Welcome to 2023 everyone. Yes, I know this list of the best films from 2022 is a little later than usual but hey hopefully its worth the wait. Unfortunately due to my over-extended commitments to this years best of TV list I was left scrambling to watch some films right at the wire.
But enough about my poor time management, 2022 has been a turbulent year for the big screen. Cinema attendances have for the most part flatlined, as fewer and fewer films were awarded a big-screen release last year. With Netflix’s commitment to releasing one film every week (the majority of which have been borderline unwatchable) and Disney waiting sometimes less than 2 months to add their films to Disney+ the need for your average film watcher to visit the cinema has drastically shrunk. My local Cineworld went through a stage of offering everyone who purchased a film ticket 3 months of Apple TV+. Although nothing will reach the embarrassing levels of Paramount+ throwing a month free of their new streaming service at anyone buying a packet of McCoy's crisps.
But this doesn’t tell the whole story of 2022. There were still those outliers that defied expectations and hit back against the death of cinema. Top Gun: Maverick surpassed even the most wildest box-office dreams of its production company Paramount, when it skyrocketed into the billion dollar club. In the process becoming the eleventh highest-earning film of all time worldwide and fifth in the United States (not adjusted for inflation). The long-awaited Avatar: The Way of Water also arrived in 2022, and although James Camerons first film in 16 years may have left a lot to be desired in terms of its story, you can’t deny its status as a cultural phenomenon. After just 12 days it cracked the one billion mark and is currently on track to reach two billion dollars in revenue - which is good news for Cameron as the rumoured cost of the film is astronomical.
However, the real star of this tempestuous year has to be the horror genre. Horror has been going from strength to strength in the last decade - so much so that I even gave it a shoutout last year. But this year it has truly kept cinema alive. With low budgets but high thrills, horror is becoming the modern-day home for auteur directors who are being allowed free rain to produce anything they like within the constraints of the story being scary. There are more horror films in this year's list than ever before, and I’m just sad I couldn’t include more. Now speaking of the list let’s get into it.
Honourable Mention, Deep Water - (Director: Adrian Lyne)
The seemingly happy married couple of Vic (Ben Affleck) and Melinda (Ana de Armas) to the outside world is a lie. The couple is trapped in a joyless marriage built on the foundations of deceit and adultery, but they endure. Until Melinda, frustrated by Vic’s seemingly emotionless demeanour starts engaging in increasingly outlandish and public affairs. Vic, pushed to his very limits by these affairs, decides to take revenge against his wife's unsuspecting lovers.
I’m very comfortable admitting this film is absolute, unadulterated trash. But it’s the best kind of trash, hilarious trash. I had so much fun watching this odd couple (it’s easy to forget that Affleck and Armas were a real-life couple when this film was created and released) navigate their increasingly toxic relationship. The film is essentially a watered-down version of Gillian Flynn’s modern-day masterpiece Gone Girl. A film Affleck also starred in. 2022 has at times been a truly horrendous year, so what better way to put real-life issues to the back of your mind than by watching Ben Affleck become increasingly more dishevelled as he deals with his wife’s lovers in increasingly ridiculous ways?
25) Pinocchio - (Director: Guillermo del Toro)
Who isn’t aware of the story of the little wooden boy at this point? Well…maybe this story will turn out to be a little different to the one you are used to. Set during the rise of fascism in Mussolini’s Italy, Guillermo del Toro puts his signature spin on the story of Geppetto (David Bradley) and his little wooden boy Pinocchio (Gregory).
A film that was over 15 years in the making, del Toto spent 935 days filming the expansive stop-motion picture. The sheer craftsmanship and determination that went into the film can’t be overlooked. From dozens of handmade faces for the puppet of Pinocchio to the carefully constructed world of fascist Italy, it’s a marvel how much effort went into creating this poignant re-telling of the famous story. The talented cast of voice actors breathe life into their painstakingly constructed characters and del Toro brings his titular fantastical world-building to the table. And this isn’t the last time you’ll be seeing the director on this year's list.
24) Bodies Bodies Bodies - (Director: Halina Reijn)
When a group of millennial friends decide to hunker down in a remote mansion during a hurricane, a party game called Bodies Bodies Bodies takes an eerily real turn as one of their numbers ends up dead with no obvious culprit. What follows is a Cluedo-Esq (if Cluedo was played drunk during a natural disaster) attempt to unmask the killer hiding amount their group.
The first horror film of this year's list Bodies Bodies Bodies is a hilarious black comedy that further cements A24’s place as one of the most ambitious production companies around. I had a great time with this young exuberant cast made up of future starts from the likes of Amandla Stenberg (The Hate U Give), Maria Bakalova (Borat), Rachel Sennott (Shiva Baby), and Myha’la Herrold (Industry). The chemistry between the group of friends - which also includes America’s answer to Russell Brand, Pete Davidson - is electric. The line delivery, which was often improvised by the young cast to give it a more authentic feel, is effortlessly funny. It’s difficult to go into too much detail when it comes to the plot, but all you need to know is this is a roller-coaster ride that you won’t want to miss out on.
23) All Quiet on the Western Front - (Director: Edward Berger)
Inspired by the German soldiers currently fighting in the great war, Paul and his naive group of friends volunteer to join the frontlines in the battle against France, Britain and their allies. Egged on by the promise of heroism the quartet soon find that war isn’t everything they have been led to believe. As they are confronted with the barbaric nature of trench warfare the school friends turned soldiers must fight to stay alive.
Edward Berger’s decision to re-invent the 1930s classic of the same name for modern audiences was an extremely brave one. The film is a classic for a reason. But - and undoubtedly helped buoyed on by the success of Sam Mendes's masterpiece 1917 - he has succeeded in creating his own version of the classic story. Being told from the German perspective the film provides us with a brand new lens into the war. That of a nation in complete disarray, well aware they are losing the war, but still willing to gamble the lives of their children to gain mere meters worth of ground. Delving into the delusions of war and the sheer brutality of it, the single complaint I have is that I’d have liked the film to explore the unrelenting propaganda that convinced so many young men to sign up to die pointlessly for their country with a more invasive lens.
22) X - (Director: Ti West)
Set in rural Texas during the sweltering summer of 1979. A group of amateur adult filmmakers embark on a trip to a reclusive farmhouse in order to film their next project. Upon arriving they get the feeling there may be more to their elderly hosts than first meets the eye. A fact that tragically learn to be true as they are left fighting for their lives.
Ti West teamed up with the talented Mia goth to create their very own horror series this year. With X being the first entry into what will become a trilogy of films with goth in the lead role. Sadly so far despite the first two films being released within months of each other, we have only seen X arrive on our shores. With the second film Pearl lagging behind. But we shouldn’t worry too much as X proved to be an absolutely horrifying delight. Goth is magnificent as would-be actress Maxine, while her supporting cast includes one of 2022’s breakout stars Jenna Ortega as Lorraine Day. The kills are shocking and frequently gory, with West never shying away from shocking his audience. X can be counted as another success in A24’s growing collection.
21) Nightmare Alley - (Director: Guillermo del Toro)
An allegory of the mystical world of 1940’s Carnivals and Freak shows, Nightmare Alley follows grifter Stanton Carlisle’s (Bradley Cooper) descent into a world of manipulation as a renowned psychic, which ultimately leads to him teaming up with his troubled assistant Molly (Rooney Mara) to rob an affluent but dangerous businessman called Ezra Grindle (Richard Jenkins).
For his second appearance on this year's list, del Toro is surviving up a much more grizzly picture. Stretching Carlisle’s entire time in the Carnival and his career as a psychic the film comes in at an eye-watering two hours and thirty minutes. The main plot doesn’t unfold until at least halfway through the run time as we are introduced to Cate Blanchett’s temptress Dr. Lilith Ritter. But even still every minute feels earned to tell this story. As with his aforementioned film, Pinocchio del Toro’s exquisite eye for detail helps to create a world that feels thoroughly lived in. From the drenched city streets to the decaying carnival everything is expertly mapped out to create a cinematic experience only the mind of dele Toro could concoct.
20) Prey - (Director: Dan Trachtenberg)
Set against the backdrop of America's sweeping Great plains in the early 18th century, Prey pits skilled tracker Naru and her Comanche tribe against a formidable extraterrestrial threat…the Predator.
It’s been four years since Shane Black's shameful The Predator debuted in cinemas and seemingly killed off the hopes of any future Predator films (certainly any good ones that's for sure). But fast forward and Trachtenberg has reignited the franchise by feeding into what made the first film such a classic. A simple uncomplicated story of a battle of wits between two adept warriors. The three previous instalments in the franchise have failed to understand this, Instead making more outlandish overcomplicated stories as they got further away from John McTiernan’s original. With a mixture of gorgeous visuals - fully taking advantage of the setting - and epic battle sequences Prey is one of his year's best action films and a refreshing example of how sequels (or in this case prequels) can be done right.
19) Titane - (Director: Julia Ducournau)
As a wave of grisly murders plague the French city of Marseille former firefighter turned trainer Vincent (Vincent Lindon) is reunited with his son Adrien (Agathe Rousselle) who went missing more than 10 years ago. But the returning Adriene may not be all that he seems as he attempts to hide a horrifying secret from his father.
Julia Ducournau burst onto the scene with her debut film Raw released back in 2017. But with Titane she may have outdone the depravity of her debut by creating something truly disturbing but inspiring. With deeply explored themes of gender fluidity, loss and coming to terms with one's own identity Titane also has room for vomit-inducing body horror that could rival the work of the legendary David Cronenberg. In fact the film shares an awful lot in common with the director's magnum-opus Crash, even down to the fetishisation of automobiles and crass pitch-black humour. Rousselle is entrancing in her first leading role while Ducournau has further cemented herself as one of the most exciting newcomers in cinema.
18) Parallel Mothers - (Director: Pedro Almodovar)
After both becoming pregnant by accident two unrelated single women give birth on the same day in a Spanish hospital. But after a clerical mix-up, they end up taking home each other's babies with neither party aware of the accidental switch or the devastating sequence of events it will set in motion.
Arriving early in 2022 Parallel Mothers is a beautifully realised film of what it means to be a single mother and its demanding nature. Penelope Cruz and Milena Smit are both magnificent as the unsuspecting mother’s thrown into this bizarre situation, with their growing relationship as the plot unfolds making for both poignant and heartwarming moments between the two characters. While Almodovar’s patient direction allows time for the two actors to fully embrace the story. The secondary narrative that accompanies the main story delves into the historically ignored events of the Spanish civil war, and proves to be an interesting story in its own right.
17) RRR - (Director: S. S. Rajamouli)
During the British occupation of India two legendary revolutionaries create an ever-lasting friendship as they attempt to bring down the tyrannical rule of the colonial power which has left their country gutted and unrecognisable.
A true action epic in every sense of the word. Rajamouli’s RRR (Rise, Roar, Revolt) produces some of the most memorable action sequences of all time. From an epic one vs four hundred showdown, to a motorbike-wielding hero using his chosen weapon to beat his enemies into submission, to an explosive raid on one of the monolithic British Empire's strongholds that features a wave of fierce tigers, wolfs and extremely angry deer. This is my first experience with Tamil cinema. But if RRR is anything to go by it’s a genre I need to explore more often. It’s unforgivable that Netflix hasn’t bothered to make the film available in its native tongue. I would, however, recommend everyone watching to switch from the horrendous English dubbing to the more palatable Hindi dubbing instead.
16) Glass Onion - (Director: Rian Johnson)
Trapped in the humdrum world of lockdown and getting his kicks from playing the online game Among Us in the bath, renowned detective Benoit Blanc (Daniel Craig) is thrown into a new case of deception and mystery as he heads to the private island of famous tech-billionaire Miles Bron (Edward Norton).
It’s safe to say that Rian Johnson knows how to rile up the upper echelons of the alt-right. With slime-ball and general nit-wit Ben Shapiro engaging in an excruciatingly idiotic Twitter thread takedown of the film that featured all the self-awareness of an Elon Musk Twitter poll. Shapiro’s main complaint? The detective film features a miss-direct…no shit Sherlock. Glass Onion - like any self-respecting film - doesn’t spoon-feed you with any easy answers. Johnson demands your attention as he expertly deconstructs the tightly woven webs of mystery he has constructed one twist at a time. After treating us to one of the best ensemble casts of 2019 with his original film Knives Out, Johnson has double-down this time around by indulging our needs with the likes of Dave Bautista, Janelle Monae, Kate Hudson and the amazing Kathryn Hahn.
15) Barbarian - (Director: Zach Cregger)
Travelling to Michigan for a job interview Tess (Georgina Campbell) soon finds herself in an extremely awkward situation. Her Airbnb has been double booked with stranger Keith (Bill Skarsgard) already making himself home in the pokey house. Deciding to stay and further exploring the house Tess soon finds that peeling back the house's many layers may not have been the best idea after all.
Split into four very distinct parts Barbarian is the latest horror film to make it onto this year's list. Cregger has crafted a truly terrifying experience with Barbarian. I found myself watching with a blank pulled up to my eyes for the majority of its first half. But what makes Barbarian so special is that alongside the very real horror of its story is room for moments of hilarious levity, With laugh-out-loud moments of dark humour, sprinkled in like little treats to the audience. Justin Long’s arrival in the film's second part provides the majority of these moments as his embattled AJ tries to escape the consequences of being cancelled online. Barbarian’s lasting message is simple…never use Airbnb.
14) Boiling Point - (Director: Philip Barantini)
During a particularly stressful night in the kitchen head chef Andy Jones (Stephen Graham) must juggle his personal demons with the demands of a high-end restaurant.
Sadly the plaudits that should have been lauded upon Barantini’s excellent tension-fueled drama have been eaten up by its small-screen competitor The Bear. Many - including myself - have waxed lyrical about The Bear's audacious one-shot episode. But it’s only fair to point out that Boiling Point beat its adversary to the boil. With Boiling Point being filmed in one continuous long-shot for throughout, its entire excruciating ninety-two-minute run time. Graham is fantastic as the embattled chef, while the direction will leave you on the edge of your seat gasping for air. I’m a real sucker for long takes - see my previous praise for 1917 - so it should be no surprise this low-budget British indie film features so highly on this year's list.
13) Top Gun: Maverick - (Director: Joseph Kosinski)
With more than thirty years of experience under his belt, Navy aviator Pete ‘Maverick’ Mitchell (Tom Cruise) is tasked with training the very best Navy graduates for a perilous mission behind enemy lines. Facing an uncertain future within the Navy and confronting the ghosts of his past Maverick must ensure these battle-shy graduates are ready for the treacherous nature of their task.
I spoke about the film briefly in the introduction but Top Gun: Maverick (along with this year's number 1 pick) will undoubtedly be the film that defines 2022. A sequel that absolutely set the world on fire led by Hollywood's most bankable and underappreciated star Tom Cruise. Cruise’s devotion to his craft is incomparable to anyone else currently working in cinema. The jaw-dropping stunts he undertakes are mind-boggling enough. But his dedication to learning how to fly military jets for the role is just unparalleled. This is an actor who leaves nothing up to chance and strives further and further for realism with every one of his films. Dogfights have never looked this good on screen and I’m not sure they ever will again.
12) Watcher - (Director: Chloe Okuno)
Moving from the United States to the city of Budapest Julia (Maika Monroe) soon becomes enthralled in the case of a serial killer stalking the city. Soon she starts to suspect her mysterious neighbour from across the street may be the killer.
Detractors will say that Watcher offers very few new ideas to the horror genre. And while that may be true there’s no getting away from the fact this is the scariest film of the year and for that Watcher should be rightly commended. Between the eerie atmosphere and the depressing dourer city setting Okuno’s magnificent first feature film produces a level of dread that no other film managed in 2022. Maika Monroe was the perfect choice for the leading role. Her powerful performance in the 2014 horror film It Follows already showcasing she has a real talent for the horror genre.
11) Elvis - (Director: Baz Luhrmann)
Chronicling the rise and eventual fall of Americas Rock and Roll icon Elvis (Austin Buttler) Baz Luhrmann tells the story through the eyes of his enigmatic manager Colonel Tom Parker (Tom Hanks) whose greed and corruption almost certainly lead to the singing sensations early grave.
In typical Baz Luhrmann fashion, this is a rip-roaring, mind-bending deep dive into the world of Rock and Roll. With bombastic cinematography and a swooping narrative structure, there has never been a bio-pic like Elvis and I don’t think there ever will be. Austin Buttler is transformative as the king. Producing the same levels of gravitas that allowed Elvis to captivate the hearts of audiences worldwide. Ultimately the embattled singer's story is a tragic and well-documented one, as are the trials and tribulations of almost every major artist in the public eye, with Luhrmann playing it perfectly with a sense of grace and decorum that has been tragically missing from many bio-pics as of late. A word also to the truly delirious performance by Tom Hanks as Colonel Tom Parker.
10) The Black Phone - (Director: Scott Derrickson)
Set during the heights of America's serial killer epidemic shy thirteen-year-old Finney Shaw (Mason Thames) becomes the latest in a string of children to be abducted by a sadistic killer nicknamed The Grabber (Ethan Hawke). Awakening in a soundproof basement Finney must connect with the spirits of The Grabber’s previous victims in order to find an escape from his impending doom.
Ethan Hawkes's horrifying performance as the killer received a rousing reception from audiences and critics alike. But the true stars of the film are the brother-sister pairing of Finney and Gwen (Madeleine McGraw) It’s been a solid year for child performances but these are easily the two standouts from the year. McGraw shows skills way above her years as she attempts to uncover the disappearance of her brother. While Thames - in an extremely demanding role - holds his own against the formidable Hawke to produce a memorable performance of his own. The story is simple but immensely engaging. The plot is adapted from a short story written by Joe Hill - for those who don’t know Stephen King's son - and it features all the hallmarks of both his and his father’s work.
9) Triangle of Sadness - (Director: Ruben Ostlund)
When self-obsessed models Carl (Harris Dickinson) and Yaya (Charlbi Dean) are invited to a luxury cruise with a rouges gallery of the super-rich, super-awful and super-stupid the fragile couple soon find themselves in for a wild ride that ends in hilariously catastrophic fashion. With the pampered passengers ending up stranded on an abandoned island.
Starting with a painfully elongated argument over who should pay for dinner Triangle of Sadness blossoms into one of the most hilariously awkward films I have ever seen. From exchanging sex for pretzel sticks to the longest sequence of projectile vomiting ever put to screen Ostlunds magnificent satire is a whirlwind of hilariousity. His cast fully embraces the heightened reality of the film, with each actor producing a memorable performance. Sadly, Charlbi Dean who was one of the standouts in the film tragically died before the film could reach cinemas.
8) Nope - (Director: Jordan Peele)
Rocked by the early death of their father horse training siblings Oj (Daniel Kaluuya) and Emerald Haywood (Keke Palmer) must contend with a chilling discovery hiding in the clouds above their family ranch.
It’s been a while since we have had a big-budget summner blockbuster that isn’t based around existing IP. But with the arrival of Peele’s third horror film for Universal we have just that. This is a proper summer blockbuster and a much-needed call back to the cinema of yesteryear. I wasn’t overly impressed with his previous film Us so this is a refreshing return to form for the horror auteur. Re-united with Kaluuya who started in his breakout hit Get Out, Peele has crafted a rich-world with an engaging extraterrestrial story. The creature design is unlike anything I’ve seen before and the atmosphere is in tune with the directors previous work. Keke Palmer is electric in the supporting role of Emerald. Let’s hope this is the start of Hollywood taking her seriously as an actor.
7) Decision to Leave - (Director: Park Chan-wook)
Seasoned detective Hae-Joon (Park Hae-il) has landed a new case. An apparent case of suicide that has seen a man fall 180 feet. But upon examination the case isn’t piecing together like he would expect. And the newly widowed Seo-rae (Tang Wei) seems like she has something to hide,
Part romance and part thriller Decision to Leave is in-keeping with director Park chan-wook’s filmography. The director, who’s previous outing was the modern masterpiece The Handmaiden has shown throughout his career that his ability to draw romance out of any situation is second to none. The editing is frantic and dynamism between the two leads is hypnotic. Korean cinema has long been my go to outside of the traditional western cinema. And Decision to Leave is the perfect example as to why. One thing Korean cinema is so good at is physically comedy. The over exaggerated nature of how they perform physical comedy makes for some laugh out loud moments and much needed levity in what can at times be a tragic story.
6) The Batman - (Director: Matt Reeves)
Still getting to grips of what it means to be Batman, Bruce Wayne (Robert Pattinson) is thrown into a race against time to uncover the city’s rampant corruption in order to stop The Riddler (Paul Dano) from bringing Gotham to its knees.
DC - and Warner Brothers in general - have been in an absolute chasm of their own making in the last decade. Since Nolans breathtaking Dark Knight series they have failed to set up their own universe to rival Marval and also failed in bringing Batman back to the big-screen. However, with Matt Reeves latest re-imagining of the famous comic book hero they may have finally managed to buck the trend. DC has always been best when it sticks to standalone films - think Joker - as opposed to universe building. So it should be no surprise that Reeves film is a rousing success. With a booming score that verberates through your spine to the brilliant sensual performance of Zoe Kravitz as Catwoman The Batman is the best comicbook film in years. Let’s just hope DC doesn’t attempt to undo Reeves good work.
5) Red Rocket - (Director: Sean Baker)
Bankrupt and with nowhere else to go former adult film star sensation Mikey (Simon Rex) returns to his hometown of Texas City. Falling back in with his estranged wife and mother-in-law Mikey’s quest for greatness - at least in his eyes - leads to his infatuation with a young woman called Strawberry (Suzanna Son) and threatens to push his dysfunctional family to breaking point.
If you know me personally you’ll known that Sean Baker’s previous film The Florida Project is one off, if not my favourite film of all time. Baker’s ability to capture people in the most authentic of situations is currently unrivaled. The indie filmmaker takes low-budget film making to the extreme often casting people with no acting experience but instead lived-experiences of the world he is creating in his films. Red Rocket may not reach the lofty heights of it’s predecessor but as a work of art it’s simply fantastic. Simon Rex, who is likely best known for playing George in the Scary Movie films is magnetic in the lead role, a further example of how Baker’s direction can turn anyone into a star.
4) Bones and All - (Director: Luca Guadagnino)
After being abandoned by her father, Maren (Taylor Russell) embarks on a trip around America while trying to uncover the truth about her identity and her mother who disappeared many years ago. On her travels she meets Lee (Timothee Chalamet), who like her carries with him a punishing secret. Soon the two fall in love and must work together to survive in this unforgiving world.
Okay let’s face it if you known anything about this film you will already be aware of it’s early twist that sets up the story. So, consider this your warning to stop reading if you aren’t already aware. They are essentially vampires, or at least inspired by the famous monsters. In order to sustain themselves the couple must feast on people or face death. This makes for a very unique film as we explore their apprehension to survive but ultimately conform to their basic urges. There are some extremely graphic sequences of gore that will likely disgust many viewers. But behind the violence is a lovely story of two lonely drifters coming finding each other and attempting to forge a future together.
3) The Banshees of Inisherin - (Director: Martin McDonagh)
Lifelong friends and drinking buddies Padraic (Colin Farrell) and Colm (Brendan Gleesoon) suddenly find themselves at an impasse when Colm decides he no-longer wants to continue with their friendship. Utterly bemused by the turn of events Padraic attempts to mend fences but ultimately makes the situation worse, leading to dire consequences for both of them.
One of the strangest films of the year this little gem is a change of formula for director Martin McDonagh. In the oast his films have exuberated a bitter, spiteful and often cynical outlook on the world. But this time around he has almost confronted these themes exploring how they can isolate and destory people by destroying the very things that kept their kindness afloat. Nevertheless, like his previous work The Banshees of Inisherin is still a laugh-riot, with enougn funny moments amoung the pain to fill a comedy. Farrell is fantastic as the lonely Padraic, the way he moves his eyebrows to convey emotion shouldn’t be physically possible - and believe me I have tried to replicate it myself. But I want to also praise the performance of Barry Keoghan as the strange teenager on the island Dominic. Keoghan has really master playing little weirdo’s.
2) The Worst Person in the World - (Director: Joachim Trier)
Split into 12 distinct parts with an prologue and epilogue to boot The Worst Person in the World chronicles four years in the life of Julie (Renate Reinsve) who is on the cusp of turning thirty. Struggling to find her place in the world Julie has spent her time jumping from different career paths and relationships trying to find that magic spark. But after falling for comic-book writer Aksel (Anders Danielsen Lie) she attempts to focus on her further life.
Nominated for both Best International Feature Film and Best Orginal Screenplay at the 2022 Oscars it’s a cry shaming that Trier’s phenomenal film missed out on both awards. I’m a bit of a sucker when it comes to romantic-drama films. As much as I like to claim otherwise they are probably the genre of filmmaking that demands my attention the most. I really loved Renate Reinsve’s performance as Julie. She furouly embraced the character and helped to add many layers to the already rich story crafted by Writers Trier and Eskil Vogt. With a eye for composition and delicate filmmaking Trier has crafted something truly special here.
1) Everything Everywhere All at Once - (Director: Daniels)
Struggling to make ends meeting and on the cusp of a divorce Chinese immigrants Evelyn (Michelle Yeoh) and Waymond (Ke Huy Quan) are called in to explain their current tax situation to uncle sam. But suddenly Evelyn is swept into a mind-beinding adventure that will task her with saving the entire multi-verse from independent doom.
I don’t think there was ever any doubt Everythign Everywhere All at Once would sit on top of this years list. No film has come close to replicating the immersive cinematic experience that the Daniels have conjured up. Insanely funny - and I really mean that Jamie who I watched the films with laughed so much I was worried we were going to be kicked out of the cinema - heartbreakingly emotional and rip-rouringly action packed the film has everything. In year that Marvel ventured into the multiverse this little low-budget film from A24 showcased that no one does it quite like indie filmmakers. If you ever worried that we’d be trapped in a repetitive cycle of IP adaptations and poorly made sequeles well rest easy. Because as long as films like this are being made and embraced by audiences we have nothing to fear. Now all we need is for the Oscars to be brave and award the film the best picture crown that it so deserves.