【摘要】：威廉希尔app 整理了《人再囧途之泰囧》都是一部可笑的电影。两个中国人，同一个公司的同事比赛谁先找到泰国找到老板，争夺一项发明的授权。低俗的一部片子却成为中国最大票房黑马。
Lost in Thailand is by any measure a ridiculous movie. Two Chinese colleagues race to find their boss at a remote monastery in Thailand, battling bad traffic, gangsters, a snake, a kickboxer and, most important, each other, all in an effort to win the rights to an improbable invention: Super Gas, a liquid that turns a little bit of gasoline into a lot. Somehow it is doing ridiculously well. With a budget of less than $6 million, the film has earned $193 million since it opened Dec. 12, making it China’s most profitable film and pulling in more viewers than foreign hits such as Avatar and the third Transformers, according to a report in the Caixin business journal.
不管怎么说，《人再囧途之泰囧》都是一部可笑的电影。两个中国人，同一个公司的同事比赛谁先找到泰国找到老板。而老板在泰国一个偏远地区的寺庙，他们要面对糟糕的交通、对抗黑帮、大战毒蛇、对决泰拳拳手，而最重要的是，双方都不遗余力要争夺一项发明的授权。这项并不完善的发明叫油霸，它是一种液体，能够使少量汽油倍增。不知为何，这部电影票房好得不可思议。据《财新》商务期刊的报道，它的预算不到600万美元，但自12月12日上映以来，票房收入已达19300万美元，成为最赚钱的华语片，比外国大片如《阿凡达》和《变形金刚3》的观影人数还多。
While those films all relied on big-budget special effects, the action scenes in Lost in Thailand look like something out of a Leslie Nielsen film. The plot feels like a rehash of The Hangover Part II and Planes, Trains and Automobiles. Without a terribly original script or eye-catching pyrotechnics, what has made Lost in Thailand such a hit? It’s a question that the rest of the film industry badly wants to answer.
那些大片依靠的都是昂贵的特效，而《泰囧》中的动作场面却与莱斯利·尼尔森电影的风格异曲同工。剧情感觉像是《宿醉2》和《飞机、火车和汽车》的翻拍。《泰囧》的剧本并非创意十足，艺术技巧也并不引人入胜，是什么让它这么火?电影圈的看客们都急于回答这个问题。
Another popular theory among reviewers, social-media commenters and Chinese friends who have seen the film is that it cleaves to the experiences of average Chinese in a way that few films do successfully. The film is a successor to Lost on Journey, a send up of the tribulations that Chinese face each year when they travel home for the Chinese New Year. Lost in Thailand takes the same formula and transfers it abroad to one of Chinese tourists’ favorite destinations. Xu Lang, played by director Xu Zheng, is a savvy scientist transfixed on bringing his invention to market. He is racing his former friend and rival Gao Bo, played by actor Huang Bo, to find their boss at a rural Thai monastery to win approval of their respective development plans. On the flight, Xu meets Wang Bao, a simpleminded pancake maker from Beijing, clad in full tourist regalia, including the red hat from his tour group, and carrying a long list of goals for his voyage, including, of course, seeing Thai transvestites, or “ladyboys.” Wang, played by Wang Baoqiang, is something of a Chinese everyman, silly and easily mocked, wanting to photograph himself flashing a peace sign in front of everything, including the hotel chairs. But the obtuse pancake flipper has an honest heart and ultimately proves wiser than Xu or the comic villain Gao.
看过该片的影评人、社交媒体评论人和中国朋友则普遍认为该片贴近普通中国百姓的生活经历，而很少电影能够做到这一点。这部电影是《人在囧途》的续集，第一部以滑稽的风格再现了每年农历新年中国人回家不得不面对的旅途痛苦。《泰囧》采用了同样的套路，但把故事搬到了中国游客最热衷的一个目的地。徐朗由徐峥导演饰演，是一个精明能干的技术员，一心想把他的发明推向市场。他以前的朋友、现在的对手高博，由黄渤扮演。徐朗与高博比赛谁能先到达泰国一个农村的寺庙找到老板，并让他同意授权自己的开发计划。在飞机上，徐朗遇到了王宝，他来自北京，头脑简单，是卖葱油饼的。王宝的一身典型观光客的装备，包括头上戴着的旅行团的小红帽，手里拿着一张长长的旅游心愿清单，清单当然包括看泰国变性人，就是“人妖”。王宝，由王宝强扮演，一定程度上就是普通中国人的代表，笨笨的，常被嘲笑，到哪儿都要比个V字照张相，连旅馆的椅子都不放过。但这个傻傻的葱油饼小贩心眼实在，最终事实证明，他比徐朗跟那个反派高博都要高明。
The film has been largely well received in Thailand, which has cringed at the portrayal of over-the-top Bangkok nightlife in films like The Hangover Part II. But because of Chinese censorship, Lost in Thailand couldn’t get that crazy even if the filmmakers wanted to. So ladyboys are the subject of just one joke that cracks more fun at the wild imaginations of the Chinese characters than at Thai transvestites. A Bangkok Post columnist wrote that while it was easy to assume Lost in Thailand was “a mindless, lowbrow slapstick comedy with calamity, insensitive jokes against other people (and sometimes other countries),” it turned out “the movie is comparatively culturally sensitive.” A lesson, perhaps, for Hollywood.
这部电影在泰国非常受欢迎。它对泰国夜生活的描绘打了折扣，并不像《宿醉2》表现得那样没有节制。考虑到中国的审查制度，制片人即使有心，也不可能把《泰囧》拍得那么疯狂。所以人妖只是一个笑点，让观众对中国的主角们产生更多搞笑的遐想，而不是停在泰国人妖身上。《曼谷邮报》一个专栏作家评论道虽然人们很容易把《泰囧》看作“一部肤浅、粗俗的打闹喜剧，其中充斥着囧事，以及不顾及他人(有的是对其他国家)感受的笑话”，但是事实证明，“该片对其他文化还是很敏感和尊重的”，这一点，也许是好莱坞应该借鉴的地方。