot in 2000 used a wealth of inspired syncs: a high-flying alleyway?battle?set to?the Prodigy; Sam Rockwell?shimmying?in his evil lair to?Pharoahe Monch; even Cameron Diaz doing the whitest?Soul Train?routine?of all time to Sir Mix-A-Lot. That lovable version of the crime-fighting Angels, of course, also brought about “Independent Women (Part 1),” Destiny’s Child’s inescapable tie-in empowerment anthem that became the longest-running No. 1 of that year and the group’s most successful crossover single ever.

在《Charlie’s Angels（霹靂嬌娃)》影片中，流行音樂登臺方式不同常規(guī)，十分亮眼。原版電視劇中低沉的主題音樂亦如三位女偵探的背影難以忘懷。2000年重啟版電影風(fēng)格古怪搞笑，大量鏡頭受音樂啟發(fā)，與之同步進行：高空巷戰(zhàn)與Prodigy相襯；在藏身處Sam Rockwell的希米舞呼應(yīng)Pharoahe Monch，甚至Cameron Diaz也從白人的視角重現(xiàn)了Soul Train的經(jīng)典動作，致敬Sir Mix-A-Lot。當(dāng)然，對抗邪惡勢力的天使們?nèi)侨颂蹛?，搭配Destiny’s Child的《Independent Woman (Part 1)》出場。這首標志性的頌歌不僅是當(dāng)年在榜首停留最久的單曲，也是該組合最受歡迎的轉(zhuǎn)型單曲。

It’s an inevitably long shadow for?Ariana Grande, who enters the fray this month by executive producing the soundtrack for an Elizabeth Banks-directed update coming to theaters. Brought in to represent “not just the theme of the movie but the audience,” Grande is a natural fit for 2019’s Angels, with enough effortless charm and cultural cachet to hold court over the soundtrack’s assembly of high-wattage, all-women guest stars. Yet for all of its promise in the wake of Grande’s slinky, accomplished?thank u, next?earlier this year,?Charlie’s Angels?instead smooths over any and all hard edges, opting for big-budget pop grabs and glossy filler that undermine the impressive lineup of talent.

對Ariana Grande而言，本月無疑是痛苦、漫長的。因為Elizabeth Banks執(zhí)導(dǎo)的影片即將上映，而由她負責(zé)的電影原聲帶也進入了馬不停蹄的制作階段。她不愧是2019版《霹靂嬌娃》原聲帶的最佳人選，如愿展現(xiàn)影片主旨的同時，也傳達了觀眾心聲。瀟灑自如的魅力以及樂壇聲望，足以使觀眾的目光從音樂或全女星陣容聚焦于她一人。盡管今年早些時候發(fā)布的《thank u, next（謝謝你，下一個）》風(fēng)格柔媚、才華橫溢，頗具成功之勢，但高成本制作的《霹靂嬌娃》原聲帶華而不實，削減了歌曲的強硬風(fēng)格以及豪華陣容的震撼力。

Grande addresses the “Independent Women” elephant head-on with “Don’t Call Me Angel,” a drab pop collaboration between herself,?Miley Cyrus, and?Lana Del Rey. With a narcotized delivery and hammering metallic bells, “Don’t Call Me Angel” will absolutely be forgotten in each artists’ respective discographies within the year, and for good reason: Where Destiny’s Child organically drew on female empowerment by speaking directly to a generation of working women and encouraging them to command authority, Grande’s song slings demands exclusively at men in its confounding bid for control. It’s only empowering at the most remedial level.

在Grande眼中，《Independent Women》就像頭大象，迎面撞擊她和Miley Cyrus、Lana Del Rey合作的流行歌曲《Don’t Call Me Angel（別叫姐天使）》。后者表演風(fēng)格令人麻木，金屬鈴鐺的敲擊聲毫無新鮮感，無疑會被淡忘在三位歌手的年度作品集中。此外，雖然兩首歌都表達了要加強女性權(quán)力的呼聲，但Destiny’s Child直面職業(yè)女性，鼓勵她們把握主權(quán)，而Grande則把需求統(tǒng)統(tǒng)拋向男性。相比之下，后者僅起到了療傷的效果。

The balmier pop-R&B cut “Bad to You,” with Grande regulars?Normani?and?Nicki Minaj, coasts on better chemistry and Normani’s swooning voice, plus some outsized Max Martin production. Nevertheless, with Minaj sleepwalking through her verse and lyrics that once again exclusively chide male partners, it barely rises above mid-tier. The rest of Grande’s braintrust of collaborators fare better:?Victoria Monét?joins her for the trappy “Got Her Own,” bouncing featherlight vocal runs off each other like they’re in a round of badminton. And “How I Look on You,” Grande’s only solo feature, is a self-reflexive dark pop highlight, ripped through with a sluggish guitar line, trap snares, and sharp rejoinders to a character who finds her star power more appealing than her personality. It may be microwaved?thank u, next, but it’s still a solid reminder of Grande’s songwriting finesse when she isn’t mobbed by guests.

《Bad to You》兼具流行和藍調(diào)元素，能撫慰心靈。它由Grande和老搭檔Normani、Nicki Minaj共同演繹。三人碰撞出別樣的火花，Normani醉人的嗓音以及Max Martin宏偉的制作使這首歌好評如潮。可是，在主歌和歌詞部分Minaj再次把矛頭指向男同胞，使得歌曲勉強處于中上水平。Grande同其他搭檔演繹的作品更為精彩：她與Victoria Monét一同演唱《Got Her Own》，兩人輕柔的嗓音相互映襯，如同羽毛球一來一回。她的獨唱曲目《How I Look on You》是首美妙絕倫的黑暗流行樂。緩慢的吉他，trap風(fēng)格的軍鼓以及對內(nèi)心世界的探尋一氣呵成，表達了主人公對自身的清晰認知：人氣高于個性。這首歌或許是低配版的《thank you, next》，但它仍強有力地展現(xiàn)出Grande在沒有觀眾時高超的作曲能力。

Because for as stacked as the?Angels?tracklist is, listening to it in full feels unhinged: There’s “Nobody,” a forgettable house-pop song with?Chaka Khan?that somehow bears zero relation to “Ain’t Nobody” and which?not even Khan herself can bother feigning excitement for. It’s as doomed as an obligatory EDM-lite remix of?Donna Summer’s “Bad Girls,” or the overproduced squad feature that opens the album with literal fanfare, “How It’s Done,” which finds?Kash Doll?and?Stefflon Don?trying their best under?Kim Petras’ big, shouty chorus. That kind of keyed-up energy that spans the soundtrack might be electrifying—or at least make some sense—during an action sequence in the film. On its own, it just scans as low-grade exhausting.

盡管這張原聲帶曲目豐富，但一次性聽完會產(chǎn)生錯亂之感。首先Grande和Chaka Khan合唱的浩室曲風(fēng)歌曲《Nobody》平淡無奇，和《Ain’t Nobody（沒有人）》無相通之處，甚至Khan本人也對此毫無興趣，這注定了它難以風(fēng)靡開來。類似的還有我們意料之中用了EDM混音演繹的Donna Summer作品《Bad Girls（壞女孩）》，以及專輯開頭為了達到“號角齊鳴”效果制作過度的《How It’s Done》。從中你能聽出Kash Doll和Stefflon Don在Kim Petras高亢嘈雜的背景聲中努力地合唱。結(jié)合影片的動作鏡頭，這股激昂的能量或許能讓你熱血沸騰，至少它是符合電影情節(jié)的。但僅聽歌曲本身，容易讓人產(chǎn)生疲憊之感。

The most vexing aspect of this?Charlie’s Angels?soundtrack is that the levity and camp at the heart of the series never comes into focus. The truth is that Grande?is?a perfect choice for the film and its audience: a bona fide pop idol, wunderkind, and businesswoman with a sharp sense of humor and a cohort of multitalented women in her inner circle—all elements that could have led to an artfully playful soundtrack that breathed new life into an iconic, female-fronted, big-budget action machine. But with an outcome this ordinary, it just sounds like Grande is cashing in.

《霹靂嬌娃》原聲帶最迷惑的點在于幽默和坎普的核心風(fēng)格始終沒有突顯。對影片和觀眾而言，Grande確實是最佳人選：流行偶像、天后以及企業(yè)家的多重身份，天生的幽默感，多才多藝的女性搭檔。這些特質(zhì)本該使唱片美妙動人，富含趣味，為這部以女性引領(lǐng)的大制作動作電影帶來新的活力。但就現(xiàn)在這個極其普通的成品來看，Grande好像只顧著賺錢了。