As 2022 comes to a close, I've gone through the 65 movies reviewed this year and settled my 10 favorites.
There were plenty of highlights and lowlights this year with it being a particularly good year for horror films which always makes me happy.
Top Gun: Maverick and Avatar: The Way of Water delivered the goods in terms of onscreen spectacle, even if they didn't nail the story, something sorely needed after the last few years.
So, without further ado below are my 10 favorite films of 2022 in no particular order.
This list isn't necessarily based on my original grades.
X
There have been plenty of horror films that have tried to replicate the look and feel of Tobe Hooper's original Texas Chainsaw Massacre but never quite hitting the mark. Ti West pulled off a fun surprise with X which captured the grimy violence paired with a dark sense of humor. Its final act aims to make you squirm and it does so in spades.
The superhero genre has brought the concept of the multiverse to the masses but Everything Everywhere All At Once manages to nail the concept while delivering an emotionally poignant story which grounds the overall story.
Robert Eggers The Northman is visually mesmerizing from start to finish. Its story plays like a blend of Gladiator and Excalibur stacked with a excellent performances across the board.
Avatar: The Way of Water is far from a perfect film, but you can't deny the technical and visual achievements James Cameron delivered on screen. Its story never reaches those heights, but the visuals alone make it one of the more memorable big screen experiences of the year.
Alex Garland's Men isn't an easy film to digest especially as it gets more bizarre and headier in its final act. It’s the type of film that stays with you whether you loved or hated it due to searing imaginary and stellar performances from its two leads.
Martin McDonagh's films tend to be as darkly funny as they are pensive and deep. The Banshees of Inisherin reteams him with Colin Farrell and Brendan Gleeson for the first time since In Bruges. The result is an immensely watchable film that's as funny, sad and meaningful as their previous collaboration.
By this point in time, another Elvis biopic seems like beating a dead horse into the ground, but Baz Luhrmann's name was enough to get me intrigued. His exuberant, kinetic style paired with a career making performance from Austin Butler elevate the film making it feel more like a fantasy than reality.
For me, Jordan Peele's first two films were overpraised for my taste. I enjoyed them but can't say either one really blew me away. I expected more of the same with Nope and was genuinely taken aback at how much I enjoyed his twisty, genre bending film. Peele keeps you off balance by toying with your expectations throughout and once the reveal occurs you are either all in or rolling your eyes. Needless to say, I was in the first camp.
Sometimes you run across something unexpected and original like Marcel the Shell with Shoes. Its stop motion star is charming and lovable, but the story's arch is surprisingly profound, moving and heartfelt.
When I heard that Ti West and Mia Goth had written and shot a prequel to X I thought it was interesting but figured it would be a nice companion piece at best. I was utterly unprepared for the visual flair and overall craftmanship they both delivered on screen. This film is its own living breathing entity, a distinct and separate creation which more than stands on its own. Mia Goth double role in X was impressive but with Pearl she exceeds it in everyway, capped off with a monologue for the ages.
Discovered by record executive Clive Davis, Whitney Houston rises from obscurity to international fame in the 1980s to become one of the greatest singers of her generation.
Rated PG-13 for Strong Drug Content, Some Strong Language, Smoking, Suggestive References
Runtime: 2h 26m
Review:
I Wanna Dance with Somebody is a competent albeit perfunctory exercise of a biopic that rushes thru major moments while delivering barebones dramatic moments. Kasi Lemmons meticulously recreates a lion's share of Houston's most iconic moments with the film pulsating with energetic verve especially for longtime fans of the singer. Sadly, the dramatic connective tissue never reaches those kinds of heights. The interspersed moments showing her upbringing, career and romantic relationships fairly uninspired and rushed. Those moments never connect, keeping the audience at a distance from Houston's motivations or drives. As such, it's a scattering of well worn tabloid details with very little emotional depth or resonance behind it. It's a massive misfire for the film since the cast is clearly dying for better material and do the best they can with what they have. Naomi Ackie is solid if not transcendent as Houston. Ackie clearly studied her movements and mannerisms in order to recreate her stage presence which is a tall order to say the least. Its an admirable turn as she makes the most of what she's given to work with. The supporting cast is made up of intriguing performers with the script providing hints of more interesting iterations of the characters. However, none of them are explored properly leaving Clarke Peter and Tamara Tunie playing clichéd parental overseer/overlords. Nafessa Williams playing Whitney's lifelong best friend seemed ripe for exploration but the film spends fairly little time on their relationship before quickly moving on and leaving her little more than a worried supportive friend at odds with Ashton Sanders' Bobby Brown who takes up a large portion of the final act. Stanley Tucci fares the best of the bunch due to his sheer talent and playing Clive Davis who is also one of the film's producers. The final act magnifies the film's faults as it clumsily lumbers toward Houston's tragic end. I Wanna Dance with Somebody ends up being little more than a competent but forgettable biopic that doesn't bring any sort of fresh perspective on its central subject.
Puss in Boots discovers that his passion for adventure has taken its toll: he has burnt through eight of his nine lives. Puss sets out on an epic journey to find the mythical Last Wish and restore his nine lives.
Director: Joel Crawford
Cast: Antonio Banderas, Salma Hayek, Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura, Da'Vine Joy Randolph, and Anthony Mendez
Rated PG for action/violence, rude humor/language, and some scary moments.
Runtime: 1h 40m
It’s rare that a sequel, much less to a spinoff of another franchise, would still pulse with the energy of Puss in Boots: The Last Wish. This newest entry into the Shrek spinoff is surprisingly vibrant onscreen which paired with a sharp script makes for a pleasant surprise of a family film. Kids and adults will find plenty to enjoy here as the story tackles such heady issues like enjoying every moment of your life in the face of your own mortality. If it sounds like a rather heavy topic for a kid’s movie it is but the script has the right balance of emotional resonance and fun to keep things enjoyable for the younger members of the audience. Cleary, the film's biggest assets is its collection of stars voicing the collection of fantasy characters onscreen. Antonio Banderas and Salma Hayek's interplay drives the film with the kind of chemistry few couples have shared even behind animated characters. They both bring so much fun and authenticity to their characters that the adults may forget they are watching fairy tale cats on an adventure. Harvey Guillén joins the couple as an orphaned but kindhearted dog who looking for friendship. Florence Pugh, Olivia Colman, Ray Winstone and Samson Kayo have just as much fun bring Goldilocks and Three Bears to life by giving their classic fairytale newfound resonance and meaning by the time the film ends. John Mulaney is solid as the primary villain, but Wagner Moura's Big Bad Wolfe is impressively creepy, probably too much for very young children, as the embodiment of death. Puss in Boots: The Las Wish could use a few trims here and there but overall, it’s the kind of family film that doesn't feel the need to pander to its audience while delivering and meaningful experience for children and adults alike.
Decadence, depravity, and outrageous excess lead to the rise and fall of several ambitious dreamers in 1920s Hollywood.
Director: Damien Chazelle
Cast: Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, Li Jun Li, Tobey Maguire
Release Date: December 23, 2022
Genre: Comedy, Drama, History
Rated R for strong and crude sexual content, graphic nudity, bloody violence, drug use, and pervasive language.
Runtime: 3h 9m
Damien Chazelle's Babylon is a frenetic, overstuffed film that's engaging but terribly unfocused. Chazelle opening sequence plays like Eyes Wide Shut through Baz Luhrmann's lens but with a lot more bodily fluids. It’s a kinetic introduction to primary characters and setting overall. The excess on display is indulgently, outrageous on multiple levels but there's a tangible sense of energy and melancholy pulsating through the screen. The impressive thing is that Chazelle keep that energy going for the better part of the film even though you get the sense that it would have benefited from some selective editing. A tighter film would have focused its characters, themes and story particularly in its uneven and off kilter final act. Even though the film loses itself on multiple occasions the cast makes it an easier pill to swallow by delivering impressive turns across the board. Brad Pitt is excellent as the fading silent film star who used to be the biggest name in Hollywood. Pitt easily carries the earlier portion of the film with his charisma which works perfectly for his character however his more nuanced and subtle work in the back half of the film is much more impressive. Margot Robbie is equally impressive as the overnight starlet who’s destined to flame out in short order. Robbie's manic energy is perfectly suited for her character who can best be described as a squirrel on cocaine. It’s hard to take your eyes off her when she's onscreen but we never get under her skin as she remains an enigma who's just out of reach. Diego Calva's wide-eyed Manny exemplifies that as he serves as the film's beating heart. Calva has a likable onscreen presence that plays well even when he's onscreen with his bigger name stars. Jovan Adepo and Li Jun Li both deliver fascinating supporting turns, but their characters are underserved to the detriment of the overall film. It’s a glaring misfire since the film has more than enough time to focus on their characters than it ultimately does even though their story threads are just as important as the others. Ultimately, Babylon the kind of film that's trying to say too many things at once. There are a few moments in its final act where the characters vocalize the themes Chazelle is trying to address but his lack of focus keeps them from landing the way they should.
Jake Sully and Ney'tiri have formed a family and are doing everything to stay together. However, they must leave their home and explore the regions of Pandora. When an ancient threat resurfaces, Jake must fight a difficult war against the humans.
Director: James Cameron
Cast: Sam Worthington, Zoe Saldaña, Stephen Lang, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, Matt Gerald, Sigourney Weaver, Kate Winslet, Cliff Curtis, Edie Falco, Jemaine Clement, Brendan Cowell
Release Date: December 16, 2022
Genre: Action, Adventure, Fantasy, Sci-Fi
Rated PG-13 for sequences of strong violence and intense action, partial nudity and some strong language
Runtime: 3h 12m
The first Avatar was a huge film and leave it to James Cameron to deliver a larger more immersive experience with the sequel Avatar: The Way of Water. Cameron's film delivers some truly awe-inspiring visuals which feel like another high point in technical achievement akin to Star Wars or Jurassic Park. So much so that this is the first film since the original Avatar that'd I'd recommend be seen in 3D. The massive world that is painted onscreen is so incredibly detailed and vibrant that it's almost overwhelming. Cameron is fully aware of what he's achieved and reiterates the point with a handful of "wow" sequences which simply serve to show off the technical tenacity even if it doesn't do much for the actual story. The story does tend to take a backseat to the overall experience almost to a detriment.
This entry's plot focuses more on family/legacy drama with splashes of the overreaching conflict from the original. It’s fairly straightforward with nearly everything playing out the way you'd expect with a scant amount of surprises. It doesn't help matters that the story is so large and expansive that it lacks a defined focus even with a heavy emphasis on characters. Sam Worthington and Zoe Saldaña's characters from the original still anchor the film but they play more of a secondary supporting role here with the film focusing more time on their children.
Those characters are lead by Sigourney Weaver, Jamie Flatters and Britain Dalton and do their best with fairly clichéd roles. Their characters are the film's focus, but they are never as engaging as they should be. Stephen Lang fairs slightly better here as the resurrected Na'vi avatar of Colonel Miles Quaritch. Lang, again, nails the gruff, laser focused solider with the script adding a subplot with his son who's gone native in his absence. His son, Miles "Spider" Socorro, played by Jack Champion is one of those characters that stands out for all the wrong reasons. Champion isn't a strong enough of a performer to make the character work even though he serves an important role in the story. It’s a shame because it does take you of the moment every time he pops up on screen.
It’s one of the few glaring missteps overall but it's easy to overlook especially once the final act starts. Cameron delivers a hodgepodge of his greatest hits by borrowing moments and beats from Aliens, The Abyss, Terminator and Titanic in a rousing finale which reminds you why he's one of the best big film directors in history. Avatar: The Way of Water is a testament to his talent as a director and his ability to deliver the kind of memorable big screen experience which have been lacking in the current glut of superhero.
A woman's carefully constructed life gets up-ended when an unwelcome shadow from her past returns, forcing her to confront the monster she's evaded for two decades.
Director: Andrew Semans
Cast: Rebecca Hall, Grace Kaufman, Michael Esper, Tim Roth
Release Date: July 29, 2022
Genre: Crime, Drama, Horror, Mystery, Thriller
Rated R for some violent content, sexual content, and for language
Runtime: 1h 43m
Resurrection is a lean, psychological potboiler that works mainly because of Rebecca Hall’s thoroughly committed performance. Andrew Semans’ film is grounded for the most part but from the opening shot you get the sense that something’s off. There are plenty of moments that feel familiar throughout as we follow Hall’s character steady decent into madness. It’s a disorienting sensation even if she starts going off the rails quickly much like Jack Nicholson in The Shining. Additionally, it’s obvious early on that Hall’s character isn’t the most reliable point of view as the film highlights a few blackouts and dissociative moments which will leave you wondering how much of what you are seeing is real or imagined. There are few actresses around that can play internalized trauma like Rebecca Hall, see Christine or The Night House. Hall is fully committed from the start, never letting up, making the audience feel every tinge of pain and intensity. She carries the film by providing a multifaceted performance that is distinctively her own. Tim Roth delivers a measured, subtly menacing turn that’s as unnerving as it’s understated. His scenes with Hall pop off the screen especially as the film turns into its final act where it’s likely to lose or confuse a portion of the audience. Whether the ending works or not is entirely up to everyone’s personal taste, but Resurrection is the kind of film that will linger in your memory.
Young Sammy Fabelman falls in love with movies after his parents take him to see "The Greatest Show on Earth." Armed with a camera, Sammy starts to make his own films at home, much to the delight of his supportive mother.
Director: Steven Spielberg
Cast: Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, Judd Hirsch, David Lynch
Release Date: November 11, 2022
Genre: Drama
Rated PG-13 for some strong language, thematic elements, brief violence and drug use.
Runtime: 2h 31m
Steven Spielberg's The Fablemans is a tender, thematically dense quasi-autobiography that shows the power of film and its effect on people. Initially, his film is a light bit of idyllic nostalgia as he discovers cinema and his nascent filmmaking as a child. Slowly, he reveals small fractures in his home life as he continues to explore his love of filmmaking. Gabriel LaBelle delivers an excellent central performance as Sammy Fableman. LaBelle gives the character a likable authenticity that makes his coming of age journey engaging and relatable as his family moves from New Jersey to Arizona and finally California. It’s a subtle performance as his character traverses a wide range of emotions and experiences since the film covers a large swath of time. Michelle Williams gets the showier role and delivers a textured heartfelt turn as his loving mother. Williams' performance reveals itself as the story moves along with her free spirted, artistic soul collapsing under itself as she's increasingly feeling trapped in a life she never wanted. There's a palatable sense of yearning for her unrealized dreams that drives the film and Sammy throughout. Paul Dano does yeoman's work as the loving and kind but decidedly analytical patriarch of the family. It’s a reserved, measured turn that only gives you glimpses his heartbreak. Seth Rogen and Judd Hirsch have small but important supporting roles with each actor making the most of their screen time. The film's unhurried pace might turn off for some since it moves at a decidedly methodical pace. That pace, though, does allow you to digest more of the underlying themes about film and its ability to refocus perceptions and truth, something explicitly addressed in a telling scene between Sammy and a high school bully in the final act. It’s a testament to Spielberg that he knowingly acknowledges that this sanitized, glossy retelling of his upbringing veers somewhere between truth and tale.
An elite team of mercenaries breaks into a family compound on Christmas Eve, taking everyone hostage inside. However, they aren't prepared for a surprise combatant: Santa Claus is on the grounds, and he's about to show why this Nick is no saint.
Director: Tommy Wirkola
Cast: David Harbour, John Leguizamo, Alex Hassell, Alexis Louder, Edi Patterson, Cam Gigandet, Leah Brady, Beverly D'Angelo
Release Date: December 2, 2022
Genre: Action, Comedy, Crime, Thriller
Rated R for strong bloody violence, language throughout and some sexual references
Runtime: 1h 52m
Violent Night is a bloody bit of Christmas camp that answers the question, what would happen if you threw Die Hard, Miracle on 34th Street and Home Alone into a blender. Tommy Wirkola's film tries to balance over the top bloody action with some Christmas magic, only partially succeeding in frenzied spots before hitting noticeable lulls. The film embraces it’s over the top violence which are what most people are coming for but it also takes long periods of time to try and set up a Christmas magic type subplot which just kills it's forward momentum. The film would have been better served if those sequences were trimmed down allowing it to lean into the goofy Christmas mayhem. David Harbour deserves a lion share of the credit for making this film work with an incredibly fun performance as an apathetic, disillusioned Kris Kringle. Harbour is a generally likable performer which works well for him here as the Viking berserker turned Santa Claus, seriously, and child confidant. His ability to switch between ferocity and heartfelt sincerity is rather impressive. John Leguizamo serves as the film's villain, a role he's clearly having a ball playing. It’s an over the top performance but it works perfectly with the film overall. Beverly D'Angelo and Edi Patterson make the most of their limited screen time, it’s a shame the film didn't make better use of their talents. Violent Night is a choppy affair but when it embraces its violent B-movie camp it’s a lot of fun.
