In 2022, many film projects stunted by the COVID-19 pandemic were released, while others resumed ongoing production. Where last year felt like a return to cinema normalcy, 2023 revitalized the industry. Movies are back, and the theater-going experience is here to stay.
Before I dive into my favorites from this year, I must recognize the December releases I consider contenders to land a spot on the list pending my viewing.
December Releases: “Poor Things,” “The Boy and the Heron,” “The Zone of Interest,” “The Color Purple,” “American Fiction,” “Maestro” and “All of Us Strangers”
Without further ado, let’s get into the best of 2023 — a year in review.
Honorable Mentions: “Bottoms,” “Theater Camp” and “Rye Lane”
10. “John Wick: Chapter 4”: The fourth installment in the high-octane action saga is the best entry yet. John Wick (Keanu Reeves), with an ever-increasing price on his head, must uncover a path to defeating The High Table in a globe-trotting fight to the finish. The story and performances are nothing special, but they clearly aren’t the focal point. The action is balls-to-the-wall insane, incorporating some of the most extraordinary fight choreography I’ve ever seen. The set pieces are outrageous, highlighted by pretty neon lighting. Murder has never been so entertaining.
9. “Asteroid City”: Wes Anderson’s latest feature film is a delightful, existential romp. When a space cadet convention is interrupted by an otherworldly arrival, a grieving father (Jason Schwartzman), already grappling with loss, love and the meaning of life, must confront an unimaginable discovery. Anderson’s script studies trauma as unexplainable and unavoidable. The star-studded ensemble (Scarlett Johansson, Tom Hanks, Jeffrey Wright) is pitch-perfect and Schwartzman is exceptionally subtle. A warm color palette mixed with lovely hand-crafted sets ties together this Anderson hit.
8. “The Holdovers”: Watching Alexander Payne’s heartwarming holiday dramedy is like being wrapped in a blanket by the fire and sipping hot cocoa on a frosty day. When a grouchy, traditional teacher (Paul Giamatti) at a New England prep school is forced to babysit students with nowhere to go during winter break, he forms an unlikely bond with a damaged troublemaker (Dominic Sessa) and the school’s bereft head cook (Da’Vine Joy Randolph). Randolph is endearing, Giamatti is hilarious and Sessa is a revelation in his first role. “The Holdovers” is a touching, nostalgic holiday classic.
7. “May December”: Todd Haynes’s latest is an entrancing, thought-provoking character examination. Twenty years after their infamous tabloid romance gripped the nation, a married couple’s (Julianne Moore and Charles Melton) relationship is tested when an actress (Natalie Portman) arrives to research a film about their past. The script is stomach-churning, occasionally funny and often tragic. The score and shot composition are delicate and seductive. Portman and Moore are expectedly incredible, turning in their most intriguing performances to date. Melton, of “Riverdale” fame no less, steals the show; his reserved stoicism morphs into vulnerability as his heartbreaking story is fleshed out.
6. “Spider-Man: Across the Spider-Verse”: The long-awaited sequel to 2018’s breakout “Into the Spider-Verse” proves superhero films still have a place in contemporary cinema — if done right. When Miles Morales encounters a new threat, he is thrust into a spider society charged with protecting the multiverse. Like its predecessor, the animation is an extraordinary feast for the eyes. I can only imagine the time and effort it took to organize and produce. The voice cast, soundtrack and humor are excellent. I am eagerly counting the days until we get to see the final installment in the trilogy.
5. “Barbie”: Greta Gerwig’s ambitious toy adaptation and first half of the “Barbenheimer” campaign is colorful, ridiculously funny and empowering. When “Stereotypical Barbie” (Margot Robbie) is burdened by thoughts of death, she must journey to the real world in search of her owner. Accompanied by Ryan Gosling’s Ken, she discovers the harsh nature of reality and the complexities of womanhood. While playful, bright and delightfully silly, at its core, “Barbie” is a hard-hitting and empowering feminist epic. Robbie is flawless, and Gosling is comically sublime. The production is among the first of its kind — a glowing representation of a child’s imagination. Barbieland is a lavish beachside landscape sprinkled with pastels and life-sized plastic buildings. “Barbie” is miraculous.
4. “Killers of the Flower Moon”: Martin Scorcese’s historical epic is a sprawling, methodically-paced masterwork, dissecting the monstrous capabilities of evil operating in plain sight. When Ernest Burkhart (Leonardo DiCaprio) returns to Osage land to live with his uncle (Robert DeNiro), he marries a wealthy Osage woman named Mollie (Lily Gladstone). Throughout three and a half hours of densely packed drama, a twisted plot slowly reveals itself — one to murder Mollie’s family and infiltrate the Osage fortune, calling upon the attention of the FBI. The production, costume design and score are all impeccable. The cinematography is vast, capturing sweeping landscapes and detailed close-ups. DiCaprio and DeNiro brilliantly convey monstrosity, but Gladstone’s harrowing turn headlines the experience.
3. “Anatomy of a Fall”: Justine Triet’s “Anatomy of a Fall” is a twisted French mystery, courtroom drama and winner of the Palme d’Or at the Cannes Film Festival. When Sandra Voyter (Sandra Hüller) is suspected of her husband’s murder, her blind son (Milo Machado Graner) faces a moral dilemma as the sole witness. Triet’s script is layered, challenging and unrelenting. Motives and truths are revealed slowly and subtly, concluding with an ambiguous yet satisfying ending. Trying to piece together the puzzle in my head made for a thrilling experience. Hüller is Oscar-worthy and Machado Graner is haunting.
2. “Oppenheimer”: Christopher Nolan’s latest and second half of the “Barbenheimer” campaign is a bone-chilling examination of guilt and the terrifying power of man. Cursed with directing the Los Alamos Laboratory during World War II, Robert J. Oppenheimer (Cillian Murphy) must confront his world-changing creation of the atomic bomb. Murphy is at the top of his game, well-deserving of the coveted Oscar for best actor. Nolan dazzles in color and black and white, depicting the impossible beauty of scientific breakthroughs. The sound ranges from thundering to piercingly quiet, creating an immersive, overwhelming atmosphere for the audience. “Oppenheimer” is a staggering achievement.
1. “Past Lives”: Celine Song’s debut feature from A24 is my absolute favorite film of the year. The story follows Nora (Greta Lee), an American-Korean immigrant who is wrested away from her childhood friend, Hae Sung (Teo Yoo). Twenty years later, they are reunited for a wondrous, fateful week in New York. The film possesses a gorgeous, glowing essence that lingered with me far after the fact. Song’s script is an earnest exploration of love, childhood and destiny. I felt like a fly on the wall, engrossed in the curious, complicated lives of two confused, parting souls. Lee’s performance is heartfelt and palpable. Yoo is devastating and sincere, reverting back to boyhood. The score and cinematography are equally as beautiful. Simply put, “Past Lives” is a masterpiece.
