We’re just a few weeks into 2023 and I’ve finally been able to compile my 10 favorite movies released last year. I stress out about this every year, fully knowing that the rankings change daily. And while I didn’t post a written “Worst of 2022” list, you can hear my picks on Baconsale.
10 – Decision to Leave
Let’s start this list with a murder romance. Director Park Chan-wook (Oldboy, Stoker, The Handmaiden) is always worth a watch. His mastery over mood is second-to-none. Decision to Leave begins with the suspicious death of a South Korean man who plummeted to his death. When a tired detective arrives on the scene, he begins to suspect the dead man’s wife. But as he digs deeper into the investigation, he finds himself trapped in a web of deception and desire.
It’s extremely rare to get a solid crime thriller film, and even more rare to get something that is very Hitchcockian in feel and story. Yet, the unfolding story is only part of the beauty this mystery creates. The cinematography, score, and acting between the two leads is captivating. Everything (beyond the movie’s length) is extremely magnetic. Similar to the lead character, I felt hypnotized with this mystery and the way it unfolded.
9 – Bullet Train
Bullet Train is a movie that shouldn’t work. From the outset, it’s a big, loud ensemble action flick that so badly wants to echo a neo-noir Japanese style with the unhinged violence and banter of early Guy Ritchie films. The story follows five assassins looking to secure a mysterious briefcase onboard the titular bullet train. Though, nothing goes as predicted for any of these contract killers.
Bullet Train is a very contrived flick, but why did I like it so much? The cast is having a blast. They are leaning so hard into the insanity and never once taking things too seriously. Also, I will forever now categorize people in my life as characters from Thomas the Tank Engine. This is easily the most shallow movie in my list, but also the most rewatchable thanks to the fun stunts and clever dialogue.
8 – Cha Cha Real Smooth
Cha Cha Real Smooth is the lone representative from 2022’s Sundance Film Festival. This indie-comedy shows us a glimpse into the life of Andrew (Cooper Raiff, who also wrote and directed the film). He is the definition of failure-to-launch. He’s in his mid-20s, working at a food court in his local mall, all while living at home. While helping his little brother get to a bat mitzvah, he finds his true calling – being the hype man for bar mitzvahs and helping out the awkward teens who don’t dare talk to each other. While in his element, he strikes up a friendship with a mother (Dakota Johnson) and her autistic daughter.
Indie comedies about losers were a dime a dozen in the mid-00s, but what elevates this material is the effortless charisma and talent of Raiff. This simple story is charming, and the chemistry between the two leads feels so natural. Raiff captures the essence of a disaffected generation that doesn’t know their place in the world. Raiff writes each character with sincerity, rather than the stereotypical memes or modern slang that many movies this year have tried and failed to do.
7 – Elvis
I had no expectations of Baz Luhrmann’s Elvis biopic. The movie did little to win me over with its strange fish-eyed hectic perspective of Col. Tom Parker (Tom Hanks). However, just as the discovery of Elvis changed the world, Austin Butler’s dynamic performance of Elvis diverted my investment for the better. This movie follows Elvis as he falls in love with gospel and soul music, his rise to fame, and finally his sad descent.
Like every movie that was released in 2022, Luhrmann should have allowed an editor to cut 20 minutes, but his interesting focus on Elvis feels perfect. I viewed him in a detached way, almost from an outsider/fan perspective. I was mad when Col. Parker took advantage of the musician’s success, and wanted to warn Elvis about him. I waited for each performance with baited breath, hoping that Elvis blow us away with his stage presence. This was immediately one of the year’s biggest surprises for me.
6 – The Northman
I’ve seen and loved most adaptations of Hamlet, so I was more than happy to see the alleged inspiration of Shakespeare’s masterpiece based in the era of the Vikings. Amleth (Alexander Skarsgard) has dedicated his life to avenging the death of his father. What makes this familiar story of revenge stand out is the folklore, culture, and religion of the Nordic people at the time. These tribes have their own customs, songs, and pageantry.
Director Robert Eggers has made yet another film that is dripping with mood and kept my attention throughout. It’s a beautifully bleak tale of what revenge can do to those who are wholly dedicated to it. Each of these characters build on the themes of trauma and what significant promises might do to haunt you if they’re not kept.
5 – The Banshees of Inisherin
The Banshees of Inisherin re-teams stars Colin Farrell with Brendan Gleeson with their “In Bruges” director, Martin McDonagh. This tale follows two best friends in 1920s Ireland. One random day, Colm chooses to cut off his friendship with Pádraic. This decision is hardly understood by anyone in the town, and Pádraic chooses to find out why he’s being cut off, which leads to some hasty consequences.
Just like the every-present Irish countryside shown in Banshees, this is a haunting and foreboding story. It pulled me right into this very small coastal town with an even smaller friendship spat. There’s a massive sense of tension that is reliant on the stubbornness of each character. There’s a healthy dose of darkness within the story, which is why I was so surprised that it was also the funniest film of the year. If I could live in a movie for a few weeks, it would be this one. Banshees is anything but forgettable and has the potential to rise in my rankings as time goes on.
4 – Barbarian
It’s been an interesting year for horror with some movies striving for a deeper message with “Smile” or some movies being referential to older horror eras with “X” and “Pearl.” It’s rare to get a movie that is terrifying these days, so I look for horror flicks that will entertain me, if nothing else. Barbarian was that movie this year. It’s the type of experience where the less you know about it, the better. In very short, it’s an AirBnB nightmare.
Yet, there’s more levels (quite literally) to this basic premise. It does everything that Alex Garland’s “Men” attempted in its allegory of male dynamics and did it right. And it has smart themes of subversion, all while crafting an unpredictable, and somehow hilarious horror flick. If you haven’t seen this movie yet, I can sell it as a mix between “Don’t Breathe” and “Malignant.” Horror movies are made for very small audiences, and Barbarian was definitely made for me.
3 – The Batman
I say this with a little bit of hope in my heart, but I think 2022 is the beginning of the end of super hero flicks. The genre has become so watered down, and audiences are finally seeing the dip of quality/effort with these movies that seem to release every two months. The Batman thankfully proves that a filmmaker still cares about the work they do. The Batman takes us to an early part of Batman’s crime-fighting days. He’s become obsessed with his role as a vigilante and focuses on the darkness within himself (and often on the screen) entirely.
Would I rather see a Ben Affleck continuation with the grizzled character who just found a new lease on life? Yes. But, considering the cluster that is WB/DC, it’s surprising that Matt Reeves got to make the movie he wanted. The casting of Robert Pattinson as the titular hero, Paul Dano with his terrifying take on The Riddler, and Collin Farrell (what a great year for this guy) as the slimy crime-boss wannabe, The Penguin – was perfection. It’s not my favorite iteration in the oft-remade Batman franchise, but it’s a great start to what could be a very nuanced depiction of The Dark Knight. And yes, this is a very dark movie. Though it’s use of lighting and Gotham as a rain-soaked, noir environment made this strangely one of the most visually interesting movies of the year.
2 – Top Gun: Maverick
Who would’ve thought? Right? How does the not really anticipated sequel to a movie that might only be good for nostalgic value be THIS GREAT?! I think it’s fair to say that we shouldn’t doubt in the efforts of Tom Cruise. The plot follows Pete “Maverick” Mitchell several decades after the original movie’s events. Though, he never achieved the excellence that he felt promised. Instead, he’s always considered himself to be a pilot first, and did not seek to a promotion in rank. He is a constant thorn in authority’s sides, though his talent for flight cannot be disputed.
This sequel is constantly engaging and perfectly paced. The visuals and camera work put you in the cockpit right alongside these characters and it’s absolutely stunning. If I could rank movies based on how sweaty my palms got, this would be an all-timer. It never feels false or CG-laden. Your eyes will thank you as they take in sights that actually exist, which is rare for most modern blockbusters. It’s honestly a breath of fresh air. Also, it might be the film that has most united critics and audiences alike.
Honorable Mentions – Puss in Boots: The Last Wish, RRR, Avatar: The Way of Water, Guillermo Del Toro’s Pinocchio, Tár, and Deadstream.
1 – Everything Everywhere All at Once
It took me approximately 25 minutes to fall in love with this film. But once I was in, there was no going back. I wondered if any movie this year could possibly top it and very few came close. Directors Dan Kwan and Daniel Scheinert (Swiss Army Man) have given us prime Michelle Yeoh as she stars as an unhappy immigrant who runs a failing laundromat and exists in a failing marriage. In the height of her anxiety, she realizes that she’s only one version of herself in the near-endless multiverse. She soon learns she is potentially the chosen one that must save the multiverse, but not without finding happiness within herself and family.
This virtually independent film works because the filmmakers are working without restraint. The effects are impressive and ambitious for a movie of this size. The MCU has shown us that the multiverse is already a tired format, but somehow EEAAO elevates the high concepts with clever writing and surprising emotional depth. Seeing Yeoh alongside costar, Ke Huy Quan, play out different versions of their love story with different decisions made was incredibly touching. On the other end of the spectrum, the Pixar reference within one of the realities made me laugh-cry. As with most movies of 2022, it gets indulgent with runtime, but it tells an emotional story that is so fun to watch unfold. Sometimes films have the power to wake you up and remind you about your promised potential. Everything Everywhere All at Once was that film for me.
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