I watched 522 movies this year. I say that as both a slight boast and a cry for help. So much for watching TV with intention, amirite? Much like in years past, I borrowed deeper and deeper into my own obsessions and hobbies as a way to combat societal issues and any struggles I may have along the way. Feeling unproductive? Watch a movie. It’s blizzarding outside? Watch a movie. Don’t want to make food? Go to the theater, eat some popcorn, and watch a movie. You get the idea.
But thanks to the good people over at Letterboxd (not a sponsorship, just a hearty recommendation), I can go back and reflect on what happened this year and what I watched to coincide with it. I moved in with my girlfriend of over four years and couldn’t be happier, and apparently around that same time I watched Linklater’s The Before Trilogy. I sure hope that watching Before Midnight doesn’t foreshadow things to come (I’ll be sure not to show Kaylee that film anytime soon).
We also went to Nashville this year – one of the first times in years that I’ve taken a trip outside of Minnesota and had a chance to relax. Unfortunately, the infamous COVID-19 bug had other plans and I stayed inside the Airbnb and caught up on a handful of new and old releases. Some good (All the President’s Men and The Sea Beast), and some not so good (what were you thinking Woody Harrelson with The Man from Toronto).
All of this is to say that your passions become your personality. They orbit you, and I can feel film growing closer and closer to me by the day. Out of those 522 aforementioned movies, over 150 of them were 2022 releases. Many I saw in theaters, but like my friends and family, many I saw at home. I loved my time seeing Aftersun in a second run theater by myself at noon on a Wednesday just like I loved my time watching White Noise and Decision to Leave yesterday to get ready for this ranking – and their rankings are subject to change, it’s way too soon to tell.
I also wrote a handful of reviews and lists in 2022; 60+ reviews and 15+ lists and features. Some were positive, but I imagine a few more were negative. I’m not sure why that is. Maybe the cynicism that festers inside of me comes out when I write about something that I wish was better. Maybe I feel that a year end list will suffice in giving the best films the praise they deserve.
Lastly, this list is fluid. I swapped my first and second films around every other day this year. There’s many that I haven’t seen yet (that I’ll list shortly) that I’m sure may have made this list or would’ve come close. Last year, I kept the list to 25. This year, I’m expanding it. 50 films seems right considering I saw quite a few more releases this year and the overall quality of them were a bit better.
Unfortunately, I didn’t check out the following, and I apologize. I plan on it and maybe I’ll share my thoughts in the future – Vortex, Deep Water, Bones and All, Empire of Light, The Whale, RMN, Broker, Close, Master Gardener, Women Talking, The Inspection, Devotion, Till, Spoiler Alert, Happening, Living, and God’s Creatures.
Here’s how I’d rank the 50 best movies of 2022:
50. The Sadness
49. Significant Other
48. Pearl
47. The Fallout
The Fallout is presented through the digital lens. A movie made for the social media era built on TikTok trends and emo rap music. What feels desolate and distant suddenly becomes a reality standing straight ahead. The film has good intentions. Vada’s (Jenna Ortega) struggle to commit to each of her different relationships as she tries to internally move on from this event is clearly stated, but it makes for a messy movie. Quinton (Niles Fitch) is billed as a main character. The tragedy most closely affects him. The Fallout movie review
46. Black Panther: Wakanda Forever
Wakanda Forever isn’t the leanest film Marvel has released in the last few years – the runtime is ambitious and I can’t quite say justified, but there’s clearly enough heart and emotion packed in for general audiences to be enamored by. The addition of Namor is excellent, and Tenoch Huerta gives one of Marvel’s best villainous performances yet. At times it can feel overstuffed, but I found enough meat to chew on as I left my screening. Black Panther: Wakanda Forever review
45. Jackass 4.5
44. Watcher
43. Dr. Strange in the Multiverse of Madness
42. All Quiet on the Western Front
Director Edward Berger and cinematographer James Friend come together to create 2022’s signature war epic All Quiet on the Western Front, which pushes stylistic boundaries for the genre not seen since before the pandemic. It is terrifying and riveting at its best moments, and slightly formulaic at its lesser ones. Combined with a saddening performance by Felix Kammerer, the film is one of Netflix’s best ones of 2022. All Quiet on the Western Front review
41. The Fabelmans
The Fabelmans is an overabundance of ideas and stories. They don’t always hit, but there’s enough that digs deep into the life of Steven Spielberg and helps portray him as more than just a mega-filmmaker. Combined with some wonderful technical achievements (the final 15 minutes are just awe-inspiring and prove in themselves that Spielberg still has it) and some top tier performances, The Fabelmans is a deserving Oscar season contender and one that rewards you for your patience. The Fabelmans review
40. Guillermo del Toro’s Pinocchio
Guillermo del Toro and Mark Gustafson’s Pinocchio is a beautiful and marvelous return for the ancient story after the dark places it went to in 2022. The stop-motion is clean and stoic, and the story breaths new life into the wooden child. Guillermo del Toro rarely misses, and this is another example of his gothic stories hitting just the right notes. Guillermo del Toro’s Pinocchio review
39. Dual
Dual is bleak. And by bleak, I mean bleak. Riley Stearns (The Art of Self-Defense and Faults) excels in this field. His films bask in off-kilter, dry-as-can-be comedy and dread. The Art of Self-Defense was a pleasant surprise in 2019, but it was clear Stearns would pull together a film that would indulge his idiosyncratic taste even more, while still being engaging and bludgeoning at the same time. Dual movie review
38. Emergency
37. A Hero
36. White Noise
Although initially thought to be a novel too demanding for the big screen, Noah Baumbach successfully delivers White Noise to Netflix. Even with a few flaws in its delivery, White Noise is a captivating and occasionally even breathtaking movie. White Noise review
35. Stars at Noon
34. Turning Red
Despite feeling a bit like Pixar is borrowing heavily from their contemporaries, Turning Red is the first movie from the studio to actually move the needle in a while. It’s a story for generations to enjoy, and I always prefer when Pixar aims to appeal to older audiences in conjunction with the usual kids demographic. Turning Red review
33. Kimi
Kimi may be genre Steven Soderbergh, but for him to pull this off only a year out of No Sudden Move and still operating during an ongoing pandemic is impressive. I’ve learned to just happily accept any Soderbergh projects and not take them for granted, and Kimi is another well above average outing from the director. Kimi review
32. Navalny
31. Hockeyland
30. Marcel the Shell with Shoes On
29. X
28. Crimes of the Future
27. Cha Cha Real Smooth
26. Decision to Leave
Park Chan-wook deserves all the credit he’s getting for Decision to Leave – a film the relies heavily on a master filmmaker working at his best. Although it isn’t as violent or abrasive as his past gems, Decision to Leave still finds its pocket in a filmography full of clever material. Decision to Leave review
25. Sundown
24. Apollo 10 ½ : A Space Age Childhood
23. Petite Maman
22. Prey
21. Mad God
20. Entergalactic
19. Sr.
In many ways, Chris Smith’s newest documentary Sr. pulls at you from one emotional beat to the next. Documenting an individual with a rich history like Robert Downey Sr. – an acclaimed independent director of films likes Putney Swope, Greaser’s Palace, and Chafed Elbows, while also being the father of eventual megastar Robert Downey Jr., feels like quite the undertaking. The filmmaker and his team dedicate an ample set of time towards Downey Sr.’s deep filmography and his personal anecdotes of developing films during the 1960s and 70s. Sr. review
18. After Yang
17. Bodies Bodies Bodies
Bodies Bodies Bodies lands quite well for me in the same way that contemporary programming like Euphoria does – because style and substance clash to create a palette of ideas easy to conceptualize and accept as a younger moviegoer. Many films try to relate to millennials and Gen Z-ers, but they come off insincere and preachy. Bodies Bodies Bodies comes off natural and timely, and it makes it one of the best horror films of 2022. Bodies Bodies Bodies review
16. The Batman
The Batman is a complete reimagining of superhero genre tropes. A moody noir piece backed by a haunting score, Matt Reeves’ newest blockbuster rewrites what’s possible for these genre films. The Batman review
15. The Woman King
14. Babylon
In a year where Hollywood’s biggest directors have gotten weirder and more insular, Damien Chazelle said “hold my beer” and offered the most depraved look at Hollywood ever put to screen. Babylon rules, and I won’t be swayed otherwise. Babylon review
13. Avatar: The Way of Water
The Way of Water absolutely comes through and pulls off a better experience than the first Avatar film could ever dream of. It’s emotionally riveting and absolutely deserves to be seen on a big screen. The best films make you laugh, gasp, and cry. The Way of Water pulls off all three. Simply put, don’t bet against James Cameron. The Way of Water review
12. Armageddon Time
Armageddon Time delivers on the humility and humanity that comes with nearly every James Gray film. Combine that with an ensemble cast for the ages, and a healthy bit of film grain and aesthetic flourish, and you get one of the year’s best releases. Many films leave your consciousness soon after you finish your screening, but not this one. This one will last. Armageddon Time review
11. The Northman
If The Northman isn’t Robert Eggers’ best movie, it’s at least his boldest. It’s finetuned and pinpoint beyond what you’d expect from an already exacting director, and the stunning ensemble cast is entirely dedicated to their profound roles – all led by Alexander Skarsgård (Infinity Pool) and Anya Taylor-Joy. The Northman review
10. Causeway
Jennifer Lawrence’s performance, as well as Brian Tyree Henry’s supporting role and Lila Neugebauer’s unobtrusive directing style, makes Causeway one of the year’s sharpest and most afflicting films – one that pulls more emotion out of you than the average studio blockbuster. Many films pull you in with pyrotechnics and bedazzled stylistic choices; it’s harder to conjure up enough emotional weight early on to keep a viewer locked in, but Causeway does that. Causeway review
9. Aftersun
Aftersun is a remarkable debut movie from Charlotte Wells, one that tries to piece together memories from a father-daughter vacation years prior. Absolutely in sync with its emotions, Wells delivers one of the most personal films I’ve seen in a while. Aftersun review
8. Barbarian
Barbarian is still refreshing and thrilling, and it’s easily one of my favorite theater experiences of the year. Films try over and over again to use the schlocky marketing bit of audiences screaming in theaters only to be disappointing in actual terror when places in front of you (just this year The Black Phone fits that description) but Barbarian is genuinely jaw-dropping. Barbarian review
7. Jackass Forever
Listen, I’m a simple man. I have simple pleasures. Sitting in a theater practically dying of laughter over watching grown men dying of laughter because their friend came face-to-face with a bear is one of those pleasures. Jackass Forever is a perfect return to the big screen for these wild personalities. Jackass Forever review
6. Tar
5. Ambulance
I have a confession to make. I did not see Ambulance on the big screen and it is easily my biggest regret of 2022 so far in terms of film watching. Every moment of Michael Bay’s newest heist, getaway, cocaine-driven anxiety trip is worth the price of admission, VOD rental, and 4k blu-ray bundle all sandwiched together into one. Ambulance review
4. Everything Everywhere All at Once
Few films grab an audience’s attention with a name as audacious as Everything Everywhere All at Once, and even fewer films live up to the billing of having such an ambitious and indulging title. In the case of Daniel Scheinert and Daniel Kwan’s (adequately self-nicknamed Daniels) 2022 critical darling and independent success story, not only does Everything Everywhere All at Once live up to its own title, it surpasses every industry expectation and expands on what it means to be a film developed under a restrained budget. Everything Everywhere All at Once review
3. Top Gun: Maverick
Months later, Top Gun: Maverick still feels fresh – for its direction, for its acting, and for its precise attention to emotion and payoff. Every moment feels important and finely tuned, and every actor and actress fits perfectly within this nostalgia-laden juggernaut. A real hit, and one of my favorite movie theater experiences of all time. Top Gun: Maverick review
2. Nope
Nope delivers on its promise of spectacle. Its set-up helps deliver one of the most rewarding third acts of the year, and one I’ll surely return to in years to come. Those don’t come around very often, only a handful of films lend themselves to repeat viewings, and Nope is certainly one of them. A dazzling and hypnotic viewing, and one that doesn’t leave your mind once you leave your theater. The best films make you think, and Nope gives you enough to sink your teeth into. Nope movie review
1. The Banshees of Inisherin
The story in The Banshees of Inisherin is simultaneously laugh-out-loud audacious and deftly potent with real questions on life and legacy. This is essentially Martin McDonagh’s treaties on friendship and what you leave behind once you leave Earth. Colin Farrell is the film’s stand-in for niceness towards those around you, and Brendan Gleeson’s character is a stand-in for tangible contributions to the world (in the film’s case, music). McDonagh constantly tries to unearth what it means to leave behind a legacy, and who will care about us when we die. The Banshees of Inisherin review
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