After the last few years in film were hampered by the COVID-19 pandemic, it was nice to get back to what felt like something of a traditional release schedule. It was enjoyable to get back into movie theaters again and experience what is the pure spectacle of filmmaking. From big budget blockbusters to thought-provoking dramas and comedies, 2022 felt like an impressive year for film. That doesn't necessarily mean any of the titles below will end up as all-time favorites, but the overall quantity and quality of films this year felt impressive.
In a year that was something of a return to form for the film industry, it doesn't surprise me that some of my 2022 favorites ended up revolving around a love for film, creativity, and spectacle. As you'll see in some of my descriptions, a few titles that really encapsulated the movie making/watching experience hit hard for me this year. After a few years where everything I most enjoyed was watched from home (not a single film that I ranked in my top-15 in 2020 or 2021 was seen in a movie theater), starting to get into movie theaters again was a huge benefit to many of these. Don't get me wrong, I'm appreciative of the home viewing model that now exists - sometimes it's nice to be able to pause, discuss, get a snack, etc. and not have to miss any of the action - but that immersive theater experience is just something you cannot replicate at home, regardless of how big your TV screen is.
Below are the fifteen films I enjoyed most this past year, along with some (often extended) thoughts on each. Maybe it's just that film was back in a big way in 2022, but I already feel like 2022 will end up being one of the better years for movies in all of the 2020's.
This was probably the premiere theater experience last year. I was lucky enough to see it in IMAX 3D and can confirm that the visuals and effects were otherworldly. Regardless of the film itself, I just enjoyed having a movie I was excited to go to the theater for again. There were some underwater and areal sequences that were so excitingly shot and constructed, you often felt like you were there with the characters. I also enjoyed simply exploring more of Pandora and learning about some mythology of other tribes and cultures. Even though they're fake, you can tell how intricately they've been developed, and it's fascinating to see how minor environmental alterations have changed the physiology of the species (same as humans, it's just more focal here). I'm already looking forward to the next group of Na'vi we get to meet in the third film (the "fire Na'vi" are said to be next). Other than the visuals, I can appreciate the messaging the film is trying to convey. It's not always perfect, but in wrapping this story in a beautiful package that demands to be seen in theaters, you're getting millions of young people familiarized with some concepts about the environment and conservation - and inversely, also with colonization and genocide, which the humans in the film represent. It's all done pretty straightforwardly, but seeing the abuse of natural resources and the killing of sacred animals for sport and money, I wouldn't be surprised if the Avatar movies ultimately do more for environmentalism moving forward than just about anything else in pop culture. Most blockbusters don't go after major commentary like that, so I'm a fan of this franchise if for nothing other than that. It doesn't hurt that they're also a blast to watch!
14. Nope
Like all Jordan Peele movies, there is plenty of subtext to explore and rabbit holes into one can dive to debate different themes and meanings. For that reason, this film makes my list. I love how thoughtful Peele is in his films, and how layered the surface material actually is. The film revolves around a pair of siblings, played by Daniel Kaluuya & Keke Palmer, who run a horse farm and begin noticing some strange occurrences in their skies. They realize they're witnessing a UFO (by name, that means "unidentifiable"), and make efforts to capture evidence of it. The film definitely has something to say about how we try and tame wild creatures and capitalize off their efforts, all while trying to get rich in the process. There are themes of grief and trauma, but the overarching concept, to me - as has been a broad stroke cover on all of Peele's films - is that of playing god, and how it usually doesn't go so well for those who try. Overall, this film might have been more interesting to read about than actually watch, as the structure felt a bit sloppier than Peele's previous films, and some of the narrative elements didn't connect as succinctly as I hoped. But there were some truly fascinating looks at fame, power structures, and of course, race, that were plenty thought-provoking. This wasn't Peele's best film, but I love what he's trying to do and how creative he is in his work. None of this dissuades me from future efforts - I am still excited to see what he has in store next.
13. X
What a love letter to grindhouse horror films of the '70s. Without actually being so, it's the best sequel to The Texas Chainsaw Massacre I've ever seen. I loved the aesthetic and cinematography; this film was a fun ride. One of the characters in the film is an aspiring director, and functions as the perfect avatar for many up-and-coming filmmakers (and probably West's early aspirations as well), wanting to transform a subversive genre like pornography into an actual work of art (something I envision West has thought about regarding the horror genre, as well). The editing is specifically inspired, bringing some creativity and sophistication to themes that didn't necessarily need to be elevated. West tackles his film with the same commentary his characters provide, elevating the horror and pornography mediums to levels that surpass their norms. While the film isn't a metaphor on deviance, as one may suspect, it's instead about how the avoidance and repression of things like sex can have even larger (societal) consequences. As for its place in horror, it does a nice job subverting some of the traditional "final girl" tropes with the killers, heroes, and actions of different people in the film. And since Pearl and Maxine are both played by the same actress (formidably, by Mia Goth), is the film saying something about cycles and fate? Though these are two very different characters coming from very different situations, is the fact that they're being played by the same person some sort of commentary on eventuality? The film is oozing with inspiration and love for the genre, and I already can't wait to familiarize myself with Pearl, a prequel centered on the character, and MaXXXine, another installment currently in the works.
12. Women Talking
It's always good when I can give these lists some time to breathe before publishing. This was a clear not-top-15 title for me after an initial viewing, but as time has gone on, the quality of filmmaking and storytelling just proved so much better than films I otherwise had in this range. Look, I'm a 30-something, middle-class white dude. This movie wasn't made "for me." That absolutely doesn't mean it doesn't deserve to be seen by someone like me - that might ultimately be quite the opposite - but in terms of instant appeal, there was little to which I connected. The film revolves around a group of women, some sort of Mennonite-type commune, talking about and voting on some definitive future options (whether to stay with the men and fight, or just leave). There's a lot of weight on the table here - abuse, repression, religion, community, fear, obligation, etc., etc. - and we simply get to peak in on a two-day stretch in which female community leaders discuss and debate their futures. It's harrowing and heavy, and you can understand the various arguments and reactions made by different women. The film gives a quick detail to let you know it takes place in modern times, but without that, you might think it was in 1800's New England (or something). It's wild to view this story knowing there are religious communities like this in America today, and still women and people who feel trapped and unable to leave. When you get boxed into such a patriarchal society, without any power, education, or money, it changing that becomes much more difficult than we could ever imagine. That concept resonates beyond the specifics of this film and is applicable to every marginalized community throughout history. This is a powerful story that is made in such an intricate way. On one hand, filmed in black and white and dialogue-heavy, you'd be inclined to say it's not incredibly cinematic; but the editing and cinematography is really quite excellent, and its Academy Award win for its screenplay truly does promote the strongest element of the film. If ranking the "best" films of 2022, this would be higher; instead, here it has to settle just for top-15 status.
11. She Said
First and foremost, I'm glad this information is out, and that there isn't nearly the fear of coming forward with abuse like this anymore. If nothing else, I can appreciate the film for shining a light on some really bad people and institutions. The film recounts the New York Times' investigation into and publishing of Harvey Weinstein’s (Miramax) sexual misconducts and industry cover-ups over decades. On the surface, this is one of my favorite types of films; I love investigative journalism and anything that shines a light on corruption. As I've often said, a big part of me has always loved the news/journalism business, and I wish I were part of it. The second half of the film shines much brighter than the first half, as it felt like it took some time to find its footing. But the second half pace picks up nicely, and it’s very procedural from there depicting the efforts it takes to get a story from concept to publish. Carey Mulligan is an amazing actress, and she did such a great job depicting a nuanced reporter who was a very passionate feminist while also living and functioning in the "real world" (as unfair as it is). For me, this one drops a bit lower because I just never felt like the tone connected quite right. Interspersing bits of actual testimonial and phone calls, while effective and powerful, took me out of the movie. Was this a documentary or was it a dramatic movie? Neither is wrong or bad, but interrupting my attention every few minutes to wonder if a part was fictionalized or a real victim did harm the focus for me. In the scheme of things, I can live with it - like I said, it's worth it to get this story out - but for a list where I'm simply ranking my favorite films, it does hurt its case. If you're unfamiliar with HW's story, this is a film you should see. You won't believe some of the truly abhorrent behavior that took place in front of everyone. Similarly, you can walk away from this film and appreciate the hard and scary work that these journalists do to uncover the truth and inspire change. As far as newspaper journalism films go, this isn't close to something like Spotlight, but it's a meaningful and important story that needed to be told.
10. Prey
Of all the movies on this list, this making the cut is probably most surprising (to me). This was a prequel of sorts to the Predator series, and though I've seen a couple previous installments over the years, none have ever resonated with me; they've mostly just been fun action/sci-fi films. But this was truly a breath of fresh air to the franchise, and an entry that I think elevated the premise beyond its campy roots. When you think of Predator movies, you think of giant, hulking 80's action stars wielding giant guns and shooting down aliens. This ain't that. Taking place centuries earlier and centering around a native Comanche tribe, we get a really fun twist on the genre and premise, and a new take on an otherwise stale concept. First, there's the broad commentary on gender, with our main character, Naru (played subtly by Amber Mindhunter), relegated to a gathering role for the tribe while she actually wants to be a hunter. She shows so many reasons why that would be an ideal role for her - she's thoughtful, skillful, aware, and prepared - but because she's a woman, she couldn't possibly handle hunting animals. This allows for a nice, juicy premise where the predator arrives, full of technology wildly beyond anything imaginable by the tribe members at the time, looking to eradicate their presence. We get some pretty classic male ego/machismo in the early attempts to try and kill the predator, but this battle proves it's going to take brains over brawn to win the day. Thankfully, the tribe still has Naru (and her great canine companion, Sarii!) who prove a challenging foe to the predator, and the only ones capable of going toe-to-toe with the enemy. While still subdued, the movie is full of action and some really creative sets and traps; if you enjoy the cat-and-mouse game of previous Predator movies, that component is still in play here. But this is a more thoughtful entry to the series than we've ever seen before - and for my money, the best approach yet.
9. The Menu
If you're looking for a film with commentary, this is your stop. That said, not all of it necessarily feels earned, and you get a sense that the filmmaker has a laundry list of groups and individuals that need skewering - from the chef and cooks to the waitstaff and guests, there's commentary aplenty! The film centers around a renowned chef at a very private and remote restaurant who invites only guests who consider themselves among celebrities and elites. Things take a turn, and this dining experience turns out to be much more than anyone anticipated. I'll leave the plot there, as the trailers did a nice job of covering up some of its thematic elements, and there are some unexpected twists throughout that are entertaining – but the real purpose here is commentary. From the top down, the filmmakers are making sounding the alarm on all of them. I tend to think the ultimate protagonist here is the average-Joe patron (Anya Taylor-Joy) and maybe the waitstaff, with some anger here from what these industries experienced throughout the pandemic - but no one escapes cleanly. From the rich entitled older couple who don't appreciate what they're being served and celebrities who try and drift off their fame, to Wall Street bros who feel like they rule the world because they have money and food critics who desperately try to derive meaning from every element on a plate (it's funny, even reviewing this film feels exactly like something it was making fun of). The color palate of the film and the quality of the food is bright and sophisticated, and regardless of it sometimes being the butt of the joke, often looks like pristine art. The film definitely isn't trying to take itself too seriously (the result of Nicholas Hoult's character is extreme satire at its finest), but there's a balance missed here that doesn't provide quite as much fun as I think it intended. Ralph Fiennes is great in one of the lead roles, and I'll be shocked the first time I see bad work from Anya Taylor-Joy, but this is a film that never quite feels greater than the sum of its parts. It's an easy enough watch, and there are some interesting themes throughout, but it never quite matched the level of sophistication I anticipated. I left feeling this movie thought it was more clever and insightful than it actually was.
8. Elvis
Maybe a bit more stylized than I would have liked, but (1) it's Baz Luhrmann - expecting anything else would be a fool's errand, and (2) it's Elvis. If anyone deserves an over-the-top, neon and rhinestone coated history, it's probably him. And while it was fascinating to see how Elvis ended up working the casino circuit later in his career, I think there's a more grounded story to tell about his life - from his perspective - about how different music and cultures influenced him. All of that was touched on in this film, but like with so many other details about his early life, it was glazed over far too briefly. I'm probably more interested in the why of how he became Elvis than the how. And I think there are more nuanced conversations we could have about his impact on American culture at the time. But that's simply a different story. Here, Elvis' career is told through the eyes of his manager, Colonel Tom Parker, played by Tom Hanks. He's an interesting character himself - coming up through the circus says so much about how he managed Elvis - but parts of the film left me curious about Elvis' true feelings on matters. How much was he "controlled" by Parker, and how much did he also love the spotlight? Parts of the film make it seem like Elvis had little autonomy over his actions, and I don't know enough about his life to know how factual that actually is. Regardless, in this film we learn a great deal about the meat of his career, and how he ended up over-worked, over-medicated, and under-paid. In that regard, it is a sad tale. We mostly remember Elvis as the Vegas showman, and I'm not sure if that's a good or bad memory of him - was that ultimately the best version of his talents, or was there more that was never realized? However he felt, looking back at footage of those early Vegas days, it's clear he knew how to entertain.
7. Fresh
You can't watch this film and not draw parallels to American Psycho. There are so many elements of both films that are so similar - if you are familiar with that film, you know what to expect here. The juxtaposition between some truly gruesome and gory elements along with the energetic and upbeat soundtrack is uncomfortable. Mix in a baddie who's a sociopath in the truest sense of the word, and the film creates an experience unlike most others I've seen. The film begins with a relationship between two people, Steve (Sebastian Stan) and Noa (Daisy Edgar-Jones). Noa is over trying to date but thinks she might have finally found a great guy. Turns out she was wrong. His intentions are far worse than anything she could have imagined, and throughout the rest of the film we see her coming to grips with her horrifying situation, figuring out how to escape his grasp (and plate), and maybe saving some other women along the way. I won't give a ton more away (not that you can't decipher it from the title or trailer), but you'll have to experience the rest for yourself. The imagery in the film is quite graphic at times, but it's often shown in such a playful manner (with upbeat music and a dancing/euphoric antagonist) that you're really more uncomfortable than anything. The writing and direction here is actually quite strong, with stylish and engaging content that is smarter than it will probably get credit for. It has as much fun with itself as is possible for this premise, and doesn't hold back on sharing some commentary on putting yourself out there and meeting new people. What's the ultimate message here? Don't trust men, ever? Maybe. Honestly, it's probably the right call most of the time.
6. Glass Onion
Somewhat of an unfair comp, but bottom line: after seeing Knives Out a few years back (my favorite movie of that year), this lacked the spark or new-ness that the previous film contained. Also, while great in its own right, I found this cast to be less enjoyable to watch than the Knives Out crew. There were a few more heavy hitters this time around, but I really felt like there was a strange lack of chemistry from the crew. But I loved the commentary on influencers and popularity; they all did a great job of playing terrible people who thought they were special. Even in a basal sense, it's always enjoyable seeing these types of people get made fun of. As I expected, the mystery was indeed cleverly layered, though with the ultimate joke landing on the characters themselves (thinking they were smarter than they were). Daniel Craig's Benoit Blanc's detective got even more fleshed out in this installment, and he is indeed fun to watch on screen. Similarly, Ed Norton's casting in the film was so purposeful and inspired; taking a style for which Norton is known (as an actor) and specifically subverting it for the movie was a great move. You assume he's involved somehow or at the very least informed because he sounds smart and sophisticated, but he's no better than anyone else. While I can't imagine the thought and creativity to write mysteries like Rian Johnson does, I think he tried too hard to outsmart himself with this one (maybe his own process of trying to out-think the premise helped define the movie?). Glass Onion was the first in a multi-picture deal with Netflix, so we know there are more stories ahead - and while there was more to be desired, this did nothing to dissuade my interests moving forward.
5. Everything Everywhere All at Once
Wow, this was quite the ride. What a unique way to tell a story about family and legacy. As this film has become something of a phenomenon - garnering the most Academy Awards nominations of any film this year and winning Best Picture - it's likely you're already familiar with its premise and construction. But just in case, the film centers around a second-generation Asian-American couple, played brilliantly by Michelle Yeoh and Ke Huy Quan, struggling to keep their laundromat business afloat along with their tired marriage. Soon after, we're introduced to the multiverse and a mission with which Yeoh's Evelyn must assist. From there, it's a completely bonkers ride exploring multiple universes and fascinating versions of characters and worlds. It's funny, tragic, and action-packed. However, at the heart of all of it is a story about family and a mother-daughter relationship that feels so genuine. You also really feel for immigrants struggling to make a living in this country, when often the deck seems stacked against them. I loved the film for the creativity and inspiration it presented, but I'll admit I'm not as head-over-heals about this movie as many others (it's still top five!). The pacing and editing were a little messy for me, and I'm not the biggest fan of prolonged action sequences in films (even if they are beautifully choreographed Kung Fu sets). I love that the film received so much recognition and dominated the awards circuit this year, even if I feel there were sometimes convoluted storytelling mechanisms at work. Showcasing originality and coming from inspired roots will always play well. This film did that and had a lot of fun along the way.
4. All Quiet on the Western Front
I always used to say that I don't really like "war movies." But I think a lot of that has had to do with the glamorization of war in earlier decades. Not that these stories also didn’t exist decades ago - they did - but nowadays I think we're getting much more honest and realistic versions of what war was/is like. And it's not pretty. I of course don't want to "enjoy" the terrors and tragedy of war, but movies like this really help one appreciate the reality of thousands and millions of young people who have died for such (often pointless) causes. This film tells the story of a handful of young German soldiers, from the youthful ignorance of enlistment to the somber realities of a war zone, moving through the system of a war and seeing firsthand how gruesome it actually is. Depicting a real battle line of WWI between Germany and France, the Western Front was perceived by both sides as a crucial inflection point for the war; the thinking was whoever controlled the front would win the war. As such, countless troops and all types of revolutionary war technologies inundated the space, for both sides, in hopes of gaining an edge. The 400-mile stretch showed little movement throughout the entirety of the war, with neither side ever advancing more than a total of 60 kilometers in either direction. Yet it still resulted in the deaths of more than 13 million people. It's so tragic and anger-inducing, and the way the film is shot is so gritty and realistic. The music score is probably the highlight of the film, a haunting and powerful arrangement that really sucks you into the intensity and horrors these kids faced.
3. Barbarian
For anything else I'm going to say, I'll simply note that I cannot get this movie out of my head. I loved it and I continue loving it. There was some intense imagery with the film, which helps sear in the memories, but the main culprit here is the effective uncomfortableness that the film presented and left you with. The film utilized such clever mechanisms to tackle ideas around instincts and safety and victimhood, often subverting them in unique ways. Centered around a woman who rents a house while in town for a job interview, she's met with constant red flag after red flag, often seemingly making wrong decision after wrong decision (too trusting!). As audience members we were never sure when one decision would be the last. The film again played with those tropes in clever ways, installing Pennywise himself, Bill Skarsgard, as the unassuming counterpart to our lead. The second act of the film, switching its focus to Justin Long's character (he's quietly built up a decent reputation in the horror industry) took me by surprise, but I loved his character and what he represented. I don't want to give any spoilers away if you haven't seen the film, but broadly speaking I think the film does a good job of showing how those who we presume are monsters often aren't, and those who pretend they aren't often are. The practical effects were wild and so fun, and I was genuinely frightened by some of the jump scares and surprises. You can feel when a movie is inspired and made for all the right reasons. Barbarian is one of those films.
2. The Fabelmans
This film encapsulates the wonder and beauty of film like few others. Something of a semi-autobiographical telling from Steven Spielberg, the film is loosely based on his childhood. There's so much I connected with in this movie, from a passion for filmmaking to parents who were most often encouraging. While I never quite had the filmmaking drive that Sammy did, I could feel in my heart the joy he had making movies with his friends. I was a little older when I did similarly with my friends, but seeing how he creatively crafted different shots and techniques, and made the most out of very little - results weren't always the same, but the process was so similar. If you don't have these types of memories, you should still be able to appreciate this one plenty (everyone has passions); from the cinematography and score to the acting and direction, the entire film is a masterclass in execution. Of some different scenes and narratives that stood out: (1) I really liked both of Sammy's parents. Between Michelle Williams and Paul Dano, they both did excellent jobs and provided a lot of depth. Neither were perfect, but they both loved their children, and it was just nice to see. (2) I really enjoyed Sammy's relationship with the Christian girl (he and his family were Jewish). As a teenage boy, just about anything sounds good when it's coming from a cute girl - even some absurd evangelical ideas. His deadpan responses to her absurdities were hilarious. (3) His relationship with the jocks was so powerful (and sad), but it was a good reminder that the one with the camera gets to write the story. You can make anyone look good or bad depending on the edit you choose - so don't piss off the director! (4) I realize I could probably look this up, but I wonder if a young Steven Spielberg actually met John Ford? If so, was their interaction similar?
This is a film that feels like it should be #1 on my list - for all of the reasons above and more - but...
1. Top Gun: Maverick
Come on. If you love the movies, you loved this movie. I feel so surprised to have a blockbuster at the top of my list, but for all the love of cinema that The Fabelmans represented, Top Gun: Maverick actually lived it. Maybe it's just the idea of returning to theaters and enjoying movies again, but watching this was about as fun an experience as one could have. The amazing effects and cinematography and sounds were made to be seen on the big screen. In every sense, this movie was a spectacle. Few films provide the kind of exhilarating tension that Maverick did. I'm pretty removed from the crowd that enjoys military-themed movies, but I still enjoyed this one a great deal. It definitely helped that it was working with concepts beyond our current technology (no one is going anywhere near mach-10 yet), and the nameless/faceless enemy helped keep things as ambiguous as possible (you're not as focused on the conflict as the mission itself, which helped limit personal and political feelings). Truly, from start to finish, the film was a blast and featured really great pacing. I wasn't the biggest fan of the original (liked it, but never thought much about it), but whether you loved it or never saw it, this film did a good job of continuing some storylines in ways that caught up new fans, but also refreshed some of the same concepts in ways that didn't require former knowledge. The movie was serious in its intensity and drama, but it also knew it was playing around with unreal ideas and didn't try and fool anyone by taking itself too seriously. You felt real life-and-death stakes for the characters, but there was just enough lightness to remind you that this was trying to replicate a slightly over-the-top 80's action flick. Throughout the movie, I couldn't help but think of how much it mirrored Tom Cruise's career. The premise centers around an aging Maverick, whom the military and young officers don't think is relevant anymore. In true 80's movie fashion, he has to come back one last time to prove he still has what it takes to save the day. There's symmetry there with how the sum of the film industry may think of Cruise, now 60-years-old, trying to sustain his action career. Just as the film confirms, there's still plenty left in the tank for this ever-committed star, who we'll next see in two more Mission: Impossible films before a currently untitled project that will see Cruise actually film in space and be the first civilian to ever do a spacewalk. The guy just doesn't slow down, and we're all better off for it. I didn't anticipate enjoying this film as much as I did, but it was a real treat. Movies don't get more exciting than this.
Thanks for reading! Go find a movie theater and check out whatever is playing - you just can't beat that experience - and be sure to swing by next year to see what 2023 titles will be on my list.