Reserved! Easily the most magical time of the year.
1.
The Northman.
Have you ever watched a movie where not only could you tell you were going to love it right off the bat but that it also transported you back to when you were a kid and discovering how cool movies could be? How they could set your imagination on fire? How they could show you other worlds or different time periods in a manner that feels so effortless? Those were the feelings I felt while watching Robert Eggers’ latest slice of cinematic time travel, with this Norse revenge saga grabbing me by the throat and never letting go. Armed with his largest budget yet, his signature attention to detail, a terrific cast (led by co-producer Alexander Skarsgard, in what's easily his best role to date) and simple but effective storytelling, Eggers achieves his most straightforward effort so far but this is far from a paycheck project: From mystical seers played by Bjork to skeleton warriors protecting ancient swords that can only be used at night to brutal berserker raids to a finale that involves two naked dudes fight to the death on a volcano, this has Eggers brand of weirdness all over it. Yet it also offers a new level of entertainment and emotional potency that has not been displayed by his previous two films that just makes this affair all the more greater. It's this generation's
Conan The Barbarian and I can't think of a better moniker to have. For me, works like
The Northman prove to me exactly what movies are made for.
2.
MAD GOD.
Gestating for 30 something years, Phil Tippett's stop motion cavalcade of horrors and suffering proved to be worth the wait and then some. Do not go into this picture expecting any kind of conventional narrative or for it to be easy to predict: Instead, let the grueling handcrafted nightmares wash over your senses and all of its fluids drown you in a torrent of blood, piss and shit. It sounds unpleasant and trust me, it is. There is, however, beauty to be found in its brutality. His depiction of hell is easily the most frightening thing I've seen in all year between the relentless barrage of images he throws at the screen and the oppressive atmosphere. Yet, I couldn't look away from the horrors on display for a single second. Some passion projects don't pan out but this one thankfully did. In a year where stop motion animation seemingly returned, this was the king of them all and entirely well deserved at that.
3.
Babylon.
Cinema is dead, long live it. That is the mantra of Damien Chazelle's excessive tribute to the power of the movies and a damning indictment of the powers that be who are responsible for making them. And lordy lordy, what a goddamn show it is. Running at 189 minutes yet only feeling like it's half that run time, Chazelle uses his
La La Land cred to commit one of the craziest acts career suicide I've seen in a long goddamn time as he tells the tale of all sorts of mega stars and bit players - played here by Margot Robbie, Brad Pitt, Diego Calva, Jean Smart, Jovan Adepo and Li Jun Li - find themselves struggling to transition from silent films to talkies in the early days of Hollywood. This is such a virtuoso act of filmmaking that I'll be forever reeling from what an absolute spectacle it is. Chazelle may be a bit too upfront about his influences with this (it's practically his remake of
Boogie Nights) but frankly, I don't mind it all. Watch this however you can and be prepared to not forget it, whether you embrace the chaos or be repelled by it.
4.
Three Thousand Years of Longing.
I’m a sucker for a good love story. You probably are one too. And so George Miller returns not with talking farm animals, tap dancing penguins or apocalyptic action but instead an adaptation of a love story between a writer, a mystical Djinn and the stories they tell. And my God, what stories they tell. Frankly, this was a movie that hit all of my buttons: An intimate tale of a Djinn who wishes to be free (Idris Elba in what I consider to be his best work to date) and a narratologist (Tilda Swinton, adding yet another eccentric performance to her diverse résumé) as they share personal tales that span from just a few years ago to multiple centuries. There is such warmth on display here, from the eye popping visuals to Tom Holkenberg’s breathtaking score to the winning chemistry between the two leads. Not to mention the sheer economy of this thing. It covers so much ground under two hours that I was honestly left yearning for more. But perhaps that’s what the best kind of stories do after all. Perfect final shot, too.
5.
The Worst Person In The World.
Being a Millenial can suck. Being a Millenial can be great. Being a Millenial can be boring. Being a Millenial can be exciting. Being a Millenial can be all of these things. Many films I feel have struggled to nail this feeling and what it’s like to be one but I think Jochiam Trier might be the one who finally cracked the nut with this warm, funny, horny, formally daring and eternally bittersweet yarn of a girl named Julie and the struggles she faces trying to find her place in the world. Renate Reinsve does such a wonderful job portraying this girl and what her mindset is, refusing to play her like a cipher yet still leaving room for anyone to imprint their feelings onto. Then there's the film's needle drops, which honestly put most movie’s ones to shame. Don’t let the language barrier scare you off; It’s an awfully warm hug in cinematic form and I’ll embrace anytime I get the chance to.
6.
Blonde.
Oh boy am I going to get into some hot water talking about this one. Adapted from Joyce Carol Oates’ book of the same name, Andrew Dominik’s psycho drama about one of the most legendary actresses of all time was no stranger to controversy when it premiered last year. Between the film’s controversial content that netted it an NC-17 rating, how it plays fast and loose with history, Dominik’s own mouth getting him into trouble and even the casting of Ana De Armas, this was always a project that was going to be something of an uphill battle with folks. Still, even with all of the hubbub, I couldn’t help but be put in a mesmerized state of despair while watching this. Whether it was De Armas’ commanding, disarming performance or bold stylistic choices the film goes for or the heart rending finale, Dominik takes us down a gauntlet of sadness in fame and refuses to look away. In its own way, it’s like the best Lars von Trier movie he never made and I’d say that’s great company to be in. Of course, there are others who most definitely disagree.
7.
Decision To Leave.
Anytime Park Chan Wook cranks out a new movie, I am immediately interested and want to see what it is, regardless of subject. Granted, it doesn’t always work but with a dude like him who bats a thousand nearly every time, one can accept the occasional miss. But thankfully, his latest, is yet another one of his hits: A pulpy mystery romance thriller between a hapless detective (Park Hae-li) and a seductive suspect (Tan Wei). Though this lacks the provocative violence and sex that Wook has become notable for,
DTL’s deliberate choice to downplay those elements only help us zero in on what a crackling mix of genres this hits between giggling on the turns of the plotting, only for us to be hit with a gut punch reveal. Nice to see the guy has still got it. Plus hey, you finally have a PCW movie you can finally show your parents!
8.
After Yang.
Watching a family member you’ve known all your life, whether they be biological or not, slowly die is a terrible thing. Their memories fade, they cough a lot, they don’t sleep well, they’re out of step with their usual routine - We’ve all been there. Such is the story of this film between a family and their malfunctioning android companion. And I’d say Kogonada's second effort as a feature length movie-maker bares all of this with such empathy and kindness in spite of how heart wrenching it all is. He pulls this all off by doing the simplest trick: It’s understated. There’s no grand speeches, no histrionics, no colossal orchestras telling you what to feel - even its Sci-Fi aesthetics are similarly lacking in flash - and they all culminate in a film that works like gangbusters in getting the waterworks going. And if nothing else, you get to hear Colin Farrell do a pretty amusing Werner Herzog impression and that’s always worth it.
9.
Elvis.
I can’t believe that in a year that gave me new films by filmmakers I adore - David Cronenberg, Jordan Peele, Sam Raimi, Todd Field - I found myself liking the latest by Baz Luhurman, a filmmaker who I am not particularly in tune with, the most out of all of those names I just listed. Perhaps this pairing of director and subject matter was just the thing that needed to be done? Regardless, what a goddamn movie. Lurhman’s maximalist depiction of The King himself is a biopic for the ages, one that may follow the usual bullet points but is able to make anyone look past these issues simply through sheer style, spectacle, a rather strange but effective POV courtesy of Tom Hanks’ villainous turn at Colonel Tom Parker and earnest emotion. But the real strength of this monster lies in the hands of Austin Butler and by God does he throw his soul into this performance. This is no SNL impression but instead what feels like the real deal. If someone were to tell me the actual spirit of Elvis took over Butler’s body, I’d honestly believe it. It’s that good.
10.
MEN.
Pretty sure I’m going to lose some respect for having this one so high but screw it, Alex Garland’s gender afflicted piece of folk horror unsettled me more than most horror films did this year. Admittedly, the film is not the deepest pond in the woods with how literal it can be with its themes and ideas of domestic abuse, gaslighting and going through spiritual rebirth after experiencing trauma. But in the same token, Garland’s mastery of atmosphere is peerless, an ethereal score and the truly gnarly, nightmarish imagery that the film goes for really hits hard. As one critic I like noted, it’s not too far off in the same sort of playground that wouldn’t be out of place in a Clive Barker novella. Then there’s the two wonderful leading performances by Jessie Buckley and Rory Kinnear, the latter of which is having a ball with all sorts of crazy makeup jobs, silly wigs + accents and all sorts of other tricks. Not exactly the most likable horror flick to watch and those who have become bored with the more artister type of horror flick we’ve seen over the years will no doubt snub their nose at it but for my money, it hit a nerve that few films did for me all year.
11.
The Torch.
Found this on a whirl while browning my AMC+ subscription and came away pretty damn happy with it. Jim Farrell’s documentary about great musical legend Buddy Guy won’t certainly win anything for its straightforward approach but it’s got jamming live musical performances, lots of factoids and an casual vibe that’s easy to get with. Plus it’s got one of the best quotes I’ve heard in a movie all year from the man himself: "
If you ain't had no problems, then you just keep living. And if you haven't had a good day, then you just keep on living.”
12.
The House.
Three delightfully weird stories, one seemingly immortal house. Neftlix assembles a bunch of different stop motion animators (Paloma Baeza, Niki Lindroth von Bahr, Emma De Swaef and Marc James Roels) for an anthology film like no other this year, as it details the trials and tribulations of owning a house. It’s scary, it’s funny and it’s heartwarming all in one package. And it ends with a Jervis Crocker song! What could be better?
13.
X.
Ti West returns after seemingly disappearing from the genre scene for a while and he does so with a bang (pun intended). This is without a doubt the best slasher movie I’ve seen in years, especially in a year where we seemingly got an embarrassment of riches within the subgenre of horror. Great period detail, terrific cast, fun writing, good gory kills - it’s got everything you’d want out of a movie like this. Can’t wait for
MaXXXine.
14.
The Menu.
Never piss off the people who make your food is a golden rule but some never learn. Such as it is in Mark Mylod’s hilariously dark and playful thriller about a renowned chef planning to torture and eventually kill all of his ungrateful, privileged and morally compromised guests. A great cast all around gives this a tasty kick but it is Ralph Fiennes who gives the performance of the year here in a role that plays to all of his strengths and then some. The trailer didn’t sell me initially but the final film did so with great execution.
15.
Smile.
Did you ever watch that crappy
Truth or Dare movie from a Blumhouse a while back and said to yourself “Man I wish that was better”? Parker Finn apparently did with his debut and made one hell of a mean piece of studio horror as a result. It may not be the most original thing in the world (it practically lifts scenes from Hereditary, among others) but for those wanting a sadistic time with their spooks, this one definitely has you covered.
16.
Marcel The Shell With Shoes On.
Sometimes, all we need out of a movie is just to be about the little guys. And Marcel definitely fits the bill. Impossible not to find this charming on any level while also having genuine pathos about community, family and the passing away of loved ones. It’s cute, it’s funny, it’s perfect for families and it’s one of the best of the year. Director Dean Fleischer Camp’s next film is reportedly another live action Disney thing but honestly, I wish he’d make more projects like this instead.
17.
Fire of Love.
Finding a paramour who shares the same passionate love for the things you do is an incredibly special thing. Volcanologists Katia and Maurice Krafft most certainly did and they spent their lives studying some of the most beautiful and terrifying examples of molten carnage on this planet. Sara Dora does a bang up job presenting their tale the way it deserves to be told while Miranda July provides a surprisingly haunting narration to the whole affair.
18.
BARDO, False Chronicle of A Handful of Truths.
Alejandro Gonzalez Inarritu is aware that you find him insufferable and he agrees. His seventh film, a surrealist comedy drama that doubles as an autobiography all but in name, is his most personal feature yet. It might also be his funniest? There’s a lot of warmth and self criticism here, as well as acting as a history lesson for the country of Mexico. Not all will be on board for how off the wall it can be narratively nor its length which is a hair longer than
The Revenant but for those willing to see what it’s doing, it’s a journey worth exploring.
19.
Guillermo Del Toro's Pinocchio.
Leave to Guillermo Del Toro, along with the help of Mark Gustafson, to reinvent the classic children’s tale in a manner that’s ambitious, weird, funny, emotional and absolutely out there. The film is a great deal of many things -
Pan’s Labyrinth/
Devil’s Backbone for kids, a musical, a parable about the virtues of disobedience and the evils of fascism - but the thing that stood out to me was how this well this captures of the vibe of a Disney movie better than most of the actual studio’s newest releases. Oh and hot take: Cate Blanchett here > her work in
TAR.
20.
The Wonder.
Faith or fact, which has more validity? That’s the central crux of Sebastain Lelio’s latest, a hushed period piece about a little girl who has seemingly survived without eating for months and the doctor (Florence Pugh) who’s come to examine this mysterious case. It may be lacking in visual flourish but this fable more than makes up for it with detail, intelligence and atmosphere.
21.
Ambulance.
After all these years, Michael Bay has finally done it: He’s topped
The Rock. A pulsating, relentlessly intense chase thriller about a robbery gone bad, Bay crafts his best work to date with all of the high velocity action, insane camera work and one entirely deranged Jake Gyllenhaal performance you could ask for. But in doing so, he’s learned to get real and tone down the more toxic elements of his work in favor of something that hits an emotional nerve that a lot of his stuff usually doesn’t. Good job, Bay.
22.
Avatar: The Way of Water.
Never bet against James Cameron. This is a rule we all should abide by but some frankly can’t, no matter how many times he shows us never to do such a folly. But yeah, the return to Pandora was honestly worth the wait between its beautiful vistas, denser plotting, fascinating new characters and an almost unheard amount of sincerity that is missing in most blockbusters these days. Then there’s the third act, which contains some of the most absolutely insane action you’ll see in any movie from either 2022 or going forward.
23.
The Whale.
To tell the truth, I really don’t get the fuss over Darren Aronofsky’s latest. For the hubbub that was made about whether or not it’s fatphobic or its heavy use of symbolism, all I saw here was a thoroughly earnest and generally powerful drama about trying to find redemption in the bleakest of circumstances. Brendan Fraser is as good as you’ve heard but the rest of the cast proves to be no slouch either, especially Hong Chau who seems to be really having a great year of work between this and
The Menu.
24.
Everything Everywhere All At Once.
Who would have guessed one of the biggest movie going sensations of the year would involve hot dog fingers, talking rocks with googly eyes, destructive bagels and sex objects as plot devices? Daniels’ sophomore follow up to their gas filled debut has a heart that’s as big as the multiverse itself, with winning performances and boundless imagination. The hype on this one has been justified for the most part.
25.
The Banshees of Inisherin.
We’ve all been there when a friend just straight up doesn’t want to be friends with you anymore. It sucks. And in Martin McDonagh’s latest, he explores the pain and melancholy of such a thing in early 1900s Ireland. Equal parts funny and sad, with the dynamic duo of Farrell and Gleason doing a lot of heavy lifting but the film’s true MVP goes to Jenny the Donkey. Protect that girl at all costs.
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The Blu-ray Community Top 25 Films of 2022 (Please Read 1st Post)
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