Nathan Alligood

The 50 Best Films of 2024

The year of movie gimmicks both Shyamalan and simian, chemistry at the tennis court and temple, the end of the world spanning comedy, action, and musical, miraculous (and malicious) bodily transformations, and the court room drama they just couldn’t keep down.

By Cody Workman, Joseph Shin, Nathan Alligood, and Reagan Jones

After much consideration and remembering the tribulations of years past, four of our steadfast editors have finally whittled down their lists to the 50 best films of 2024. This list reflects the collective view of these four editors and their decisions stand alone amongst the multitude of lists like it. Both films critically acclaimed and derided were given a fair shake, and some of each found their way onto this year’s abridged list. Please enjoy our choices for the 50 best films released in the United States in 2024.*

*Eligibility based upon U.S. wide release dates, streaming debuts, and whatever screeners made their way to our desks.

50 | Twilight of the Warriors: Walled In

There is such an awe element to the fight choreography here that propels Twilight of the Warriors: Walled City to a level of excellence on par with any action film you’ll see on this list. Soi Cheang has crafted a fantastic film and I for one will be spending my 2025 catching up on the maestro’s previous works. – CW

49 | Better Man

The cinema has long held a fascination to bearing visual and aural witness to the musically gifted. Think of the early sound film shorts of Louis Armstrong and his band or Cab Calloway hidee-ho-ing to kingdom come. This impulse naturally gave way to incorporate classical narrative patterns until eventually the music biopic came to being. In the 1940s, we saw Mickey Rooney as Lorenz Hart, and, in the 2020s, we see a CGI ape as Robbie Williams, and to the eternal surprise of anyone who has not cast a generous eye and ear to either portrayal, the former is far more miscast. If not yet boasting the voluminous pedigree of an auteur, Michael Gracey, who strikes one as a person who speaks of the Freed Unit in hushed tones, has proven a more than capable journeyman in this mode, having cast the likes of known charlatan P.T. Barnum in a heavenly light in the rousing The Greatest Showman. Yet his task to bear might have been more difficult here, in part because of the monkey of it all, but moreso because he had to trade the slick, theatah-ready stylings of Benj Pasek and Justin Paul (our contemporary Rodgers and Hammerstein, for better or worse) for the turgid tunes of inevitably Sir Robbie Williams. But, the cast and crew of Better Man make a meal out of a musical morsel and prove an unintentionally salient point about human nature: we find it infinitely easier to empathize with a fellow primate than a human being. -JS

48 | Kubi

Takeshi Kitano, perhaps more than any contemporary director, most fully embodies Monsieur Jerry’s idea of the “Total Filmmaker.” Star, writer, editor, director. Of course, he extends himself into other mediums: painting, literature, TV show host. All come to bear in some way on his oeuvre. In Kubi, he is able to synthesize his own spirit with that of his cinematic predecessors and mentors, Nagisa Oshima and Akira Kurosawa. It is an epic, in the truest sense. War, farce, romance, and political wheeling-and-dealing collide against each other within its large canvas. And while many of us implicitly believe the platitudes offered here (“life is pain,” “power corrupts”), who among us could realize it with such viscera and verve? – JS

47 | Wallace & Gromit: Vengeance Most Fowl

When the world needed them most, Wallace & Gromit returned in a 2024 claymation feature warning us all of the dangers of AI in the most cheerfully friendly manner. This entry in the long-running series finds the titular duo dealing with Wallace’s smart gnome, Norbot, who promises to make their lives more efficient by taking over Gromit’s “chores”. Showcasing the dangers of good-intentioned inventions being hijacked for more nefarious purposes, it’s a tale you can find throughout the series, made all the more relevant with the constant talk of AI generated movies or animation on the horizon. As with all Aardman productions, the stop-motion is top-notch, with as many stunning action set pieces as there are small-scale set gags, no doubt thanks to the human hands creating each shot. – NA

46 | Carry-On

I am not an active presence on Film Twitter so I do not have to take this space to renounce Jaume Collet-Serra auteurism as I was never part of the project to begin with. Not that the man hasn’t made handsome films; he yielded the best of Liam Neeson’s Bronsonsploitation pictures in Run All Night after all. In Carry-On, he has the mercenary quality of a Don Siegel, someone willing and capable of mining a premise for all its worth. What could have been humdrum TSA agit-prop becomes a decidedly Hitchcockian thriller assisted by the excellent performances of Taron Egerton, whose handsome pluckiness has not diminished with his A-list status, and Jason Bateman in the kind of against-typecasting that would in an earlier, theatrical context have yielded awards chatter. So good as to almost make me forgive TSA for confiscating my can of SPAM in January. – JS

45 | Sing Sing

Trading the hard edges and looming threats for the dramatic arts, Sing Sing is a radical departure from your standard prison film, focusing on the theater group of the titular facility. Giving its members a much needed outlet for emotion and healing, the film demonstrates that the arts are a way to get in touch with one’s humanity, even in the most dehumanizing of places. As further proof of this, most of the cast is made up of actual former members of the theater group, bringing a realism and shared camaraderie that makes the film shine. It’s a feat and testament to the theater group that hope and light can pervade Sing Sing, where the windows designed to keep them in, can also light the stage for their escape. – NA

44 | Last Summer

Catherine Breillat’s long-awaited return to narrative filmmaking is as gleefully provocative and willfully enraging as her earlier work, a skin-crawling tale of power dynamics and incestual lust that evokes Rohmer (Claire’s Knee the most glaringly obvious reference point) in its lengthy, often electrifying conversational scenes. Also home to one hell of a Sonic Youth needle drop. – RJ

43 | Good One

India Donaldson’s first feature reads on paper as a typically small-scale Sundance indie by numbers, but don’t let the relatively humdrum logline fool you – this is one of the very best debuts in recent memory, a tremendously acted slice of character drama that offers a wicked sense of humor and an unsettling, almost-unspoken touch of menace in equal measure. Donaldson’s Linklater-esque dialogue is whip-smart, her pictorial instincts are right on the money, and boy, is it great to see indie mainstay James Le Gros finally given a starring role worthy of his formidable talents. – RJ

42 | Kill

Touted as one of the most violent films to come out of India, Kill’s monosyllabic title doesn’t mince words in letting you know what you’re in for. The first 40 minutes acclimate you to the plot and slowly ratchet up the stakes before Lakshya’s heroic Amrit Rathod breaks into a murderous carnage. A bold mix of Die Hard, John Wick, and the gnarliest Halloween film you can think of, bones crunch, blood spews, and no one leaves this claustrophobic, high-speed train unscathed in the bleakest action film of the year. – NA

41 | All We Imagine as Light

Equal parts Mumbai city symphony and intimate slice-of-life, Payal Kapadia’s narrative feature debut is among the most entrancing films of the year, a hypnotic and beautifully photographed portrait of working-class life that gradually morphs from a charming neorealist tale into outright Weerasethakul-esque surrealism. The sensitive lead performances from Kani Kursruti and Divya Prabha are also among the year’s most touching. – RJ

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The 100 Best Films of 2023

Reality-bending journeys of self-discovery, reinventions of classic genre fare, biopics for products both timeless and dated, and the movie-going double feature that blew up the box office.

By Cody Workman, Joseph Shin, Nathan Alligood, and Reagan Jones

After much deliberation and many arguments, four of our stalwart editors have finally agreed upon a list of the 100 best films of 2023. This list reflects the collective view of these four editors and is unlike any other list you’ve seen this year. Placements vary amongst the hottest films of the year and even some of the coldest of the year, but there was something for everyone in the movie-going landscape of 2023. Please enjoy our picks for the 100 best films released in the United States in 2023.*

*Eligibility based upon U.S. wide release dates, streaming debuts, and whatever screeners made their way to our desks.

100 | Rebel Moon Part 1 – A Child of Fire

At one point intended as a spin-off of Star Wars, Zack Snyder tried his hand at the space opera this year, giving us a perfect example of the popcorn blockbuster, filled with enough guilty pleasures to gorge any fan. Borrowing liberally from Seven Samurai, Snyder starts with a strong narrative round-up to introduce us to his newest pantheon of superhumans. Set pieces chock-full of acrobatics and slow-mo are sprinkled throughout to keep things moving and entertaining, before moving on to the next introduction. It’s certainly plagued by the sorts of problems inherent to any “part one”, lacking a good bit of gravitas in its climactic cliffhanger, but with part two on its way this year, I doubt this will be the last time you see Rebel Moon on this website. – N.A.

99 | Scrapper

Lovely little picture, the type of film that would be fun to say is your favorite film on a dating app. This picture screams quirky and turns out if you scream loud enough, you might just make this old chunk of coal fall for the sweetness. Congratulations to all involved, you made the biggest cynic on staff advocate the hardest to include this film on our list. – C.W.

98 | No One Will Save You

In a year with at least two oddly dialogue-less action features, the one with a sci-fi horror twist certainly stands out. With a plot fit for anyone who thinks they could square up to E.T., Kaitlyn Dever’s Brynn faces down with multiple alien invaders intruding on her home and determined to enslave its only resident, all sans dialogue. While its main gimmick may not have the best raison d’etre, it certainly makes for a tense game of cat-and-mouse, as the mouse consistently finds a way to best parasites, tractor beams, and all manner of alien creatures. Underneath all the action, there’s still a message of self-reliance and moving on from one’s trauma that comes across loud and clear through Dever’s expressive acting and an ending that’s a bit striking in its implications. At the very least, it proves that 20th Century still has some hits left in them, streaming exclusive or not. – N.A.

97 | Kokomo City

Loved this picture, funny and insightful while never ignoring the tremendous disadvantage of Black transgender sex workers in America. D. Smith’s tight pacing and energetic style makes for a breezy watch that ranks as one of the best documentaries of the year. Seek this out folks! – C.W.

96 | The Burial

There is no doubt in this viewer’s mind that the most impressive lead performance of 2023 belongs to Jamie Foxx. The Burial is an exceptional execution of the type of film all of us are familiar with. Strong direction, writing, cinematography, and performances elevate the film to a near masterpiece. Director Margaret Betts bets it all on her two lead actors and wins big with Tommy Lee Jones and Jamie Foxx. Run to this one folks, this is a major motion picture. – C.W.

95 | Occupied City

Clocking in at just over four hours, Steve McQueen’s Occupied City is the best documentary I saw last year and will hopefully find a wider audience despite a tremendous runtime. Featuring footage of Amsterdam shot over lockdown, McQueen explores the city while we learn about its history during Nazi occupation. The result of the experiment is a transcendental experience that is really enhanced by a theatrical viewing. I urge all readers, if possible, to seek this masterpiece of a film out in a cinema. -C.W.

94 | When Evil Lurks

With the multitude of horror films coming out in the multiplex these days, it’s rare to find one that leans into the bleak, hopeless aspect of the genre, a distinction that When Evil Lurks proudly wears on its sleeve. A fascinatingly different take on possession, the film slowly introduces us to a very different world than the one we’re familiar with, one where demonic possession is treated like a communicable disease, complete with rules and authorities to control it. The diseased, which in this case is a bloated, “rotten”, must be dealt with swiftly less a plague of carnage and demons take over the country. These sorts of apocalyptic consequences usually hold little weight, but there’s enough disturbing imagery and violence to reinforce that looming threat many times over. A conventional race-against-time eventually gives way to something much more sinister, never letting up on the misery until the credits roll. It’s certainly the easiest way to ruin your day for just the price of admission. – N.A.

93 |Guardians of the Galaxy Vol. 3

The first Guardians was received rapturously at a time of increased public nostalgia; a time where Stranger Things was innocently received as a loving original rather than regurgitated pastiche of greater ‘80s pop culture. The second Guardians wisely recalibrated, focalizing its attention on Kurt Russell, finding greater character depth for all the galaxytrotters in the process. The purported final Guardians film stands not as any apotheosis of superhero cinema, but at least, a comfortable distance above its contemporaries. James Gunn certainly benefited from the MCU franchise’s very public floundering but that doesn’t alone qualify the film’s inclusion among the pantheon of worthwhile 2023 films. The former Troma auteur has a distinct authorial presence and shepherds the cast towards their best ends (ex: Bradley Cooper gives a finer vocal performance as Rocket Raccoon than his self-directed Leonard Bernstein) though his directorial voice is scattershot in the way that geekdom often confers (cringeworthy needledrops abound from the opening “Creep” to the closing “Dog Days Are Over”). But one senses (certainly PETA did) that his intentions are noble which is enough to free him from the taint of Marvel’s for-hire gulag. -J.S.

92 | 80 for Brady

Hollywood is not known for its kindness towards actresses. Aging actresses . . . even less so. Think of the formidable screen legends Bette Davis and Joan Crawford who in their twilight of their careers had to birth the psycho-biddy genre with Whatever Happened With Baby Jane to create substantial roles in which to play. So it must mark some sort of progress that today we prefer to see our grand dames cavort, partake in wild, innocent shenanigans, and trade slightly-stale witticisms. It’s a cottage industry that’s cranked out two Book Clubs and has kept Diane Keaton in steady employment, which even if box-office had not followed, is worth the entire endeavor. 80 For Brady is the greatest of this cycle, mixing immense talent, a high-concept premise, and a sturdy script to great effect. If he has any brains left after his football career, Tom Brady would rightly assess this as the high water-mark of his time on this earth. -J.S.

91 | Saw X

The Cry Macho of Saw films. No horror film in 2023 had a bigger heart, shocked to find myself the one with the most genuine affection for this picture here at Scrawls. Tobin Bell is astounding here, not since Sly Stallone in Creed has a performer been this fresh in a franchise role. Lovely stuff! – C.W.

90 | Pinball: The Man Who Saved the Game

In a world where Fortnite and computer games dominate our youth’s interest, Pinball: The Man Who Saved the Game reminds us of a simpler time when pinball machines provided everyone a reprieve from the cruelty of the world. A shockingly political film, Austin and Meridith Bragg’s picture takes a Capra-esque approach to storytelling that will warm any viewer’s heart. Explore the world readers, live the life you deserve. – C.W.

89 | A Good Person

Returning to the writer/director chair after nearly a decade absent, Zach Braff returned last year with A Good Person, a hard-hitting melodrama about addiction and working to maintain sobriety. Some powerhouse performances from Florence Pugh and Morgan Freeman are the film’s key to success, giving face to the tragedies one can endure and the dedication required to overcome them. Admittedly, there are enough melodramatic plot twists and revelations to seem a bit much at points, but Pugh and Freeman chew right through it, playing smartly with the cards dealt to them. More often than not though, there’s some quietly touching moments, shared over train sets and perfect worlds, that can warm even the coldest hearts. -N.A.

88 | The Creator

Possibly the best value that studios got this year was director/producer Gareth Edwards making a spectacular sci-fi blockbuster at half the cost with a revolutionary blend of location shooting and smartly placed CGI. This new method of big-budget filmmaking helps bring The Creator’s future, cyberpunk world to life on the big screen. While the story it’s telling may be a hodge-podge of ideas we’ve seen done before, the world they exist in helps to show them in a new light, combining markers of the Vietnam war with a fledgling AI people. The real secret to The Creator’s success is the remarkable cast at the center of it all, adding a real, human element to a fully realized, robotic world. – N.A.

87 | In Water

Hong Sang-Soo’s first entry on our list is a terrific spin on the director’s signature formula. In Water is a foggy, blur of a motion picture that culminates into one of the most memorable endings of the year. Would pair beautifully with Todd Haynes’ May December if any viewer is interested in a double feature. – C.W.

86 | The First Slam Dunk

Sports! Look no one but me saw this and I loved every second. Exceptional sports narrative combined with some beautiful animation makes this one of the many must see animated films of the year. One can only hope our readers seek this film, perhaps then my colleagues will actually watch this amazing motion picture. – C.W.

85 | The Zone of Interest

Jonathan Glazer’s long-awaited return finds the director reinventing his approach yet again, this time taking a Big Brother-esque (his words, not mine) approach to the home life of the Nazi commandant assigned to oversee the extermination camp at Auschwitz. Mica Levi’s sparingly used, bone-rattling score helps provide editorial commentary on the unsettlingly mundane family activities undertaken by the Höss clan as Glazer’s disorientingly plain, hidden-camera-like compositions light the way. A dread-inducing experience that perhaps manages to, astonishingly, reframe the evils of the Holocaust in a new way after 80 years of consistent media representation. – R.J.

84 | Peter Pan & Wendy

David Lowery finally admits to arrested development, a suspicion that he had fostered throughout his career, whether in the childlike fumblings of Robert Redford in The Old Man and the Gun or the initial run at coming to terms with being a Disney Adult with Pete’s Dragon. Peter Pan and Wendy signals its function as mythical correction with its title, restoring Wendy to marquee status but curiously its most important intervention is with its distinctly grown-up attitude: Peter Pan is kind of a dick! And Captain Hook. . . he’s not so bad! Of course, I speak facetiously, as the denouement of the film and its implications for the eternally warring Neverlanders culminates in one of the most moving portrayals of mutual forgiveness in modern times. -J.S.

83 | Mami Wata

Criminally snubbed by the Academy earlier this month, C.J. ‘Fiery’ Obasi crafts an outstanding folk tale in Mami Wata. Following the events in a small town after the arrival of a stranger, the film provides a harrowing look at the dangers of war and the importance of unity within one’s community. Shot in gorgeous black and white, Mami Wata is a triumph for all involved and will go down as one of the great films of our time. – C.W.

82 | Godland

It doesn’t take long into Godland’s runtime to ascertain why the drama of man against nature is so praised for its cinematography. Jaw-dropping images of Iceland abound as a Danish priest is sent to establish a parish in the remote wilderness, seeking to bring God to a land that seems to already be awash with His presence. There’s a pretty clear dynamic at play between the seemingly civilized and the heathen naturalness that can be seen throughout the film’s story and images, amounting to one of the most impressive visual feats of the year. Godland’s use of time-lapse photography in its closing moments shows the true weight of nature and God’s creation upon us all. -N.A.

81 | Ferrari

The worship at the altar of Mann has always eluded me. I have never found great singularity in his oeuvre of work though I find most of the films at a base level of quality, if not exceptional. Heat is handsome but dull. The Insider is the ideal Oscar film. Public Enemies an arresting exercise in digital filmmaking. Thief (and to a lesser extent, Manhunter) have a garish stylism and internal code that have always most appealed to me and these elements man(n)ifest themselves in his latest and probably most personal, as late period auteurs are wont to do, film. Most fascinating about Ferrari is the way in which it damns the line between one’s working life and private life. Put flippantly, Ferrari is about work-life balance and the impossibility of such. As Adam Driver’s Enzo (a steady presence) says “Two objects cannot occupy the same space at the same moment in time.” It is some tragicomic circularity that Penelope Cruz who is so grievously spurned in the film, in life is done so by the Academy. She smolders as the Ferrari one must really contend with and more than any other character embodies the race cars in corporeal form: beautiful and volatile in equal measure. – J.S.

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The 100 Best Films of 2022

Fractured friendships & realities, romantic cannibal road trips, brand new organs and blue aliens, musical icons both royal and disgraced, sincere action epics and even more sincere directors looking back to their pasts.

By Cody Workman, Joseph Shin, Nathan Alligood, and Reagan Jones

After months of heated debate and rigorous tallying, four of our intrepid editors have finally settled on a list of the 100 best films of 2022. This list reflects the collective view of these four editors and will shock most readers. There are some shocking omissions and even more shocking inclusions, but what we all agreed on was that 2022 was an exceptional year at the movies. We hope you enjoy our picks for the 100 best films released in the United States in 2022.

100 | Sharp Stick

2022 was the year of Lena Dunham. The controversial filmmaker returns with the hilarious Sharp Stick, a wholesomely crude look at sexual innocence and relationships in the modern world. A stellar cast and brisk pace makes Dunham’s film one of the year’s best films and has us all here at Scrawls On Cinema hyped for Dunham’s future projects. – C.W.

99 | The Munsters

With an oeuvre that seems to have maniacal killers, dried blood, and a love for grindhouse baked in, it’s hard to see how Rob Zombie would do on a cinematic revival of beloved 60’s sitcom The Munsters, but thankfully Zombie’s love of classic horror and monsters shines through. Using an aesthetic closer to the zaniness of classic television cheese, The Munsters (2022) has a style all its own, using its small budget on some pretty impeccable set design to bring the world of Herman, Lily, and The Count to life. Rob also brings along his regulars to populate the world, albeit in heavy makeup, but true devotees can spot Richard Brake in Orlockian makeup a mile away. – N.A.

98 | My Tinder with Andre

Backyard Atlanta auteur Logan Austin delivers a remarkably thoughtful, charming riff on both My Dinner with Andre and Richard Linklater’s Before trilogy with this cheekily-named film, delivering a convincing and realistically awkward modern romance on a shoestring budget with some very charming actors you’ve never heard of. Now streaming on Tubi. – R.J.

97 | EO

84-year-old Polish filmmaker Jerzy Skolimowski received quite possibly the best reviews of his entire career this year for his experimental reimagining of Robert Bresson’s canonical Au Hasard Balthazar, and while it may be awfully low on this list, I assure you it is only because I am the sole member of our intrepid quartet to have seen it. EO is an emotional, creative, and surprisingly-funny film that weds a remarkable sense of stylistic experimentation with Skolimowski’s deeply empathetic portrayal of the central jackass. Highly recommended. – R.J.

96 | Chip ‘n Dale: Rescue Rangers

Before the insurgency of Andor, there stood alone one title that challenged the fetid atmosphere that had long since defined the Disney+ imprimatur. That film was Turning Red. But after that, perched on a molehill was an unexpected chestnut of a comedy. Helmed by Akiva Schaffer, who had delivered such minor masterpieces of pantomime as Hot Rod and Popstar: Never Stop Never Stopping, and buoyed with a host of memorable voice actors, led by frequent Schaffer collaborator Andy Samberg and John Mulaney, Chip ‘n Dale: Rescue Rangers begins as a shameless riff of the canonical cartoon hybrid Who Framed Roger Rabbit?, but lives by the outrageousness of its parody, clashes of IP so monstrously preposterous that they carry the film out of its humdrum detective plotting. Ugly Sonic quickly became the face of the film’s farce but it is the spectre of Batman vs ET that will haunt my memory. – J.S.

95 | Deep Water

Adrian Lyne’s steamy, misunderstood thriller Deep Water brilliantly captured the power dynamic between a psycho couple played by Ben Affleck and Ana De Armas. Both actors ooze sexuality and violence as Lynne’s camera captures the bourgeoisie world surrounding our couple and becomes as enamored with their crimes as the couple is with committing adultery. Affleck is especially great here, showing a menacing side that is terrifyingly low-key. The film also contains the car chase of the year; you are not prepared for just how magnificently silly this one gets. We can’t recommend this steamy thriller enough and hope this leads to more opportunities for the great Adrian Lyne. – C.W.

94 | Bros

One of the greatest scourges to plague the quickly-evaporating art form of the comedy blockbuster is the soulless automaton known as Judd Apatow. With film after film, whether he produces, directs and/or writes, he presents a vision of encroaching conservatism, characters whose often-hilarious dysfunctions are procedurally sanded down into a numbing conformity. While the Apatow-produced Bros does not completely buck this formula, it is a film that despite what its cloying marketing and the painfully-belabored online presence of Billy Eichner would have you think, takes no prisoners in presenting its refreshingly unapologetic milieu of queer modern life. Bros fears neither sex nor intimacy, a rare combination that proves to be its most quiet subversion. – J.S.

93 | Doctor Strange in the Multiverse of Madness

Sooner or later the Marvel Universe was bound to break into yet another dimension, bringing about all the narrative snafus that entails, but thankfully Sam Raimi was tapped to guide us through our first full foray. For a film still steeped in MCU-style, there’s some welcome deviations, with battles and developments that somehow feel like truer adaptations of the comics on which they’re based, and some clear genre elements borrowed from Raimi’s roots in horror. It’s a fun, simple affair that remembers what we’re watching, and fully leans in to give the people across the multiverse what they want. – N.A.

92 | Lingui: The Sacred Bonds

Chad filmmaker Mahamat-Saleh Haroun’s Lingiu: The Sacred Bonds depicts the harrowing story of a mother and daughter tirelessly seeking an emergency abortion after the young daughter becomes pregnant. Full of religious commentary and observations on gender roles in modern day Chad, Haroun’s film is ultimately about the bond between mother and daughter and how that bond holds during times of great stress. Solid performances and Haroun’s confidence behind the camera make this film one of the best films of 2022. – C.W.

91 | Fire of Love

*Born-again Christian Bob Dylan voice* I NEED A FIREEEEEEEE OF LOVE

While occasionally stifling in its preciousness (most notably in the fanciful bits of animation interspersed throughout), Fire of Love presents so delicious a metaphor of interpersonal relationships, an intertwining of professional obsession and romantic love fired in the crucible of volcanic activity (with a tragic ending to boot), so as to reach beyond the confines of its humble National Geographic origins. Those who find themselves less inclined to the human-interest story, much less the poetical narration of Miranda July, will still find it hard to resist the awesome (in the most biblical sense of the word) footage shot by the doomed volcanologists themselves, who have as much a claim in being called the filmmakers of the piece as credited director, Sara Dosa. – J.S.

90 | Big Bug

Big Bug is yet another misunderstood film from the streamers that somehow has been completely ignored by mainstream critics. This futuristic chamber piece about technology and government control is a cautious tale about the dangers of authoritarianism and the importance of keeping our world human. As automation continues to swallow our jobs and our governments become more authoritarian, Jean-Pierre Jeunet uses satire and imaginative visuals to sound the alarm before it is too late. – C.W.

89 | Peter von Kant

Sacrilege be damned, Peter von Kant proves the superior film to The Bitter Tears of Petra von Kant. Whereas the earlier film predicated itself on icy repression, the François Ozon reimagining is instead, to borrow a description of Roy Orbison’s singing by Bob Dylan, all blood and fat. Featuring a towering Denis Ménochet performance (absolutely serving Kant, as the kids are wont to say) that cheekily doubles as a remixing of the explicit God of the picture, Mr. Rainer Werner himself, along with welcome incursions by the eternally-iconic Isabelle Adjani and direct Fassbinder-link Hanna Schygulla, Peter von Kant irreverently disavows the prevailing prejudices against remakes. – J.S.

88 | Catherine Called Birdy

Great fun, Lena Dunham can’t miss in 2022. – C.W.

87 | Prey

For all those left dangling by an oddly specific 20 seconds in Predator 2, your prayers were finally answered this year in one of the smash successes of the newly minted 20th Century Studios and their pipeline to Hulu. Set in the Great Plains and focusing on Naru, a young Comanche woman working to earn her rightful place as hunter, the film starts slow in building up a people and way of life rarely depicted on screen. Before long, oppressors of both the European and extraterrestrial appear, leading to that familiar gory showdown of Predator and Prey, but with the interesting caveat of both parties using the technology of their respective pasts. What follows is an exciting, fresh match-up for a franchise that perhaps jumped the shark with the battle of Alien vs Predator, but Prey proves there may be a road back. – N.A.

86 | Ticket to Paradise

There has been much ink spilled over the perceived devaluation of the movie star. Yet, in 2022, Tom Cruise rode that supposition into the ground to the tune of 1.5 billion dollars, and on a more modest scale, George Clooney and Julia Roberts took two tickets to paradise in a gambit to prove that they could still coax a profitable number of asses to seats. The result is a picture of immense charm evoking, with great aplomb, the delightful textures of a screwball comedy. Clooney has eternally been likened to Cary Grant and the likeness emerges intact and ready-to-rumble with his very own Rosalind Russell, a just-as-game Julia Roberts. With pretty-as-a-postcard scenery and a utopian outlook (sustainable seaweed farming anyone?), Ticket to Paradise is escapist entertainment of the highest order. – J.S.

85 | Lost Illusions

While Coda was picking up the top gong at the Academy Awards, across the sea, our French compatriots awarded the César for Best Film (along with 6 other awards) to this handsome period picture. It’s the sort of film that typically evinces a sort of middlebrow taste culture, but the excellence of its direction, production, and performance mark it a cut above the Bridgerton-adjacent costume dramas that are currently peddled. Based on the famed work by Honoré de Balzac, the film’s claim to contemporary relevance is expressed through the phenomenon of “fake news,” which is handled with much brio, but also nestled within are some more eternal thematics: the commingling of artistic expression with social mobility, sex, politicking and no small degree of rapaciousness. Benjamin Voisin carries the film on his shoulders, whose natural charisma was on display since his debut in Francois Ozon’s similarly excellent Summer of 85, along with supporting turns from such strange bedfellows as Canadian enfant terrible Xavier Dolan and the always larger-than-life Gerard Depardieu. – J.S.

84 | God’s Country

One of the year’s most underseen films comes from filmmaker Julian Higgins adapting his 2015 short film Winter Light into a narrative feature. Starring the amazing Thandiwe Newton, God’s Country tells the story of a feud between a college professor and a group of hunters who repeatedly trespass on her land. Set in the snowy mountains of Montana, the story moves at a slow pace with characters festering in their anger before the inevitable violent conclusion. God’s Country is a mean, melodramatic modern day western with easily one of the great endings of the year. – C.W.

83 | Moonfall

The master of disaster is back with one of the most ridiculous films of all time. A film so mind-numbingly stupid it transcends into a plane of brilliance this viewer has never experienced. With harrowing depictions of disaster and a who’s who of famous actors, Roland Emmerich assembles the most entertaining and surprisingly moving film of his accomplished career outside of his other disaster masterpiece 2012.

Drawing influence from Melancholia and Armageddon, Emmerich embarks on a near impossible task on making his audience believe the moon will attack Earth. He accomplishes this through his confidence behind the camera and an incredible emphasis on human cooperation. In a time where the House of Representatives can’t agree on a new speaker and the country seems more divided than ever, it is moving to watch humanity bind together to work to prevent the destruction of Earth via aliens who live inside the moon. Moonfall is baroque blockbuster filmmaking at its finest: a humanist heart and the balls to be unabashedly stupid for the sake of entertainment. – C.W.

82 | Incantation

The heyday of found footage may be firmly in the rear-view mirror as time marches on past 2007, but diamonds still pop up occasionally, such as Taiwanese filmmaker Kevin Ko’s Incantation. Starting with a direct address to the audience asking us to memorize a symbol and string of words, the film starts by embedding us further into the diegesis of the film than any other I’ve seen in recent memory, a feat for a subgenre that already places the audience in the film via its use of camera as character. In true found footage fashion, we’re given frightened characters exploring bumps in the night and forbidden, malevolent areas, but we’re also treated to the sort of pseudo-documentary that recalls the splendidly scary Noroi: The Curse, a nice respite to those prone to motion sickness. Of course, all this playing with genre framework would be for naught if the film wasn’t actually frightening and if the amount of time I spent watching the story unfold through my fingers is any indication, it is. – N.A.

81 | Fall

Fair warning to all of the readers of Scrawls suffering from acrophobia, this film is not for you. Fall first frightens with a shaky setup and some very questionable visual effects, saving the budget and lurid genre thrills for the main event, that being two young women, one reluctant and one a thrill seeker, scaling 2,000 feet up a decommissioned TV tower in the middle of the desert. Even those with nerves of steel may squirm in their seats on the ascent, as the ground gets farther and farther away and stays that way as our intrepid climbers fight to survive in one of the most grueling B-films of the year. – N.A.

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