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randomrichards · 2 years ago

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THE TOP 10 BEST FILM OF 2022

HONOURABLE MENTIONS

GLASS ONION

Rian Johnson proves he’s still got the touch with another subversively comedic addition to the Knives Out franchise. He delivers the twisty mystery, unique characters, and witty dialogue we know and love from the predecessor. There are side splitting gags galore from the characterizations (Dave Bautista as an MRA influencer who still lives with his mom) and the dialogue (“Please tell me you don’t think sweatshops are where they make sweatpants”).

DECISION TO LEAVE

On the surface, Decision to Leave is a modern film noir about a kind detective who develops an infatuation with a femme fatale after her husband falls off the top of a mountain. But as you would expect from a Park Chan-Wook film, the film becomes something much more.

ALL QUIET ON THE WESTERN FRONT

Decades after the original best picture winning classic, Edgar Berge adapts Erich Maria Remarque’s classic anti-war story of a small group of eager young Germans who enthusiastically sign up to fight during WW1 only to be destroyed by the horrors of war. Many films show the devastation of war and its traumatic effects, but this film showcases the terror of being in the battlefields.

PUSS IN BOOTS: THE LAST WISH

Puss competes against a group of baddies to reach a wishing star in the sequel nobody asked for that ended up being way better than it had any right to be.

First, it uses Spider-Man: Into the Spider verse’s animation technique to create an animation style that resembles illustrations come to life and create some dazzling action scenes. It also gives Puss some unforgettable villains ranging from the hilariously sociopathic Big Jack Horner (John Mulaney) to Dreamwork’s most terrifying villain the Wolf (Wagner Moura). Finally, it gives Puss some depth as he is forced to confront his mortality and how his obsession with his legacy has kept him from forming meaningful connections.

TAR

Cate Blanchett gives one of the year’s best performances as a narcissistic and well-respected composer whose actions eventually comes back to haunt her.

THE TOP 10 LIST:

10) THE MENU

Satirical Comedy and unsettling horror make strange bedfellows in this unique tale of a Margot (Anya Taylor-Joy), an average woman who joins her foodie boyfriend (Nicholas Hoult) to an all exclusive dinner led by renowned chef Julian Slowick (Ralph Fiennes). What they don’t know is that Julian plans to deliver some just desserts for his latest customers.

The plot plays like a mystery. With each dish served, we try to guess what Slowick’s got planned for these elites. And Slowick’s motives grow more and more unsettling. It’s best to go in knowing as little of the movie as possible.

The actors are more than game for their respective performances. Fiennes is unsettling as a stern perfectionist who has a bone to pick with all of them. Taylor-Joy makes the perfect audience surrogate as she calls out the absurdity of the food arrangements. The rest of the cast play into the caricatures of their characters from Hong Chau as Slowick’s fanatical waitress to Janet McTeer as a pretentious critic. Hoult in particular relishes his role as a devoted know-it-all. Just the scene of him crying over tasting bread accompaniments without the bread is sure to bring a snicker.

This film ruthlessly mocks the elitist foodie culture. Most of the customers care more about the status than the meal, never just enjoying the dishes. With each dish, Slowick calls the customers out on their privileges.

Available on Disney+

9) THE BANSHEES OF INISHERIN

In a small village in WW1 era Ireland, Padraic Suilleabhain (Colin Farrell) and Colm Doherty (Brendan Gleeson) spend their days enjoying glasses of Guinness at the local pub. But then one day, Colm decides he doesn’t like Padraic anymore and cuts him out of life to focus on making music. But the daft and offended Padraic can’t seem to take a hint much to Colm’s annoyance and Padraic’s spitfire sister Siobhan (Kerry Condon) chagrin. The locals aren’t much help, with many prying to know more about this incoming feud..

After earning acclaim (and some awards) with his Hollywood features Seven Psychopaths and Three Billboards Outside Ebbing, Missouri, writer/director Martin McDonagh returns to his roots and reunites his In Bruges stars Farrell and Gleason. McDonagh brings his trademark dark comedy to a folksy environment from his biting dialogue (“If punching a policeman is a sin then we may as well pack up and go home”) and surprising violence.[1] It also fits into McDonagh’s reoccurring theme of men who are unable to handle emotional moments like mature adults. While it can be devastating for a friend to sever ties with you, but Padraic can be clingy. Colm isn’t helping matters by threatening self-mutilation. Farrell and Gleason’s performances prevent these two from being unbearable. Farrell stands out by bringing a childlike eagerness and naivety that makes Padraic likeable.

At the same time, McDonagh regards these characters with empathy. He shows as much understanding for Padraic’s gratefulness for his simple life as he does with Colm’s need to create a legacy through his music.

Also, McDonagh does an excellent job of creating a sense of environment with the village. There’s also a strong sense of community in this village, with everyone knowing each other. There is also a unique set of personalities in this village, from the eccentric old Mrs. McCormick (Sheila Flitton) to the timid Dominic Kearney (Barry Keoghan). This simple area feels like a warm and inviting home many would like to live in.

The Banshees of Inisherin is a dark delight.

8) THE BATMAN

Who would have thought that there’d be a Batman movie that could pull off the feel of a David Fincher film? But Matt Reeves (along with co-writer Peter Craig) surprises the world with DC’s answer to Se7en and Zodiac. He brings the world a young Batman (Robert Pattison) in his second year who attracts the attention of the Riddler (Paul Dano), whose killing off key political figures in Gotham City. As he tries to get to the bottom of the Riddler’s murders, Batman comes to realize how corrupt Gotham’s world truly is and is forced to confront the sins of his father.

After two dark and gritty reboots of Batman and a post-pandemic world, this version really needed to impress. And it didn’t disappoint. Reeves delivers refreshing takes on every aspect of the iconic franchise. Gotham City has never looked seedier than it does in this film, with endless rain, decaying infrastructure and array of street gangs. This Batman we get is a young man who has let his Batman persona consume his life to the point where he barely has anything to do with Bruce Wayne.[2] But the most surprising update is the complete reinvention of The Riddler. This villain goes from being one of most mocked of Batman’s rogue’s gallery to being a Zodiac-like menace who seems to be constantly 10 steps ahead of everyone[3].

All these characters work because of the performances. Pattison proves himself a worthy Batman whether he’s interrogating Oswald (Colin Farrell) or taking down an army of muggers. Paul Dano weaponizes his everyman looks to hide an intimidating and sociopathic genius behind the green mask and distorted vocals. Farrell goes beyond the heavy makeup to create a ruthless, fast-talking version of the Penguin. Zoe Kravitz’ performance is probably the most comic accurate portrayal of Catwoman, especially when it comes to her dynamic with Batman. That’s not even getting into how Jeffrey Wright and Andy Serkis perfectly capturing the essences of Jim Gordon and Alfred respectively.

There’s also way more focus on the Detective aspect of Batman than in most versions. While we do see him in some kickass action scenes, for the most part, we see the World’s Greatest Detective use his sleuthing skills to solve the Riddler’s twisted riddles and investigate crime scenes. This brings more focus on the intrigue of the mystery.

And that score. That glorious musical score. Michael Giacchino delivers an epic, booming score worthy of joining the batman scores provided by Danny Elfman and Hans Zimmer.

It’s not a perfect movie. The biggest problem is the running time, which can lead to some dragging scenes that will be too much for some audiences. But the strengths of the film make up for these flaws. Here’s hoping Reeves keeps this up for the inevitable sequel.

Available on Crave

7) BOILING POINT

Writer/Director Philip Barantini seems to have taken a lesson from Uncut Gems on how to make a film feel like a relentless panic attack when he made Boiling Point; a tense drama about a stressed-out head chef (Stephen Graham) trying to get through the busiest night of the year.

Barantini and cinematographer Matthew Lewis make the risky move of shooting the whole film in a single take. It is easy for this to become gimmicky, but they use it effectively to emphasize how stressful it is to work in a restaurant. As the camera moves across the kitchen and into the dining area, it’s clear there’s no escape from the stress not even when head chef Andy Jones heads to his office to try and catch his breath. The rumbling of the kitchen as Andy sits alone in his desk makes it clear he has nowhere to hide.

Barantini also keeps the stress going by surrounding the environment with multiple clashes. The dishwasher’s upset that her replacement is hours late. The sous chefs and head waiter are at each other’s throats. Andy’s co-owner has invited a critic to dine with him. Barantini does an excellent job of balancing the multiple storylines within the short 92-minute screen time. He even manages to create some satisfying set ups and payoffs. One perfect example is a reoccurring arc with one chef whose constantly being told to roll up his sleeve. The revelation behind this arc with stay with you.

Boiling Point has a phenomenal cast who all deliver compelling performances as they scream over each other trying to get their point across. Usually typecast as the villain, Graham delivers his best performance as a man trying to keep it together while his life is going down the tubes. He makes you feel his hopelessness and overwhelming strain as he downs bottles of whisky, trying to get through the day. Even at his most self-destructive moments, you feel for him.

The result is a drama that does a better job of keeping the audience at the edge of their seat than most thrillers wished they could.

6) RRR

With the growing interest in Tollywood films, RRR makes the perfect gateway drug. Rarely in recent years has there been an action film so unapologetically epic as RRR, which has broken into the mainstream.

As with many Tollywood action films, Director S.S. Rajamouli, co-writers Vijayendra Prasad and Sai Madhave Burra along with the cast and crew take every element of the epic action flick and turn them all up to eleven. In a time when there is a call for more flawed, relatable protagonists in movies, RRR gives us a duel of superhuman action heroes performing impossible feats of agility. The opening scenes alone have rebel leader Komaram Bheem (NT Rama Rao Jr) chasing a wolf and a tiger and misguided soldier Alluri Sitarama Raju (Ram Charan Teja) leaping over a fence and fighting a whole crowd to capture one suspect. Let’s see the Fast and Furious franchise have its heroes leap over a bridge on a motorcycle or a horse and swing on a rope carrying the Indian flag to rescue a boy from a fire.

While there is a pressure for films to keep any messages nuanced and subtle, RRR serves as a three hour middle finger to the British Empire. That empire is embodied by the mustache twirling Scott and Catherine Buxton (Ray Stevenson and Alison Doody) who literally kidnap a little girl and kill the mother in the first scene. There would have been a danger of the villains being cringe, but Stevenson and Doody savour their villainy like a classic Disney villain. Even they get in on the over the top violence, with Mr. Buxton firing a machine gun while flying out a crashing car. It makes their downfall more satisfying.

If that isn’t enough, RRR also has musical numbers as epic as the action scenes. They manage to appear in the unlikeliest of moments like a motorcycle/horse race and one character being tortured with a whip. Most notable standout is a dance off between the heroes and one snobby British soldier.

But at its core, RRR is a story about a friendship between two men who don’t realize that one’s supposed to arrest the other and a tale about a tribal leader on a mission to rescue a little girl from rich captors. The fact this film makes us care about story and keep the audience hooked over its long screentime shows the power of this epic.

Available on Netflix

5) THE NORTHMAN

After taking the horror genre by storm with The Witch and The Lighthouse, writer/director Robert Eggers gives us something completely different with The Northman. In contrast to his previous low budget A24 arthouse horror flicks, Egger’s latest is a big budget epic historical action flick. It may be his most accessible film, but that doesn’t stop him from bringing his boundary pushing style into this film.

The Northman is Hamlet-like revenge tale of Almeth (Alexander Skarsgaard), a Viking prince who seeks vengeance on his uncle Fjolnier (Claes Bang) who kills his father King Aurvandil (Ethan Hawke) and marries his mother Queen Gudrun (Nicole Kidman). After years in exile, Prince Amleth disguises himself as a slave and enlists the help of an enchantress (Anya Taylor-Joy) to bring down the King Fjolnier the Brotherless.

Eggers brings a refreshing take on the Viking historical drama with his trademark style. Like his previous films, Eggers (along with his co-worker Sjon) goes out of his way to make his stories as historically accurate as possible. As a result, we get the ugliest side of the Viking life. The images of people in chains makes it clear that Amleth’s family owns slaves. When Amleth’s in exile, he joins a group of Vikings in pillaging and terrorizing innocent people. In one horrifying scene, those Vikings trap women and children in a cottage and burn it down. Keep in mind that the protagonist watches this happen.

What’s strange is that Eggers also includes fantastical moments that draws from Norse Mythology. The result is otherworldly imagery of Amleth meeting with the Seeress (Bjork). It doesn’t seem like this should work, but somehow these elements make strange bedfellows.

Unlike his previous films, Eggars doesn’t go for historically accuracy with the dialogue. As a result, the audience has a better grasp of what the characters are saying. The dialogue is still kind of Shakespearean but just enough to the characters are still easy to understand.

Of course, the action scenes are awesome with the blood and dismemberment you expect from an R-rated movie with Vikings. It leads to a most metal ending with Amleth and his uncle going head-to-head in a volcano in their birthday suits.

With this film bombing at the box office, it’s doubtful Eggers will ever have the means to make a film as epic as this one.

Available on Crave

4) GUILLERMO DEL TORO’S PINOCCHIO

2022 was the strange year where we got three Pinocchio movies in a row. After listening to Pauly Shore butcher lines and Disney butcher their original classic, most moviegoers knew Guillermo Del Toro’s stop motion version would be the best one by default. But even without the other two films, there would still be major anticipation for Del Toro’s first animated feature film. With his trademark fleshed out mythology, creative character designs and compelling storytelling, many expected him to perfectly capture the macabre tone of Carlo Collodi’s tale. What we got is a refreshing take on the classic take on the wooden boy who longs to be a real boy.

Del Toro (alongside codirector Mark Gustafson and co-writers Patrick McHale and Matthew Robbins) perfectly balances capturing the story’s dark tone and core storyline while changing many elements of the story. This Pinocchio (Gregory Mann) is a lot closer to the disobedient troublemaker of the original story than Disney’s sweet but gullible character. Like Collodi’s tale, this story has our hero causing grief for his creator/father Geppetto (David Bradley), being led astray by crooks and trouble making teens only to suffer the repercussions before the climax of trying to escape from inside the whale. It even includes both the Christian undertones of the original story and even its dark comedy (among them a reoccurring gag of Sebastian the Cricket (Ewan McGregor) constantly being squashed.) It also borrows a bit from the Disney version with the Blue Fairy (Tilda Swinton) bringing the puppet to life and the cricket trying to guide him.

But this film also makes a lot of changes from the original story. First, Del Toro sets the film in Italy during Mussolini’s reign. Not only does this fit into Del Toro’s reoccurring theme of life under fascism, but it brings nuance to the original story’s message of obeying your parents. While the film does have Pinocchio deal with consequences for misbehaving, the film also shows the dangers of blinding obeying those in power and makes the case that disobedience is necessary when it involves doing the right thing. The film also fleshes out the characters to bring complexity. While Pinocchio is still a disobedient troublemaker, he also has his heart in the right place and will stick up for others. Geppetto is a broken man grieving the loss of his dead son Carlo (also Mann). Sebastian is a wannabe writer who makes his home in Pinocchio’s chest. Del Toro also brings in an array of unique characters from ruthless ringmaster Count Volpe (Christoph Walz) to terrifying fascist enforcer Podesta (Ron Pearlman). All the actors do excellent jobs of making their characters engaging, especially Mann.

Co-Director Mark Gustafson perfectly brings Del Toro’s trademark style into the animation world, resulting in some unique visuals. Pinocchio has never looked more wooden with spiky wooden hair, tiny black dotted eyes, and multiple nails in his back. The Blue fairy aka the wood sprite (also Swinton) is this otherworldly blend of Hari Krishna and a mermaid. Death is this sphinxlike creature in a world of blue sand. What’s most notable is how the settings and character design resemble classic storybook illustrations come to life.

The film is also a musical, with songs created by composer Alexandre Desplat alongside Del Toro and lyricist Roeban Katz. The old timey style perfectly serves to further the narrative and reveal more about the characters, but they don’t stand out the way Encanto’s songs did. The one exception is “Ciao Papa.” When Pinocchio pours his heart out to his long distant father, you can feel that longing so much it may bring you to tears.

No wonder many see this as the front runner for the Best Animated Feature Oscar.

Available on Netflix

3) AFTERSUN

Most filmmakers try to make their films memorable. Aftersun is a rare film that feels like a memory.

On the surface, it’s a simple story of a single Dad (Paul Mescal) and his daughter (Frankie Corio) taking a trip to a Turkish beachside resort. There is no real plot. No central conflict. It’s just segments of a father and daughter on vacation. At least, that’s what it seems like at first. Hidden in plain sight are signs of the father hiding some personal pain from his daughter.

In her debut feature, writer/director Charlotte Wells takes us into segments of this vacation, even replaying some moments on camcorder. The result is a film that feels like we’re entering the daughter’s memories as she tries to understand her father.

The strength of Wells’ filmmaking is how she avoids the temptation to dramatize any element of the plot in favour of making it as naturalistic as possible. Never does she make it clear what the dad’s going through. You only get the most subtle of hints. She only applies any artistry with the ending that will stay in your mind long after the credits roll.

That’s helped by the performances by the two leads. Mescal and Corio bounce off each other perfectly, making us believe they are an actual family. They both also maintain low key naturalization throughout the film.

Put all these together and you get an unassuming drama that stays with you long after the credits roll.

2) (TIE) BEFORE I CHANGE MY MIND, GOLDEN DELICIOUS AND YOU WILL LIVE FOREVER

I admit that I have a habit of putting ties in my lists, not helped by me including a three-way tie in this one. But these 3 films have so much in common that I felt they deserve to be put together. Well, that and these are probably the least known films on this list, and I feel they deserve more attention.

All three are Canadian films centered on LBGT teens who move into new locations, which leads to developing deep relationships. They’re similar yet different. The most important commonality are the compelling stories of relatable, flawed young people trying to fit into their world and figure out what they really want in life in the process.

First, we have Before I Change My Mind. Set in 1987, the movie centres on Robin (Vaughn Murrae), a non-binary preteen who moves to a small Albertan town from the US with their father (Matthew Rankin). There are of course questions from the students what Robin’s gender is. To fit in, Robin tries to befriend the school bully Carter (Dominic Lippa). On one hand, it makes it easier for Robin to form friends. On the other, it leads to Robin making misguided decisions.

Director Trevor Anderson and co-writer Fish Griwkowsky capture the everyday life of preteens as they make snide comments during music class, pick fights with each other and just hanging around in the living room. What makes this film special is how it captures the difficulties of being a preteen. Robin and their classmates try their best to fit in with their peers. Sometimes it can be found in healthy activities like hanging around in the mall. Other times it comes from misguided decisions including sneaking into their parents alcohol or in one student’s case, completely changing his personality after being bullied.

The film also captures the frustration of dealing with emerging emotions you have no understanding of and now healthy means of channeling them. That’s especially true with Robin who has no idea of their own gender identity since non-binary wasn’t a common term in the 80s. As a result, they become targets for fellow classmates who keep demanding to know if they are a boy or a girl.. Being non-binary themselves, Murrae makes the audience feel how lost Robin feels. Anderson and Griwkowsky do an excellent job of using subtext to capture this feeling. And they never offer any easy answers.

There are also some funny moments in the film. When gym class separates the boys and girls, Robin sits in the middle. Robin and Carter try to convince a drag queen (dressed like Madonna) to buy them beers. But the comedic high point is the school’s disastrous rock musical rip-off of Jesus Christ Superstar.

Next, we have Golden Delicious. Jake (Cardi Wong) seemed to be living the perfect teen life as a basketball player whose relationship with his girlfriend Valerie (Parmiss Sehat) is popular on social media. But he finds his life turned upside down when new student Aleks (Chris Carson) moves next door. As Jake and Aleks both train for the basketball team, Jake is forced to confront the pressure his father George (Ryan Mah) places on him.

Director Jason Karman (through Gorrman Lee’s screenplay) channels his youth to capture the pressure of having to live up to expectations. Jake tries his best to please his father, despite not being the best skilled in the team. Georges’s pressure is embodied by the old, decaying basketball hoop he forces Jake to practice on. Through Aleks, Jake’s confronted with the fact that he has never learned to live for himself.

Lee also fleshes out Jake’s family, who is dealing with their own pressure. George and his wife Andrea (Leeah Wong) are trying to keep their Chinese restaurant afloat, but the stress of running the restaurant has taken its toll on Andrea. When their daughter Janet (Claudia Kai) discusses her interest in being a chef, Andrea tries to forbid her. Janet has her own arc where Janet tries to create her late grandma’s dishes. This family feels so achingly human and relatable.

Of course, there’s excellent chemistry between Wong and Carson as their characters build from a friendship into a relationship.

And finally, we have You Can Live Forever. Rebellious teen Jaime (Anwen O’Driscoll) is forced to live with her aunt Beth (Liane Balaban) while her mother recollects herself after her husband’s death. Beth is a Jehovah’s Witness whose husband Francois (Antoine Yared) hopes to be the leader of his congregation. While being forced to attend sermons, Jaime develops a friendship with fellow devout Marike (June Laporte). Soon that develops into something more, which is risky in a homophobic fringe community.

A romantic film like these lives and dies on the chemistry between the leads. When two leads have such differing personalities/worldviews, it’s very important that the two leads have convincing chemistry for the relationship to make sense. O’Driscoll and Laporte pull that off beautifully, conveying a warm intimacy between Jaime and Marike as they hide in plain sight with little intimate gestures. It helps that both actresses make their characters feel like real people. O’Driscoll portrays Jaime as a typical teen whose big glasses and grunge wardrobe hides a slightly rebellious teen frustrated at being stuck in a situation outside of her control. Laporte makes Marike a timid girl devoted to her religion yet forms an infatuation with Jaime. Writer/Directors Mark Slutsky and Sarah Watts avoid the temptation of melodrama in favour of grounded empathy. They allow us to understand what Marike finds in her faith while showing how it can be stifling for Jaime.

All three deliver achingly human stories of young people trying to find what they truly want in life.

1) EVERYTHING, EVERYWHERE ALL AT ONCE

In a time when franchises consume movie theatres, Everything, Everywhere All at Once came out of nowhere to deliver an everything bagel the zeitgeist can sink its teeth into.

Evelyn (Michelle Yeoh) finds herself dissatisfied with her life as a struggling Laundromat owner, further aggravated by her goofball husband Waymond (Ke Huy Quan), her contentious relationship with her daughter Joy (Stephanie Hsu) and her overly critical father (James Hong). If that wasn’t bad enough, she’s being audited by the IRS, forcing her to deal with an austere IRS agent (Jamie Lee Curtis). Suddenly, Evelyn finds Waymond possessed by an alternate version of himself and Evelyn’s tasked with saving multiple universes from the mysterious and all powerful villain known as Jobu.

The Dynamic Duo of Daniel Kwan and Daniel Scheinert already proved their originality with their music video Turn Down for What and their feature film debut Swiss Army Man. Who would have thought they could create an existential tale of a mother daughter relationship involving googly eyes, hot dog fingers and a ratatouille parody?

As you expect from the Daniel’s previous works, it delivers on the weird and hilarious imagery (often involving leud objects). One minute, Waymond is gluing googly eyes on everything, and the next he’s taking down security guards with a fanny pack. That’s just one of many examples of the creative and well-choreographed fights scenes the Daniel’s have in store for the viewers. Only they could image fight scenes either involving Waymond intentionally giving himself paper cuts or henchmen trying to shove a trophy up where the sun don’t shine.

With moments like these, you would never expect anything profound in the film. And yet, the Daniels somehow balances these silly moments with deep, philosophical themes. Evelyn comes to realize how the little choices she made in life can have major outcomes after glimpsing versions of herself as a famous actress, a kung fu artist and a chef. Her journey also forces her to reexamine her perceptions of her husband and reconcile her relationship with her daughter. The battle between Evelyn and Jobu shows how perception can alter how one handles the meaningless of life. It’s surprising how deep this film can get.

The result is a cinematic miracle that delivers a truly unique experience.

Available on Prime Video

[1] When Colm threatens to cut off his fingers if Padraic talks to him again, you know a finger’s going to come off at some point.

[2] So consumed that he only has around 3-4 scenes as Bruce Wayne. It’s funny. In his Godzilla reboot, he barely showed the iconic monster on screen. For The Batman, we get all the caped crusader we could ever want.

[3][3] He also seems to be doing a better job of getting rid of corruption than Batman is.

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