I don’t watch that many movies any more, and hardly ever see anything first-run unless it’s Marvel or Star Wars. I’m hoping to address that in 2023, both by virtue of living in Los Angeles, and paying for AMC’s “A-List” subscription. So far, though, being on the A-List has just meant seeing a lot of C-List movies I wouldn’t have otherwise. (At least I’ve nearly memorized Nicole Kidman’s monologue at this point).
In any case, I saw my friend Rain post a list of her top five movies of the year, and it occurred to me that I actually saw enough movies in 2022 to be able to make my own list! I couldn’t even limit it to just five! Here they are, in reverse order:
Not quite the slam-dunk I’d been hoping for, but still pretty spectacular and full of some great character interactions. What impressed me the most was how it maintained all of its franchise obligations but still had plenty of imaginative, creepy flashes that marked it clearly as a Sam Raimi movie.
I still don’t think the movie holds together all that well, but it has moments of brilliance, plus the pure joy of seeing Keke Palmer bringing the full force of her charisma to the screen. Highlights were the unforgettable, disorienting, and disturbing sequence showing what happens to Jean Jacket’s victims; and Gordy’s attack, a near-perfect sequence of surreal suspense.
This wasn’t the goofy fun that I expected it to be, but it was a much better movie as a result. It thoughtfully tears apart decades of horror movie conventions and reminds jaded audiences that the main reason horror movies are horrifying is because most people aren’t self-obsessed sociopaths.
(Released in 2021, it turns out, but I didn’t see it until 2022 on Disney+)
I’d expected this to be a mid-tier Disney animated feature, but the “Dos Oruguitas” sequence alone [spoilers for the entire movie!] might be the most potent five minutes of any movie, animated or otherwise. If you’re not ugly-crying by the end of it, you might very well be a robot. And I understand how people could be suffering from Lin-Manuel Miranda fatigue, but after Moana and now Encanto, I think he’s preternaturally suited to animated musicals, and kind of a super-hero. “The Family Madrigal” is the catchiest song of the movie, and it introduces the entire premise and cast of characters in just a few minutes.
Maybe the highest praise I could give it is that it exceeded my impossibly high expectations after Knives Out. I love that the two movies are unmistakably related, but the sequel isn’t just an attempt to copy the formula of the first. And Janelle Monáe is brilliant, embodying the impossibly beautiful “rich bitch” while also being endearing and funny and fun. I hope the Benoit Blanc mysteries never, ever end.
Not just my favorite movie of 2022, but instantly one of my favorite movies ever. It pays no regard to genre, and is action-packed and introspective, vulgar and sentimental, hilarious and heart-breaking, ridiculous and sublime. It has all the feel of a loose, scrappy indie movie that can do whatever it wants, but also has some gorgeous sequences that feel timeless. My favorite contradiction is that it explores the idea of infinite universes with infinite potential, all to stress the beauty of living in the moment and appreciating the one life you have. It’s a masterpiece.