内容来源：https://www.theverge.com/entertainment/996499/ai-odyssey-movie-review

内容总结：

一部由人工智能全程生成的《奥德赛》题材电影《奥德修斯：陨落》近日上线，片长2.5小时，租看价格9.99美元，仅支持网页浏览器观看。该片由AI公司Fountain 0制作，公司联合创始人阿什·库沙兼任编剧、导演，并用自己的形象生成主角，还包办了全部配乐。制片方称其为“首部达到好莱坞大片水准的完全AI生成电影”，但实际效果与这一说法相去甚远。

影片最大的问题在于画面一致性极差。独眼巨人身高在不同镜头中不断变化，海浪方向与风向相反，角色口型与台词对不上，有时嘴在动却没有声音，船桨在划动中弯曲变形。一场舰队航行的戏里，有一艘船莫名其妙地横向移动。AI生成的旁白有时难以听懂，“奥德修斯”和“宙斯”的名字在不同段落中被读错。

由于当前AI模型只能生成几秒钟的连续画面，整部电影更像是把《奥德赛》的片段毫无逻辑地拼接在一起。不熟悉原著的观众很难看懂剧情，连珀涅罗珀的求婚者这一关键情节都拖到影片快结束时才出现。角色的“表演”同样生硬，人物会无缘无故停顿数秒，笑声突兀地爆发。动作场面毫无重量感，怪物看起来像上世纪30年代的粗糙定格动画，与AI生成的平滑逼真的人类角色放在一起，观感既割裂又丑陋。

导演库沙称自己“多年前初读荷马史诗便一直怀有热情”，但该片更像是借诺兰新片《奥德赛》带来的热度进行商业蹭热点。将这部AI作品与诺兰坚持人工匠艺、备受评论与市场认可的影片相提并论，从一开始就令其处于极为不利的位置。《奥德修斯：陨落》的存在显示出对电影媒介的轻视，试图用极少数人产出的内容取代数百名专业工作者的劳动。影片质量之差，反而让人更加珍视人类创作的艺术。

中文翻译：

克里斯托弗·诺兰对《奥德赛》引人入胜的演绎称霸票房，并激发了观影者对经典文学的全新兴趣。但一部完全由AI制作的新版改编电影实在太烂，以至于可能让观众彻底厌恶原版故事。

这部2.5小时的AI生成《奥德赛》电影，长了整整2.5小时

用AI垃圾去挑战克里斯托弗·诺兰，实属不明智之举。

这部名为《奥德修斯：陨落》的新片出自AI公司Fountain 0之手，由公司联合创始人阿什·库沙担任编剧和导演，他还将自己的形象赋予了主角，并创作了全部配乐。（该片的演职员表非常短。）这家工作室此前唯一的作品是一部名为《紫罗兰之梦》的AI电影，于今年早些时候入围了翠贝卡电影节。从表面上看，《陨落》是一个雄心勃勃得多的项目，被宣传为“首部以好莱坞大片水准制作的完全由AI生成的电影”。而实际上，它跟“好莱坞大片水准”差了十万八千里。这或许并不令人意外，但在看完整整2.5小时的作品后，我仍然不断被震惊——事情竟然还能更糟。《陨落》完全不是对AI电影制作未来的一瞥——它只会让你怀疑，这个领域到底有没有未来。

该片目前可以以9.99美元的价格租赁观看，据我所知，只能通过网页浏览器观看。为了在我客厅的电视上播放，我不得不从手机投屏，这可算不上70毫米IMAX的体验。按下播放键后，情况也没好到哪里去。

《陨落》主要受两个问题困扰。第一个是一致性。影片中的世界不断变形，到了令人极度分神的程度。困住奥德修斯及其手下的独眼巨人，身高在每个镜头之间都在变化；海浪的方向与风向相反；角色的嘴型与所说的话对不上（有时嘴巴在动却完全没有声音）；水手划桨时船桨会弯曲扭动。有一个场景中，一支庞大的船队在大海上竞速，其中一艘船莫名其妙地横向移动。AI生成的旁白有时难以听懂，而且在多个地方，奥德修斯和宙斯的名字都被念错了。

如果只是偶尔出点小差错，或许还能理解，但《陨落》中的硬伤实在太多，让人很难专注于其他任何东西。我和13岁的孩子一起看了这部电影，基本上变成了一场“找最离谱错误”的游戏。我注意到一把剑神奇地变成了一把匕首，然后她胜我一筹，发现了一具外星人尸体在火上烤着。《陨落》看起来就像是一部专门用来证明剧本统筹这个职位为何存在的电影。

问题是，虽然所有AI引发的错误都很让人出戏，但它们同时也是这部电影最有娱乐性的部分。《陨落》里其实没什么别的东西可以让你分心，因为它实在太沉闷了。由于当前的AI模型实际上只能生成持续几秒钟的场景，整部电影感觉就像是从《奥德赛》中截取了一个个片段，然后毫无章法地拼凑在一起。如果你在观影前不了解这个故事，我觉得你根本搞不清楚发生了什么，因为影片几乎没有任何解释。你甚至要到电影快结束时才知道佩涅洛佩的追求者们。

我也想不出《陨落》有任何一个方面是因为AI而变得更好的。“表演”糟糕得令人费解，角色会毫无理由地停顿好几秒，突如其来的笑声会让你猛地出戏。动作毫无重量感，仿佛这个故事发生在一个物理和重力只是建议而非定律的世界里。同样，也没有什么不借助这项技术就无法实现的酷炫或震撼的效果。怪物看起来像是1930年代的劣质定格动画生物，当它们被放在AI生成的平滑、超写实的人类角色旁边时，就显得更加诡异了。这不仅仅是突兀，更是无聊又丑陋。

库沙声称他改编这个故事是因为他“自从多年前第一次读到荷马史诗以来，就一直对这部史诗充满热情”。但更有可能的是，他想借着诺兰电影制造的热度和声势蒙混过关，把AI垃圾变成当代版的“直接发行录像带”式的圈钱之作。但这也让这部电影从一开始就处于极其不利的位置，因为它不可避免地会被拿来与近年来评论和商业上最成功的电影之一作比较——而那部电影之所以特别受喜爱，正是因为导演坚持人类手工创作。诺兰是一个对电影充满深切关怀的人，正是他的热情和热忱让明星们愿意与他合作，让观众蜂拥进影院观看他的电影。

而《陨落》的存在，则显示出对电影这种媒介的彻底蔑视，试图将数百名技艺精湛的从业者的工作浓缩为一小支团队产出的垃圾。它烂到会让你更加珍视人类创作的艺术。

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英文来源：

Christopher Nolan’s engrossing take on The Odyssey dominated at the box office and spurred a newfound interest in classic literature among filmgoers. But a new retelling of the story made entirely with AI is so bad that it might just make viewers hate the original tale altogether.
The 2.5-hour AI-generated Odyssey movie is 2.5 hours too long
Going up against Christopher Nolan with AI slop was ill-advised.
Going up against Christopher Nolan with AI slop was ill-advised.
The new film, called Odysseus: The Fall, comes via AI firm Fountain 0 and is written and directed by company cofounder Ash Koosha, who also lent his likeness to the title character and created all of the music. (The film’s credits are very short.) The studio’s only previous work is an AI film called Dreams of Violets that made it into Tribeca earlier this year. The Fall is, on its face, a much more ambitious project, billed as “the first completely AI generated film produced at the level of a Hollywood blockbuster.” In reality, it’s nothing close to “the level of a Hollywood blockbuster.” That may not necessarily be surprising, but after watching the entire 2.5-hour production I nonetheless found myself constantly surprised by just how much worse things could get. The Fall is the opposite of a glimpse at the future of AI filmmaking — it’ll make you wonder if there’s really any future in it at all.
The movie is available to rent now for $9.99 and, as far as I can tell, you can only watch it via a web browser. In order to view it on my living room TV I had to mirror the screen from my phone, which is not exactly IMAX in 70mm. Things didn’t get much better once I pressed play.
The Fall is plagued by two main issues. The first is consistency. The world of the film is constantly morphing, to the point that it’s incredibly distracting. The height of the cyclops that traps Odysseus and his men changes from shot to shot, waves move in the opposite direction of the wind, mouths don’t match the words spoken (and sometimes they move without producing a sound at all), and oars bend and twist as sailors row. In one scene a huge fleet of boats is racing through the ocean and one of them is inexplicably moving sideways. The AI-produced voice-overs can be incomprehensible, and at various points the names of both Odysseus and Zeus are pronounced wrong.
If it were just the odd hiccup it might be understandable, but there are so many faults in The Fall that it can be hard to focus on anything else. I watched the movie with my 13-year-old kid and it basically became a game of finding the weirdest mistakes. I noticed that a sword magically turned into a dagger, and then she one-upped me by spotting an alien carcass roasting over a spit. The Fall seems like a film designed to prove why script supervisors exist.
The thing is, while all of the AI-induced errors are distracting, they’re also the most entertaining part of the movie. There isn’t really much to distract from in The Fall because it is so dull. Because current AI models are really only capable of generating scenes that last a few seconds, the movie feels like a disjointed collection of moments from the odyssey that have been stitched together with little rhyme or reason. If you didn’t already know the story going into this, I don’t think you’d have any idea of what was going on, because the film explains very little. You don’t even learn about Penelope’s suitors until the movie is almost over.
I also can’t think of a single aspect of The Fall that feels improved because of AI. The “acting” is bafflingly bad, with characters pausing for seconds at a time for no apparent reason and bursts of laughter that jolt you out of nowhere. There’s no weight to the action, as if this takes place in a world where things like physics and gravity are suggestions rather than constants. Similarly, there aren’t any cool or impressive effects that wouldn’t be possible without the technology. The monsters look like shabby stop-motion creatures from the 1930s, which is all the weirder when they’re put beside the smooth, hyperreal human characters that AI spews out. It’s not just jarring, it’s boring and ugly.
Koosha claims that he adapted this story because he “always felt passionately about Homer’s epic tale since [he] originally read it years ago.” It seems much more likely that he’s trying to skate by on the hype and energy created by Nolan’s film, turning AI slop into a modern-day iteration of direct-to-video cash grabs. But this also puts the film at an incredible disadvantage from the very beginning, inviting comparisons to one of the most critically and commercially successful movies of the last few years, one that was especially beloved because of the director’s insistence on human craftsmanship. Nolan is someone who cares deeply about film, and his passion and enthusiasm is why stars want to work with him and viewers flock the theaters to see his movies.
The existence of The Fall, meanwhile, shows utter contempt for the medium, attempting to boil the work of hundreds of skilled workers into slop produced by a tiny team. It’s so terrible it’ll make you appreciate human-made art all the more.
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