Top 20 Films of 2022
2022 has shaped up to be one of the best years for film in recent memory. Perhaps, since 2017. Such a statement isn’t restricted to films that the general public would reduce to “Oscar Bait”. This year, even the blockbusters managed to step it up and delivered films with merit and substance behind all the flashy (albeit stunning) special effects. From scathing commentary on the consumption of media and Hollywood itself, odes to cinema, to dissections of power, legacy, and artistry, 2022 served up films for audiences across the board. Never before has it been harder to construct a concrete Top 20 end-of-year list but what follows are my personal picks for 2022’s best films.
Honorable Mention - Babylon
Kicking things off, I would be beside myself if I failed to mention Damien Chazelle’s rambunctious cautionary tale on ambition, Babylon. The film doubles as an unflinching look at 1920s Hollywood and the movie-making machine at large. Three hours long, Chazelle and company utilize every minute to create a larger-than-life extravagance that teeters the border between dream-like and nightmarish. Margot Robbie lights up the screen as the electric Nellie LaRoy and is paired with a dashing Diego Calva that steps into the leading role expertly. A jazzy, lively soundscape provided by longtime collaborator of Chazelle’s, Justin Hurwitz, is the final and necessary element that characterizes Babylon as an over-the-top, chaotic cinematic experience and honest introspection of the conflict within dreamers and Hollywood itself.
20. Aftersun
Starting off the Top 20 is Charlotte Wells’ directorial debut, Aftersun. A quiet, meditative film that creeps up on you until it hits you all at once, culminating in the year’s most cathartic and emotionally turbulent dance sequence sure to leave you crying in a fetal position. Through a mix of low-fidelity home videos and Wells’ intimate direction, the film washes over you like a wave of nostalgia — placing us in the headspace of looking back at our childhood and magnifying that moment when the gravitas of our parents’ reality reveals itself through adult lenses. Paul Mescal and Frankie Corio’s performances manage to communicate so much emotion despite infrequent dialogue and are further complimented through Wells’ visual storytelling inviting the audience to rewarding repeat viewings.
19. Nope
Despite it being Peele’s weakest film, his deep dive into the spectacle and society’s relationship with them still makes for a riveting and thought-provoking summer blockbuster. In typical Peele fashion, these themes are discussed in the most unique way possible. Who knew a killer monkey and biblically accurate alien could be thematically tied within the same film? How cinematographer Hoyte van Hoytema captures the terror of the big sky and vast desert and translates it onto the big screen is a spectacle in and of itself. Furthermore, Peele’s horror elements and fear-inducing sound design all come together for a one-of-a-kind cinematic experience.
18. Elvis
Baz Luhrmann breathes life into the already overdone and stale biopic genre with his take on the larger-than-life figure himself, Elvis. Austin Butler transcends into the role of the often-proclaimed King of Rock and Roll but unlike 2018’s Bohemian Rhapsody, the film does not use his talents as a crutch. Maintaining Luhrmann’s character as a director, the frenetic editing, over-the-top visuals, and modern-day needle drops elevate the film from the typical cash-grabbing biopic. Thankfully, Luhrmann and Butler’s combined talents are enough to distract the audience from a cartoonish and grating Tom Hanks. Elvis is a raucous and enthralling ride, fitting for the legend himself that thankfully does not stray away from the controversies surrounding his musical catalog.
17. Bodies Bodies Bodies
Witty, biting, and wholly unserious, Bodies Bodies Bodies is a fun take on the teen slasher that takes a shot at Gen Z while never once losing its integrity. This would not have been possible without its incredibly talented ensemble cast featuring a sharp-tongued Myha’la Herrold and incredibly hilarious Rachel Sennott who understand the ins and outs of the comedic screenplay. Practically lit by iPhones and flashlights and taking advantage of its singular location, Bodies Bodies Bodies offers nonstop tension and laughs for its whole runtime with a controversial yet entirely fitting climax that recontextualizes the whole film.
16. Scream (2022)
The fifth entry in the Scream franchise manages to stay true to the essence of what makes the horror classic special while still keeping things fresh enough to keep the series alive. More brutal than ever, what ensues is an insanely engaging slasher that effortlessly juggles moments of tongue-in-cheek meta-commentary and anxiety-inducing chase scenes that’ll make horror fans excited for the future of the series. Five films in, the screenplay still manages to subvert expectations and delivers one of the best final acts of the franchise. The comically-titled Scream (2022) is clearly a labor of love from directors Matt-Bettinilli Olpin and Tyler Gillett and is more than worthy of being a tribute to the creator of the franchise and horror pioneer, Wes Craven.
15. Black Panther: Wakanda Forever
A disparate entry in the Marvel Cinematic Universe, Black Panther: Wakanda Forever strays a bit away from the repetitive and dull Marvel formula and is brimming with life. This grounded and personal tribute to the legacy of Chadwick Boseman showcases cathartic performances from both leads, Letitia Wright and Angela Bassett, and not at the sacrifice of edge-of-your-seat action. An authentic humanistic approach to the villain of Namor by Tenoch Huerta evokes a sense of empathy from the audience and contextualizes the relevant themes of colonialism rarely explored in Marvel. Lively and vibrant camera work from director Ryan Coogler and cinematographer Autumn Durald and an expansive score from Ludwig Gorannsson make for a sequel that’s more than worthy of its predecessor and perhaps even better than it.
14. Cha Cha Real Smooth
Watching Cha Cha Real Smooth, one would never assume that this is only director Cooper Raiff’s second film. Incredibly raw and tender, Raiff writes and directs the film with the knowledge of a longtime director and the wisdom of an old soul. Raiff confidently lays all of his emotions out on the table in all facets of his craft, including his performance as the charismatic lead, and wields the audience’s emotions in his hands with ease. A lovable Vanessa Burghardt and endearing Dakota Johnson further support the charming quality of the film. Cha Cha Real Smooth is a newcomer director staking his claim in the realm of cinema with his incredibly empathetic ruminations on the aimless existence of navigating your 20s.
13. Funny Pages
If there’s one way to put Funny Pages, it’s the fact that the Safdie Brothers (writers/directors of Uncut Gems and Good Time) producing the film could not be more fitting. The absurdist writing and incremental tension-building lend themselves to an unhinged slice-of-life of a selfish, narcissistic comic strip writer after dropping out of high school. Lead actor Daniel Zolghadri delivers a standout performance that sells writer-director Owen Kline’s exploration of the extremes one will go to pursue a passion. The film calls back to 80s cinema (a la Scorcese’s After Hours) in both substance and style with its script and grimy 16mm cinematography. Traveling at break-neck speed and short in its runtime, Funny Pages could’ve had me in its trance for at least three hours.
12. Avatar: The Way of Water
Avatar: The Way of Water is James Cameron at his most ambitious and as the visionary filmmaker he is, pulls it off in the most epic and cinematic manner one would expect him to. Always groundbreaking and forward-thinking, Way of Water is no exception to Cameron’s trademarks and truly feels like an introduction to a new era of Hollywood filmmaking. The sequel excels at everything the original lacked in - characters, plot, and pacing. The introduction of new characters and settings is a welcome venture into new territory for the follow-up that was being speculated as unnecessary. How the film manages to live up to the spectacle of the first is a wonder to behold and succeeds in selling people on the upcoming films.
11. The Batman
Matt Reeves’s take on The Batman brings us the most accurate depiction of the World’s Greatest Detective put to the silver screen. Dripping with dirt and grime, the characterization of Gotham is brought to life with the masterful production design and captivating cinematography that uses the shadows and noir imagery synonymous with the source material to its advantage. Robert Pattinson portrays Bruce Wayne in an authentic manner that only sets this adaptation apart from all the other iterations of Batman - as the brooding, goth, and deadpan reclusive billionaire we expect him to be. He is expertly paired with a sultry Zoe Kravitz who harnesses her sexual prowess in a style true to Catwoman and rivaled by an unsettling, borderline comedic Paul Dano as The Riddler. Add in composer Michael Giacchino’s already-iconic sonic soundscape and the result is a palpable atmosphere that’ll have viewers coming back for more of Reeves’ tension and cloaked horrors.
10. Decision to Leave
If nothing else, Decision to Leave is Park Chan-wook showcasing his mastery of the art of filmmaking and my eyes were transfixed for every minute of it. The playfulness of the camera and how it manages to capture the audience’s attention in a seemingly endless amount of ways alone is worth the price of admission. Despite the imaginative, almost child-like nature of the camera, cinematographer Kim Ji-yong is able to translate the regality and elegance of Korean landscapes to the screen and keep the same level of integrity for smaller, more contained scenes. Scenes in which the leads of the film, Park Hae-il and Tang Wei, are allowed to shine by having the camera linger on and accentuate the subtleties of their performances. Writers Park Chan-wook and Chung Seo-kyun have crafted a mystery, although a bit muddled at the end, that is deeply layered and will have moviegoers hooked far beyond the reveal.
9. The Fabelmans
In all of its cheesy dialogue and “soap opera-like” acting choices, what Spielberg crafts with The Fablemans is the cinematic equivalent of being wrapped in a warm blanket on a cold Winter night. Making all lovers of film feel seen, Spielberg’s personal semiautobiographical love letter to the magic of movies is both parts heartfelt and entertaining. Gabriel Labelle pulls off the tough job of playing what is supposed to be Steven Spielberg as Sammy Fabelman in his own film - perfectly capturing the artist’s dilemma between their creations and familial obligations yet never coming off as standoffish. Paul Dano as Burt Fabelman, Sammy’s left-brained father, manages to balance the film’s more sappy moments and maintains his authenticity while steering clear of soap opera territory. Paired with Janusz Kaminski’s warm cinematography, what we’re left with is an incredibly relatable and endearing film by one of Hollywood’s greats.
8. Pearl
Never in cinema has a prequel ever been better than the film it is based on, that is until Ti West’s Pearl. Overflowing with camp and technicolor reminiscent of old Hollywood filmmaking, West adds his sinister twist to this all-encompassing character study. This juxtaposition makes for an unsettling experience as one witnesses the mental decline of a young woman desperate to be a star, which thanks to X, we know never happens. For uncomfortable as Pearl is, the subtle themes of fate and existentialism imbued into the screenplay make for an equally somber tone that lingers past the credits roll and Mia Goth’s unnerving smile has faded into black. If the Academy had not notoriously neglected the horror genre time and time again, Goth would undoubtedly be the name on everybody’s lips when it comes to the Best Actress conversation. Pearl delivers on the rare occasion that a prequel retroactively redefines and recontextualizes the original and is even able to stand alone in what is a fascinating and stimulating audio-visual experience.
7. Barbarian
The one that snuck up on audiences and blew all expectations away. Whether that be subverting expectations of the film’s quality or expectations of where the plot was going, writer/director Zach Cregger achieves both. Barbarian is a thrill ride with unexpected twists and turns at a fast pace. In the midst of all the chaos, Georgina Campbell’s Tess is a perfect new addition to the final girl lineup, Bill Skarsgard wittily plays to the script’s gray areas, and Justin Long superbly does the comedic weightlifting. Its unconventional plot, comical elements, and dialogue on perception easily make Barbarian the year’s best horror film.
6. Tár
A composition of juggernaut performances, exquisite directing, and meticulous writing. Todd Field’s Tár is a masterclass in filmmaking as Cate Blanchett’s performance is in acting. A piercing character study and rumination on the consequences of power itself, Tár is a moving piece of hypnotic imagery accompanied by an equally unsettling tone and an atmosphere that is ever-present and simmering under the surface of every aspect of the film. From the uneasy sound design to Florian Hoffmeister’s mesmerizing cinematography, Tár perfectly sets the audience in the place of both the conductor herself and her subjects. Todd Field’s control of the camera and in turn, his command over the audience sets to leave many in a trance-like state for the nearly 3-hour runtime of the film. Tár’s grip doesn’t let go once the (second) credits roll and manages to seep into your brain like a parasite before inevitably beckoning you for a second watch.
5. Top Gun: Maverick
If one had told me at the beginning of 2021 that this military propaganda tailored for individuals with boosted levels of testosterone would be among my favorite films of the year, I would have laughed. But alas, here we are with Top Gun: Maverick sitting at number five. Tom Cruise has further cemented his movie stardom with this exhilarating, white-knuckle-bearing film that begs to be watched with the biggest screen and loudest speakers possible. Yes, Top Gun: Maverick features a whole lot of cinematic aerial dogfighting but more importantly, it bears a huge heart under the cacophony of jet engines and flares. Reprising her role as the love interest, Jennifer Connelly’s Penny’s fond relationship with Cruise’s Maverick warms the audience’s heart. It’s ultimately, however, the film’s surprisingly poignant discussion of loss and legacy that imbues more substance into the material and elevates it from the standard popcorn action flick. Though the action is, without a doubt, as present and engaging as ever thanks to tight editing, Top Gun: Maverick is a quintessential example of movie magic.
4. The Menu
From director Mark Mylod of Succession fame comes a scathing satire of the rich worthy of comparison to Succession itself. Inventive and self-aware enough to not fall into tropes, The Menu is much more than poking fun at the uber-wealthy and making sure its audience is aware of the fact that the “1% are bad” (as if life itself isn’t a constant reminder of that). Instead, it delves deeper into its themes and opens a conversation revolving around the consumption of art and the fan culture surrounding it. Anya Taylor-Joy once again proves her leading role power and is able to hold her ground against Ralph Fiennes who approaches the role with a true understanding of his character’s subtleties. Hong Chau also delivers a performance as the deadpan maitre d’ bursting at the seams with rage that should not go unspoken. A cold sense of direction, sleek production design, and a well-paced, multifaceted screenplay contribute to placing The Menu one echelon above the increasingly oversaturated market of satirizations of the rich.
3. The Northman
Robert Eggers’ departure from horror into Norse mythology proved to be a brutal and bleak legend of fate and destiny. The film is anchored by a perfectly casted hypermasculine Alexander Skarsgård and complimented by far-too-underused but still enchanting Anya Taylor-Joy. In spite of the Northman’s ensemble cast — a tantalizing Nicole Kidman, a mystifying Bjork, a fatherly Ethan Hawke, and a Willem Dafoe in his element — it is a testament to its greatness that it is still not the film’s crowning jewel. Jarin Blaschke’s visually arresting cinematography of Ireland’s natural beauty and the camera’s fluid nature being able to keep up with the film’s massive action set pieces is easily the highlight of the film. In true Eggers fashion, the screenplay written with Sjón rings extremely accurate to the time period and results in an Icelandic folktale riddled with tragedy and adventure.
2. Crimes of the Future
An inquisitive introspection on what defines one as human, governmental censorship, and the metaphysical experience of being an artist wrapped in director David Cronenberg’s defining body horror and masterful world-building. Crimes of the Future’s near-future dystopia is brought to life by Carol Spier’s detailed and otherworldly production design, a striking industrial score by Howard Shore, and features a scene-stealing cheeky performance by Kristen Stewart. Although the film might not be for all audiences, Cronenberg’s confidence in dropping you into his world and letting you absorb it all is sure to encompass those that it does serve. How he manages to delicately weave his ideas into a story only Cronenberg is able to concoct and pull off is a cinematic feat that further solidifies his title as the king of body horror.
1. Everything Everywhere All at Once
We all saw it coming. Perhaps the year’s most universally praised release and a rare occasion where it lives up to, if not, exceeds the hype. Everything Everywhere All at Once is an experience that is entirely unique and unlike anything ever put to film. So committed to the bit, so true to itself, one can’t help but love it. It’s truly one of those that whilst watching, it’s unfathomable to think that someone not only came up with the concept but executed it with flying colors. Clocking in at 2 hours and 19 minutes, the Daniels’ hectic direction, relentless pace, and masterful editing assist in making it the fastest two hours known to man. Michelle Yeoh is a powerhouse lead, constantly shapeshifting into whatever it is the screenplay requires of her. However, it is Ke Huy Quan who truly positions himself as the heart of the film with his honest, beguiling performance. Furthermore, in a breakout role, Stephanie Hsu effortlessly carries the weight of being the film’s central villain — adding humor and sarcasm whenever needed and being able to ground herself for the more intimate moments from one scene to the next. Everything Everywhere All at Once is truly a once-in-a-generation type film that solidifies the notion that audiences will always fawn over original stories.