21世纪的中国电影逐步走出了上世纪90年代以来的低谷,在电影的创作总量和票房收入上都取得了进展。这一时期,强调视听效果的“中国式大片”成为中国当代电影的主流,如《英雄》《十面埋伏》《无极》《满城尽带黄金甲》《夜宴》等。在夸赞荧幕上的视觉奇观的同时也有不少人提出中国大片在叙事上单薄的诟病。在这些赞誉与谩骂的背后,我们不禁要思索,中国当代主流电影如何摆脱这种尴尬的境地?中国主流电影的发展方向又在哪里?这是一个值得探究的话题。本文在电影走向国际化的背景下,以美国好莱坞电影为出发点,试着探讨中国当代主流电影在走向全球化的进程中所出现的诟病。 Chinese films in the 21st century have gradually come out of the doldrums since the 90s of the last century and have made progress in the total amount of film production and box office receipts. During this period, “Chinese-style movies” that emphasize audiovisual effects became the mainstream of contemporary Chinese movies such as “Heroes”, “Ambush”, “Promise”, “Curse of the Golden Flower” and “Banquet”. While praising the visual wonders of the screen, many people have also raised the issue of criticism of China’s large-scale narrative. Behind these acclaims and abuses, we can not but wonder how China’s contemporary mainstream films get out of this awkward situation and where is the development direction of mainstream Chinese movies? This is a topic worth exploring. Based on the background of the internationalization of the movie, this article tries to explore the criticisms of contemporary Chinese mainstream movies in the process of globalization.