The Top 10 Films of 2022
Cinema is perhaps our greatest art form for showing us who we are, where we have been and where we might go. The following films are a reflection of our fractured times - whether they are set in a multiverse, an apartment, or an animated past. These 10 films are the best of the year, and perhaps more importantly, they give me hope.
1. The Whale
The Whale opens with Charlie, a 600 pound gay man played by Brendan Fraser, masturbating to gay porn. As this act of pleasure almost kills him, Thomas, a young missionary (Ty Simpkins) happens to show up at the door to save Charlie’s soul but instead temporarily saves his life - not by spouting his faith, but by reading an essay about Moby Dick, handed to him by the very person needing saved.
In this opening scene director Darren Aronofsky and screenwriter Samuel D. Hunter (based on his play) immediately set our tone for the film. The Whale is an accelerating chamber piece filled with symbolism and metaphor, instantly theatrical and emotional but also contained by the brilliant cinematographer Matthew Libatique in 1:33 aspect ratio (a technique I am finding increasingly exhausting, yet used to perfection here.) Like all of Aronofsky’s films, The Whale’s parts are all very intentional, leading up to an ending that will, if you surrender to the symbolism that Hunter and Aronosky set up in those very first minutes of the film, will greatly move you. The film is a modern day channeling of Tennessee Williams by one of our greatest risk taking directors alive today.
There are lots of Oscar winning performances with prosthetics and physical transformations, but they are often partnered with bombasity. What makes Fraser’s Charlie so good is his essence. It’s what he has created with his internal life that supersedes anything physical.
Hong Chau, equally brilliant, plays Liz, Charlie’s friend and sister to his late partner.
(Spoilers here)
In one of the film’s many great scenes, Liz tells Thomas about her brother, Charlie’s partner who was part of the same church Thomas says he is a missionary for. The pain of being kicked out of the church and his family for being gay, all of that pain, leads Charlie’s partner to end his life. The scene ends with Liz expressing to Thomas that Charlie doesn’t need saving, but she also says she is the only one who can help him. And yet, in the end, she lets him have autonomy over his own life. Hong made me believe in this choice. Perhaps after trying so hard to save her brother, she knows she can’t do it again, professing, “I don’t believe anyone can save anyone.”
(Spoilers end)
Sadie Sink, who plays Charlie’s daughter, takes a character that is already abrasive and rockets her to the edge - a risk for an actor her age, and one that shows her skill as an actor and her trust in Aronofsky.
Much has been said about whether or not the film is fat phobic or should have been played by an out gay actor in a larger body. These are areas of great importance to me, and yet, as I watched the film a second time, I believe the film and Fraser’s portrayal to be a most loving portrait of Charlie. Although it obviously touches both on the fact that Charlie is fat as well as his binge disorder, those were by no means the elements I was left clinging to as the final credits began.
I see The Whale as an inevitable, heartbreaking journey to acceptance. And although the film is at times painful to watch and challenging, it is also about hope. From the moment early in the film when Liz gives her diagnosis to Charlie, our ending feels predestined. What we are actually left with is the message of hope that Thomas offers Charlie in that very first scene, but on Charlie’s terms.
2. Everything Everywhere All At Once
Everything Everywhere All At Once is perhaps the most entertaining film of 2022. It’s a massive amount of fun and a clear achievement in writing and directing (Dan Kwan and Daniel Scheinert), cinematography, production design, editing and more. What makes it one of the best films of the year is that in addition to all of that craft, there is an incredible heart at its center cultivated by great performances by the entire cast - including the incredible Michelle Yeoh as Evelyn, Stephanie Hsu as Joy, Ke Huy Quan as Waymond and Jamie Lee Curtis as Deirdre. EEAAO, like The Whale is also a film about acceptance and choices. What could have been and what could be. Of all the incredible themes in the film, the one that most spoke to me was the complicated relationship between a parent and a child -and the lengths a Mother will go to grow and learn in order to save her daughter.
In addition to the film being brilliant, its performance at the box office says something almost equally as important as the film. Audiences are out there. We are STILL here, wanting and loving original movies -craving a new kind of superhero like the ones we see here.
3. Aftersun
Aftersun, written and directed by Charlotte Wells is the most incredible feature debut of the year. It is also a film I had to watch again to fully appreciate how great it is. Led by Paul Mescal as young dad Calum and Frankie Corio as his daughter Sophie, the film chronicles a holiday they take together, recalled painfully by an Adult Sophie (Celia Rowlson-Hall). Wells tells a very simple story, utilizing beautiful production design (Billur Turan) and Cinematography (Gregory Oke). And although we don’t necessarily get the full picture of Sophie’s present or the exact facts that led us there, these tools help the audience explore Sophie’s grief and Calum’s depression in the most touching and deliberate way possible.
4. Close
Close, written by Angelo Tijssens with director Lukas Dhont, is a film to go into with little to no knowledge of where the story is headed. Interestingly enough, it’s one of two films (see #5) about changing friendships and the consequences of actions. Reading as little as I did about this film, I was prepared for the difficult watch ahead. Yet, as challenging as it is to watch Remi (Gustav De Waele) and Leo’s (Eden Dambrine) touching friendship dissolve, it’s Dambrine’s Award worthy performance that holds us together until the very powerful release of the film’s ending.
5. The Banshees of Inisherin
It seems ages ago that I saw Martin McDonagh’s ode to powerlessness, and yet it’s a film that has stayed with me ever since. Where Close is steeped in realism, The Banshees of Inisherin is bathed in elegy, although this film’s poetic death is of a friendship. Colin Farrell and Brendan Gleeson are both at the top of their acting game here, making you feel for both sides, even if we often tip over to Farrell’s hapless Padraic. Although as tragic as my number 4 film, in typical McDonagh fashion, Banshees is also layered with humor and heart.
6. Guillermo del Toro’s Pinocchio
I have somehow never seen the Disney version of Pinocchio, read the story it’s based on or seen any iteration of the tale. I found del Tor’s version to be remarkable. Set in the 1930s with Italian fascism as its backdrop, the film is at first a masterpiece of stop motion animation as well as theme, style and an exploration of humanity.
I was invested straight away, but when Pinocchio (Gregory Mann), pointing to the crucifixion of Jesus, asks Geppetto (David Bradley) “why do the people like him (Jesus) and not me,” I knew this was not Disneyland.
Themes of grief and loss filter throughout the film as well, along with what it means to build a family of choice (a puppet, a monkey, an old man and a cricket, nonetheless!) and the most important lesson of all, to be oneself, all set to the most wonderful score and songs by composer Alexandre Deplat, Roeban Katz & del Toro It’s so nice to hear Ewan McGregor sing again as Cricket and look for an Oscar nomination for Mann’s Pinocchio led Ciao Papa.
7. Funny Pages
I have been a huge fan of Daniel Zolghadri since he delivered an amazing performance with a kick ass monologue in the LGBTQ comedy Alex Strangelove. Now, with first time director (and screenwriter) Owen Kline at the helm, Zolghadri’s star shines even brighter. Funny Pages is about a teenager named Robert (Zolghadri) who abandons the comforts of his suburban home and family to take an adventure toward becoming the cartoonist he wants to be. The film is a hilarious, edgy -yet warm -coming of age story for today’s times.
8. NOPE
I love a movie about moviemaking. Two make the list this year! What places NOPE slightly ahead of the other is the sheer originality and thematic mystery that will likely be examined by not only me but moviewatchers for years to come.
NOPE is creepy, visually striking, well acted (Keke Palmer for an Oscar nod, please!) and one heck of a blast, monster movie!
So many threads are weaved into the simple story written and directed by Oscar winner Jordan Peele. Conspiracy, capitalism, what it means to film the impossible and the balance between achieving that as an artist and avarice, and much much more.
One of the best scenes in any movie this year involves a fictional TV show - Gordy’s Home and the exploitation of its Chimp star. We see the consequence of that Hollywood exploitation play out in the most horrific and incredible way (Peele’s the best at this!) which leads to even more consequences and exploitation later in the film, but instead of with Gordy, it’s one of Gordy’s survivors taking advantage of aliens! Yes….it’s a wild ride, indeed!
9. The Fabelmans
Last year Steven Spielberg topped my list with West Side Story, but don’t let The Fabelmans spot near the end of my list dissuade you of its greatness. Many people have said -this is Spielberg at his most personal, and they are right. We see a young Sammy Fabelman (played by a fabulous Gabriel LaBelle) standing in for Spielberg, navigating his discovery and love of film. Along the way Sammy uncovers a family secret that almost derails his dreams along with his Dad’s initial disapproval and later, antisemitism from his young peers as one of the only Jews in his school.
The first hour or so is picture perfect, and then once the secret comes to life, the film starts to take some storytelling risks, something you don’t often think of when it comes to Spielberg. Does it all pay off? For me it did. We all know Sammy is eventually going to get to Los Angeles, but unless you know the ins and outs of Spielberg’s bio, you aren’t sure who will be with him along the way.
In addition to LaBelle, Michelle Williams gives one of, if not the best performance of the year. Williams is an actor who isn’t afraid to hold back (which might keep her from the Oscar) but witnessing her Mitzi on the edge of the tipping point is, to use an overused term, a masterclass in what can be done as an actor.
10. Tar
Tar is truly structured like no other movie I have seen this year. Sure, it’s not the only 3 hour plus drama out there, but from my estimation, it’s the only one about a conductor, which is conducted as much as filmed by writer/director Todd Field. Lydia Tar (Cate Blanchett) is preparing to conduct a recording of a symphony that should further solidify her as a genius in her field, but in actuality is leading toward her downfall. Field and Blanchett spend the first hours of the film slowly, steadily building to the moment we know is coming. And then in the final act, Field and editor Monika Willi turn up the intensity and pace in a way that is both jarring and perfect.
DO NOT READ IF YOU HAVE NOT SEEN THE FILM
All of which leads to one of the best cinematic endings I can recall, one that feels so displacing for the viewer, with Tar herself seeming to be exactly where she belongs.
Honorable Mentions
The following are a list of 5 films that I loved very much and wished could have made my Top 10. Films with great redeeming qualities despite flaws. I decided to give them a special place/shout out before getting to the remainder of my Top Films.
Bros
I really, really wanted to find a place for Billy Eichner and Nicholas Stoller’s gay romcom with great heart, Bros on my Top 10. Alas, the top of my Honorable Mentions is where it lands.
Many people will write off Eichner’s portrayal of Bobby as being too unlikeable, but I see more layers than that. First and foremost, Bobby is someone who believes he will stay single forever because he has truly lost hope in what’s out there. Even through the laughs, you can see the pain Bobby feels from this. There is also a great deal of pain involved with the fact that even with the success he has gained, Bobby’s parents weren’t there to see it because it came too late. Too late for an entire generation of queer people before him.
All of that character and backstory along with a ton of hilarity is what makes Bros so special. It’s not a perfect film. After multiple viewings I feel that Bobby and Aaron’s (Luke Macfarlane) falling out with the catalyst of Aaron’s visiting family doesn’t work. It comes out of nowhere and goes on too long, even if it has to happen to get us where we need to go. That being said, I love the film, and if you haven’t seen it, I hope you will check it out.
Bones and All
Oh how it hurts to not have Bones and All in my Top 10, especially since director Luca Guadagnino’s previous two films (Call Me By Your Name and Suspiria) topped my list.
The balance of gore, beauty, romance road trip…It’s so many things and yet they perfectly fall together to make one singularly styled film. At least for the first hour or so. All the things we love about Guadagnino are there- striking visuals, interesting and unique manipulations of sound and editing. Great performances from Mark Rylance and Michael Stuhlbarg. All good things!
But then there are the things that didn’t work for me. At times the film takes on a bit of a True Romance meets Natural Born Killers vibe, but newcomer Taylor Russel , whose performance is mostly carried by vulnerability and naturalism, doesn’t quite keep up with the tonal shift, and Chalamet, who my readers know I love dearly, seems at times to be rehearsing the scene instead of living in the character.
And then there is the scene with Chloe Sevigny. A moment that really could have and should have worked but simply didn’t. The ending all but makes up for the flaws before, with Chalamet, Russel and Rylance knocking it out of the park, dialed all the way up to perfection.
Babylon
Oh Babylon. What a beautiful mess. The first scene, which I think goes on for close to an hour is a feat! Everyone involved deserves awards for that first scene. And then the film takes shift after shift in tone and story, somehow managing to be too long and also leave characters (particularly Li Jun Li’s Lady Fay and Jovan Adepo’s Sidney) undefined or abandoned. Brad Pitt and his fading star character Jack Conrad is the real stand out for me in regard to both character and acting. I wanted to feel the same way about Margot Robbie, who really gives it her all, despite somehow feeling a bit underdeveloped, and Diego Calva who comes close to giving a great performance, something I don’t at all blame him for. Kudos for the risk, and despite all my criticism, Babylon was the most entertained I was watching a film all year. With its mixed reviews and poor box office, I have a feeling it will be the last one of its magnitude given to director Damien Chazelle for a while.
Avatar: The Way of Water
In 2009, I got my break writing about film for Awards Daily after sharing a piece I wrote with founder Sasha Stone about my disdain for Avatar.
Had you told me back then that I would be praising the film’s sequel 13 years later, I would have never believed it. The first film was a visual wonder with one of the worst executed stories/screenplays of the time. With The Way of Water, Cameron mostly (if not completely) shifts his focus away from the original ecological narrative and makes this one more of a family drama. For the most part it truly pays off, especially thanks to even better motion capture technology and great performances by Sigourney Weaver and Zoe Saldana.
Sure, the screenplay, like its predecessor reeks of toxic masculinity at times. You could play a drinking game with how many “bros” are said, and for all the times the kids call Dad “Sir,” I don’t think they ever call their Mom “Ma’am.”
And then there are the plot holes. Things are moving so quickly near the end, I still can’t remember if it’s actually explained why the Metkayina clan suddenly disappear during the film’s final showdown. Best not to think too hard about these things and instead enjoy the miraculous world of Pandora that Cameron and crew have made.
The Menu
The Menu is a wild ride. Absurd, funny and fully committed to by its cast. As someone who has spent years in and out of the service industry, I found the concept to be insanely accurate and telling. Watching the film, I never knew what was coming next which made for a delightful and tight two hours. It’s best to know very little going into this film and to not overthink what you’re seeing or even think too critically at all. Of the five films on my honorable mention list, The Menu may be the most deserving to be on the Top 10.
Runners Up, in order
All the Beauty and the Bloodshed
Women Talking
Decision to Leave
Triangle of Sadness
Glass Onion
Top Gun
The Woman King
Pearl
Emily the Criminal
Good Luck to You, Leo Grande