40 | Marcel the Shell with Shoes On
A shockingly frank meditation on loss, Dean Fleischer Camp’s Marcel the Shell with Shoes On manages to place the viral YouTube character into a remarkably fully realized tale of family, loneliness, and 60 Minutes. One of the more delightful surprises of 2022. – R.J.
39 | Funny Pages
Without a doubt, the most hilarious picture of the year, Funny Pages is an unlikely triumph for director Owen Kline. Occupying a tone between a Todd Solondz film and a R. Crumb comic strip, the film contains the most colorful cast of characters occupying a motion picture this year. I would be remiss not to mention Matthew Maher whose portrayal of Wallace is uncompromising and threads the line between tragedy and hilarity so precisely and memorably, he practically jumps off the screen. – J.S.
38 | Babylon
Hilarious, angering, disgusting, beautiful, woefully unfunny, insightful, inaccurate, profound, laughably incompetent, boring, deeply moving, riveting, fully realized, a missed opportunity. Damien Chazelle, you wild for this one. – R.J.
37 | Pearl
Director Ti West and A24 certainly gambled on the success of X when deciding to film an entire prequel to the 70’s-set porny slasher that focused entirely on the film’s underdeveloped villain, played by a heavily made-up Mia Goth. Thankfully, they were greeted with a sizable return on investment and we were given a technicolor dive into the disturbed mind of Pearl, once again played by Goth. In the shadow of World War I, Pearl follows the titular farm girl as she longs to become a star while stuck at home with the yoke of a disapproving mother, an incapacitated father, and a husband away at war. Pearl soon comes up against the pressures of domestic life and finding a proper place on the farm, but chooses instead to focus on stardom by any means necessary. Goth does wonders here with a nuanced yet still exaggerated portrayal of a psychopath against the saturated background of what West imagined as a “Disney horror movie”. Amongst all the killings and unsavoriness on screen though, the most haunting image is that one saved for the final, unbreaking shot through which the credits roll. – N.A.
36 | Guillermo del Toro’s Pinocchio
In a year with so much stellar animation, it’s a small feat that we managed not one, but two, stop-motion passion projects from acclaimed monster lovers (the other being Phil Tippett’s Mad God). Guillermo del Toro went in a bit of a different direction than Tippett, retelling the classic tale of Pinocchio, complete with songs and musical numbers. The cast is certainly star-studded, if not a bit questionable at points, but they’re certainly giving their all. Of course, Del Toro’s particular brand of gothic storytelling and infatuation with monsters is on full display, even down to Pinocchio’s knobbly, nail-ridden appearance and an imaginative redesign of the famous killer whale, Monstro. The darker elements still remain Del Toro’s strong suit, with a much more tragic origin of the wooden boy and the inclusion of an afterlife, which Pinocchio makes several detours to, are welcome additions that bolster the film’s message of cherishing what we’re given. Like the bounty of Pinocchio adaptations we’ve been given over the past few years. – N.A.
35 | Tyler Perry’s A Madea Homecoming
American cinema has a longstanding tradition of great comedy. From Charlie Chaplin and Buster Keaton to Doris Day and Eddie Murphy; American comedy is a unique and intrinsically brilliant tradition that perhaps no one has upheld more in the modern age than Tyler Perry. A misunderstood genius who, with his Madea character, has entered the same stature as Chaplin’s The Tramp character. Madea’s Homecoming is some of Perry’s most confident work yet, challenging discussions of race and sexuality combined with hilarious slapstick and familial gatherings merge together and deliver the year’s great comedy. The brilliant choice to include Brendan O’Carroll’s Agnes Brown character adds for even more hilarity and an unexpectedly moving relationship between Agnes and Madea. With a brisk pace, confident camerawork, inventive editing, and a finale that truly must be seen to believe, Tyler Perry has cemented himself as one of the great comedic minds of our time. – C.W.
34 | Turning Red
The first Disney/Pixar film that could be convincingly described as “auteur-driven”, Turning Red is also one of the few recent family films that actually managed to earn the right-wing media firestorm it received; this is a thoroughly progressive film in practically every respect, from its thoroughly anti-authoritarian message to its hero’s triumphant battle cry of “My panda, my choice!” But Turning Red isn’t notable only for its politics; its unapologetically busy, colorful animation and legitimately fresh, rapidfire sense of humor make for one of the most enjoyable products to escape from the halls of Pixar in some time. – R.J.
33 | Hit the Road
2022’s bizarre discourse surrounding “nepo babies” uncovered a lot of the privileges children of artists and celebrities enjoy, but no one can write off Panah Panahi’s gift as a filmmaker as a symptom of nepotism. Son of Iranian master Jafar Panahi, Panar Panahi has produced one of the most genuine, moving films of the year that is equally hilarious as it is heartbreaking. Hit the Road tells the story of an Iranian family of four traveling across the country to move their oldest son out of the country for unknown reasons. As the film unfolds, we learn more about the relationships between the four family members and the reality that the family will never be the same with the eldest son’s departure.The climax is one of the most emotionally powerful finales of the year, heartbreaking to watch this family torn apart. While “nepo babies” might be out in 2023, let’s hope Panahi continues to grow his filmography in the future. – C.W.
32 | Mad God
Few filmmakers can claim the perseverance of Oscar-winning visual effects master Phil Tippett can, as thirty years of work and passion culminated with this year’s release of Mad God. Made possible by the contributions of volunteers and crowdfunding, never has such a labor of love been so abominable, following a lone assassin’s descent into an underworld filled with monsters of the most heinous order, each level bringing new, hellish sights. The scope of these ghastly vistas is unlike anything else this year, especially knowing that every element was painstakingly crafted and arranged by hand, frame by frame, with an expertly crafted soundscape to match. A true testament to the human touch in creating horrors beyond imagination, it’s hard to visualize the ghastly creatures on screen made up of 3D polygons instead of the clay, grime, and Mad God-only-knows what else. – N.A.
31 | Jackass Forever
I can think of no greater argument for the sanctity of theatrical distribution than the gloriously visceral experience I had watching Ehren McGhehey pulverize his testicles with a pogo stick on a gigantic screen sitting next to several dozen strangers. Jackass Forever is a true return to the cinema of attractions, pure spectacle that manages to rise above its status as a mere assortment of disconnected sketches through the joyful camaraderie of its cast and the gleefully diabolical genius of its wince-and-guffaw-inducing stunts. – R.J.
30 | Blonde
Andrew Dominik’s first entry on this list also happens to be the most controversial film of the year. At a 167 minute runtime, Blonde fictionally recounts the life of Marilyn Monroe through a series of brutally harsh and surreal imagery that makes for one of the more uncomfortable and challenging films of the year. And yet, there is such beauty to be found in the film. From Ana De Armas’ towering lead performance to Nick Cave and Warren Ellis’ breathtaking score to Chayse Irvin’s gorgeous cinematography; Blonde is an exceptional cinematic journey well worth taking. The harsh imagery and genuine terror displayed on screen culminates into a powerful indictment on celebrity culture and highlights the blatant sexism in Hollywood that still persists to this day. There is no film from 2022 more unabashedly feminist, yet perhaps audiences are still not ready to confront the horror of celebrity culture. No matter where you’ll land on the spectrum, there is no denying that Dominik has crafted a complicated, genuinely terrifying film that demands to be seen. – C.W.
29 | Descendent
No film moved me more this year than Descendant. A powerful document that sheds light to a historical injustice suppressed for over a century and the resolve to preserve one’s heritage. Margaret Brown’s brilliant use of interviews and research highlights the historical significance of finding the Clotilda slave ship and what it means to the community. Descendant follows the search for a shipwrecked slave vessel, but there’s so much more happening below the surface. If you can only see one film in 2022, I recommend it be Descendant. – C.W.
28 | Kimi
Steven Soderbergh continues his hot streak of straight to HBO films with this brilliant contemporary thriller. Set amidst the ongoing COVID-19 pandemic, Kimi centers on a young tech worker who uncovers evidence of a violent act and is met with great skepticism from everyone around her. The film couldn’t be more timely as Big Tech continues to clamp down on individual freedom and the concept of privacy continues to dissolve in culture. Zoe Kravitz’s starring performance is among the best of 2022, never once overplaying the fear of the virus and stress of her job. David Koepp’s script is a perfect fit for Soderbergh, with both artists complimenting each other beautifully and collaborating to make an entertaining and poignant Hitchcockian thriller. Soderbergh has emerged over the past decade as the most inventive filmmaker of the digital age. His camera is always concise and the images generated feel genuinely cinematic. There is no working filmmaker as consistent or prolific as Soderbergh, but I must admit I miss seeing his film on the big screen. Good thing 2023 will be a return to the theater for the digital master with Magic Mike: The Last Dance. February 9th can’t come fast enough. – C.W.
27 | Halloween Ends
The conclusion to David Gordon Green’s Halloween trilogy is the most outré of them all, inspiring a critical and commercial revulsion that seemed to sidestep any serious analysis of the film. With the first Halloween, Green sought to prove his horror bonafides by making a near-identical replica of the original 1978 slasher. Halloween Kills’ raison d’etre was, well, the second word in its title, containing the most ruthlessly gnarly kills in the franchise’s entire hallowed existence. Halloween Ends completely throws out any conventional sense of narrative satisfaction, opening with a red herring so audacious as to inspire audible gasps. Green’s Rosetta Stone for Ends is bizarrely enough, the endless sequels to the original film, which were essentially disavowed for the initial reboot. Traces of these, on the whole, mediocre films manifest themselves in odd, almost schizophrenic ways. For fear of spoiling the central premise, I will leave it to the viewer to discover these moments of franchise synchronicity, but suffice to say, Halloween Ends is surely the most surprising, subversive and thought-provoking (if horribly disjointed) film in the Halloween cycle. – J.S.
26 | Great Freedom
A cry of yearning through the decades, Great Freedom builds on the gay prison iconography of Jean Genet’s Chant d’amour and imposes it on a time of state-sanctioned cruelty towards the LGBT community. Focusing on post-WWII Germany where homosexuality was a punishable offense, the film follows the travails and romantic tribulations of Hans Hoffmann, portrayed with great sensitivity by Franz Rogowski, who is thrown repeatedly into jail for the then-unforgivable crime of being gay. A relationship with a fellow prisoner eventually unfolds with a terseness that gives way to tenderness, culminating in one of the most poignant endings in recent memory. – J.S.
25 | Ambulance
The greatest action film of the year (in this writer’s opinion) comes from one of the most misunderstood geniuses of the medium, Michael Bay’s Ambulance is an intoxicating adrenaline rush with all time great performances from Jake Gyllenhaal, Yahya Abdul-Manten II, and Eiza Gonzalez. The film is a brutal indictment of the corporate healthcare system in America while also providing non stop heart-pounding action that would make the likes of Sam Peckinpah proud. Think John Q by way of Heat with a dash of Mad Max: Fury Road for some extra fun. The most efficient use of drones I have ever seen for cinematic effect combined with Bay’s signature kinetic style makes for one of the true masterpieces of the 21st century. The film will have you sailing away from the screen with contempt for our crooked healthcare system and love for the great Michael Bay. – C.W.
24 | Three Thousand Years of Longing
With Terry Gilliam having apparently chased windmills into the sunset, I would have thought the days of large-scale fantastical fairy tales on film were over, but thankfully eclectic Australian auteur George Miller firmly stepped up and threw his hat into the ring. The result is a much more somber and heartfelt affair that mixes well with the imaginative madcap on display. Framed by the story of narrative scholar Alithea freeing the Djinn from his bottle prison, the film covers the years of the Djinn’s existence, jumping through times while still keeping a healthy focus on the frame, where we’re left to wonder just how much is “real” and how much is the product of a lonely imagination. It’s an interesting exercise in narrative to be sure. Tilda Swinton and Idris Elba shine in roles they seamlessly blend into, as they develop with tales of love lost, found, and eternally burning, over the course of the tales and frame. While the structure may be a bit uneven, it does justify itself by the end, even if it indulges itself along the way. Personally, I can always find it in my heart to forgive something this unique that finds its way to the multiplex, a film bold enough to ask, What does one do with three wishes? – N.A.
23 | I Love My Dad
James Morosini’s autobiographical debut is a deeply cringe-inducing, unsettling film, one made all the more emotionally complex by the great Patton Oswalt’s empathetic performance as the titular psychopathic father. The film’s onscreen portrayal of an entirely artificial online relationship cuts deep, as Claudia Sulewski cleverly embodies the protagonist’s imagined affections of his quite literally too good to be true online lover. Morosini carries his loaded, diabolical premise far beyond the limits of what one could imagine (the film’s climactic montage literalises its title in ways too stomach-churning to spoil here) and in the process stakes his claim as a writer-director to keep a close eye on. – R.J.
22 | The Northman
Robert Eggers’ trademark blend of fantastical, meticulous mise-en-scene and absurdly dense, period-accurate dialogue reach a new peak in this maximalist Norse epic, bringing together a tremendous, scenery-chewing rogues’ gallery of performers (Ethan Hawke! Bjork!) in the service of his affectingly elemental story. Also of note is perhaps the best action set-piece of the year, a one-take, Come and See-aping depiction of a downright horrific viking raid of a small hamlet. – R.J.
21 | Nope
After bursting onto the film scene with a debut stunning enough to get onto Sight & Sound’s Greatest Films of all Time list, Jordan Peele has fit nicely into the role of socially conscious horror director ever since, even assuming the mantle of the great Rod Serling on a reboot of The Twilight Zone. While Nope fits nicely into this mold, it seems to also be aiming beyond his standard. Marketed as the event of summer 2022, it’s hard not to compare this film of unexplained visitors from the sky and a rag-tag group facing off against them to the blockbusters that originated the name, the same group that included clear influences Jaws and Close Encounters of the Third Kind. Spectacle is the name of the game here, with large sets specifically constructed for the film (that can now be toured Universal Studios), boasts of filming with IMAX film cameras, and large awe-inspiring sequences that end the film. It’s a blockbuster for the blockbuster’s sake, but don’t let that distract from the fact that Peele’s still a horror filmmaker at heart. Be prepared for one scene that makes Fire in the Sky look like child’s play. – N.A.
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