2022 was a risky year for films
We’re currently living under a major shift into how films are made, marketed, and distributed. On one side there’s the overabundance of streaming which cranks out films as “content” quality control aside. The streaming distribution model makes it harder for filmmakers to actually profit from their work, as most profits are made through theatrical releases or home releases. On the other side there’s theaters which are experiencing low attendance and ticket sales, leading to traditionally marketable films bombing. I do believe theaters will survive, but changes will need to made to make filmmaking and theaters more sustainable. We’ll see what happens, but we did get some stellar films this year.
Honorable Mentions include: Cha Cha Real Smooth, Offbeat Cops, Bros, Three Thousand Years of Longing, The Banshees of Inisherin, Triangle of Sadness, A Quiet Girl, Prey, Pleasure, Give Me An A, Nope, Petite Maman, The Pizza Gate Massacre, and The Fablemans
Marcel the Shell with Shoes On
Beyond being adorable and wholesome, Marcel the Shell rewards paying attention and multiple rewatches. Carried by Jenny Slate’s personality-driven voice acting and excellent stop motion work by director Dean Fleischer-Camp, Marcel is a clever little film that analyzes celebrity, internet culture, isolation, and grief, all through an empathetic and heartfelt lens. Even when it’s fun and funny, and Marcel never loses its heart during the sadder, more contemplative moments. The passion and work is all on screen. Marcel the Shell is an enjoyable family film that kids will only love more with time, noticing the hidden details as they grow up.
You can read Knockturnal contributor Dano Nissen’s coverage of the film’s premiere here.
Big Night
A dark comedy with bite, Big Night takes the war on drugs in the Philippines and exposes it for its farcical, corrupting madness. Following Dharna (Christian Bables) as he tries to get his name removed from a drug death list, director Jun Robles Lana shows the wild madness of federal bureaucracy and small village conflicts. The further Dharna goes into the city’s underworld, the wilder it gets, as he tackles everyone from bureaucrats, actors, morticians, and gangsters. Throughout the hilarious dialogue, the film never loses its creeping dark cloud, building to a crushing payoff that solidifies its greatness. Big Night is an insane thrill ride for anyone looking for an evening of lurid entertainment.
You can read my review of the film during the NYAFF here.
The Menu
A clever bottle film, The Menu viscerally takes a knife at pretentious critics, performative artists, and the commodification of passion. In a year of memorable new characters, Julian Slowik, played brilliantly by Ralph Fiennes, is compelling. I’d love to see more of his story unfold. His passion and history are intoxicating, rivaled easily by an equally confident Ana Taylor Joy. The film is hilarious, chilling, and powerful but not mean-spirited. It’s clear everyone involved had a lot of fun on the project, and that fun was on screen with its brilliant performances and memorable set pieces. It’s rewarding that a film about how easily one can lose their artistic passion is incredibly passionate. The Menu is a stunningly unique film that’ll make you crave a delicious cheeseburger.
Check out interviews with actors Ana Taylor Joy, Nicholas Hoult, John Leguizamo, and more by Knockuturnal contributors Colin Stetson and Reen Birney here. For an opposing viewpoint, check out a review contributor by Dano Nissen here.
Babylon
One of the most divisive films of the year, and I adored it. Babylon was a chaotic thrill ride that was as loving as it was brutal. While there are many films about transitioning from the silent era to the talkies, Babylon focuses on the players tossed aside. The disposable starlets, leading men who couldn’t adapt, and black and LGBT actors who weren’t considered acceptable or marketable as studios depended more on wealthy conservative backers all got to shine in this film. There is so much love for filmmaking, as the screen filled with the raw emotion every character pours into making movies. Films with this size and this energy are rarely made anymore; it deserves to be seen on the biggest screen possible with a ruckus crowd. I’m incredibly sad that Babylon is a box office bomb; I hope it finds its audience over time. Babylon is a masterpiece brought to us by pure unchecked ambition. If this is Damien Chazelle’s last big-budget smash, he went out with a bang.
Check out Knockturnal’s coverage of the film’s premier by contributor Antonio Pinheiro here and a review by contributor Ethan Singh here.
Terrifier 2
In a year dominated by brilliant horror films, Terrifier 2 stands out as the most creatively ferocious film of the year. Picking up immediately from the first film, Terrifier 2 expands the lore of Art the Clown, showing more of his powers and history while holding just enough back to maintain his mystery . The film feels bigger, with an expanded story and the introduction of a proper franchise protagonist, Sienna Shaw, played brilliantly by Lauren LaVera. But, the film still maintains its indie edge with its practical effects and menacing kill scenes. Art the Clown solidifies himself as a modern horror icon as he tears his way through suburbia with an unholy barrage of gory deaths. Not for the faint of heart or squeamish, Terrifier 2 gives us another notch in this unique franchise known for its unflinching carnage.
Top Gun: Maverick
Few films balanced innovative technical achievements and strong writing like Top Gun: Maverick. It’s easily the best of the recent legacy sequels as it feels like a natural continuation of Maverick’s (Tom Cruise) character. Seeing Maverick risk taking life style catch up to him, and used to examine regret and anxiety, was compelling, even heartwarming as we see his aged relationship with Iceman (Val Kilmer). In addition to the astonishing practical effects, including real jets, Tom Cruise delivers his best dramatic performance in years, showing how, like Maverick, he’s grown significantly as an actor. His scenes with Val Kilmer were one of the year’s most heartfelt and beautiful moments. With memorable side characters bursting with personality, including a committed Miles Teller, I hope we tip our toes in the Top Gun universe again soon.
Check out Knockturnal contributor Serena Khahera interviews with the cast, including Miles Teller and Jennifer Connelly here. Check out contributor OJ William’s coverage of the premier here.
The Northman
Robert Eggers’ latest period film, The Northman, takes the classic tropes of cinematic epics and grounds them in a sea of violence and vengeful brutality. Alexander Skarsgård delivers one of the most imposing performances of his career as the Viking, Amleth, and his trek to avenge his father’s murder is paved with the skulls and bones of his enemies. The film wisps and weaves between epic fight scenes, breathtaking mythological set pieces, biting dialogue, and the classic themes of fate and betrayal that guided these types of stories for eons. Few films feel as immersive in their time period as The Northman, aided heavily by Eggers’ direction and commitment to historical accuracy. If you want a film you can beat your chest to, The Northman is your best bet.
Check out my full review here. Check out Knockturnal contributor Antonio Pinheiro’s coverage of the premier here and Sherry Advani’s article on the casts’ training routine here.
Jackass Forever
Jackass has always been hilarious. and Jackass Forever is no exception. Johnny Knoxville and his crew continue their inventive and exceptional set pieces but with an added layer of reflective aging that gives the film more weight. There’s real emotion and power that’ll hit longtime fans like myself, who’ll realize how we’ve been watching these people grow with time. Still, the reflective moments are never overbearing, and never take away from the simple fact that Jackass Forever is just funny. The effort these guys put into the gags is inspirational, and at times surprisingly intense. Sometimes, I just need to relax and laugh at Steve-O being tortured, and Jackass Forever delivers exactly that.
Check out Knockturnal contributor Jake King’s full review here and his interview with Johnny Knoxville here.
Glass Onion
Rian Johnson delivers another brilliant whodunit in his sequel to the equally sharp Knives Out. Glass Onion makes a large scale mystery spanning a whole island and weeks of time feel tight and intricate. Daniel Craig’s Detective Benoit Blanc has quickly become one of my favorite new characters in the past decade. Seeing him both confidently, and at times struggle, to solve the case was a delight, I couldn’t take my eyes off of him. While Glass Onion isn’t explicitly about his life, I enjoyed learning more about him and seeing him face new challenges. It’s refreshing to see a detective be just as interesting as the mystery, and Glass Onion was a damn good mystery. The misdirects were clever, the characters were colorful, and god was the takedown of faux-intelligent tech billionaires and performative “disruptors” cathartic. Glass Onion is a fun film that I’ll be rewatching for years to come.
The Unbearable Weight of Massive Talent
Nicolas Cage is my favorite actor, and nothing makes me happier than seeing a film honoring his career be this creative and fun. The Unbearable Weight of Massive Talent combines the tropes of a reflective biopic with a comedy and crime film in the manner a film honoring Nick Cage should be. His love for cinema is intoxicating. I’m confident viewers unfamiliar with his work will be inspired to take a gander at his filmography (here’s a list if you’re interested). But of course, Nic Cage isn’t alone, Pedro Pascal plays Cage’s new friend Javi Gutierrez, and they have excellent chemistry. Their friendship is practically adorable, whether they’re running from gangsters or watching Paddington 2. As a comedy, it’s funny; as a crime film, it’s exciting; as a love letter of Nick Cage, The Unbearable Weight of Massive Talent is practically romantic.
Check out my full review here and my coverage of the premier here.
Holy Spider
In this nihilistic and terrifying thriller, director Ali Abbasi takes us on a sleazy ride through the Mashhad underground. As we follow journalist Arezoo Rahimi (Zar Amir Ebrahimi) through her investigation of the Spider Killer, we see how bureaucratic nonsense and misogyny against sex workers made the killer so prolific. Abbasi’s direction of “Iran’s spiritual capital” is grimy and ugly, reflecting the hypocrisy behind the spiritual focus of the community. The film’s intensity only gets more maddeningly horrifying as the stakes grow and the obstacles become more frustrating. It has one of the most chilling endings of any film this year. For those looking for a creative crime film, Holy Spider will deliver a haunting experience, unlike anything you’ve ever seen.
Pearl
Ti West kills it this year, giving us another horror icon with his double feature X and Pearl. While I loved X, Pearl takes the spot for me as one of the year’s most terrifying and heartbreaking horror experiences. Mia Goth kills it as the titular Pearl, showing her struggles trapped on a farm with her oppressive family as relatably sympathetic and terrifying. With a gorgeous Wizard of Oz-style production and a deeply empathetic story allows her growing madness to sneak up on you. West captures how the intoxicating desire for freedom and fame can bring out the utter worst in a person. Pearl submits itself as a horror classic and I’m eager for the sequel MaXXXine next year.
We’re All Going to the World’s Fair
For a film that shows so little, World’s Fair speaks volumes as the most disturbing horror film of the year. The film follows Casey (Anna Cobb), a lonely teenager, as she takes the viral “World’s Fair Challenge,” which leads to her slowly changing physically and psychologically. The film isn’t graphic or bloody, but its creeping mood and intense performance by Anna Cobb burrow under your skin. It’s heartbreaking to see Casey’s mental state get corrupted ever-so-subtly, as she slowly becomes more disconnected and alone, to the point where she barely recognizes herself and her own actions. I’m confident many people who got sucked into depressive doomscrolling will relate to the film. World’s Fair proves you don’t need to be graphic to be truly disturbing.
Paris, 13th District
A sexy romantic comedy, this film about three 20/30 somethings navigating school, sex, and relationships in Paris was a loose and fun watch. It’s rare to see a rom-com where the relationships are so fluid, from casual to romantic to friendship, and it all feels nebulous but still natural. The three leads, played by Lucie Zhang, Makita Samba, and Noémie Merlant, all have great chemistry, and they feel like real people whose stories I want to see. By the film’s end, I wanted it to keep going, wanting to see how their stories grow. Paris 13th District is the film I’d recommend most for a traditional date night, with a little edge.
Playground
Heartbreaking and powerful in its simplicity, Playground takes a simple story of school playground bullying and delivers one of the most passionately real stories all year. Aided by the intense and prestige performances of child actors Maya Vanderbeque and Günter Duret as siblings Nora and Abel, director Laura Wandel captures an authentic and tragic example of bullying . Like Nora, the audience feels like there’s no escape, trapped by the artificial rules of the playground on tattle-telling and survival of the fittest. The obstacles are familiar to anyone who had to deal with bullying: teachers not paying attention, parents not understanding, even just wanting to feel like a real man and handling it on your own (no matter how ridiculous it sounds). Wandel holds you helplessly in these children’s perspectives until you can’t breathe. Playground is a gripping film showing how a relationship can be torn apart due to forces beyond control.
No Bears
Jafar Panahi continues to be one of the most daring directors in modern cinema. No Bears sees Panahi venture through a small village on the border of Iran and Turkey, fluidly weaving stories of village romantic drama, remotely directing a movie, and evading the authorities. His kayfabe-like cinematic technique blurring the lines between documentary and narrative kept the tension building over the more intense scenes of filming and smuggling. The film’s also surprisingly funny, especially when the villager’s drama gets involved. Even with Panahi’s restrictions, his creativity shines through, where his humor and joy feel like an act of rebellion. No Bears continues Panahi’s streak of compelling work overcoming the toughest of obstacles.
Jafar Panahi is currently imprisoned after inquiring about the imprisonment of acclaimed filmmaker Mohammad Rasoulof. I hope both filmmakers will be released soon.
The Batman
The Batman film I’ve always wanted to see. Matt Reeve’s Batman reboot embraces the character’s hardboiled pulp and comic roots to deliver the most compelling and energized Batman movie in years. The film is practically gothic in its set design and characterization, as Batman is less a power fantasy and more a victim of his own emotional damage. The film is murky and grimy while beaming with energy as Gotham leaps off the screen. The over-the-top performances of Collin Ferrall and the fun, trope-filled writing of Jeffrey Wright make The Batman feel like a comic book movie. Paul Dano’s Riddle is also terrifying, right up there with Heath Ledger’s Joker. The Batman is the best superhero film of the year, and I look forward to seeing this new franchise grow.
Check out the full review by Knockturnal contributor Ethan Singh here and his coverage of the premier here.
Bones and All
Bones and All gripped me more than any other film this year: Romantic, tragic, haunting, and disturbing. Following two cannibals in love while traveling the American countryside, Bones and All traveled the anxiety of being madly in love while trying to hide the parts of yourself you’re ashamed of. Timothée Chalamet and Taylor Russell have beautiful chemistry, playing people who care about each other but can’t open up due to their personal demons. Director Luca Guadagnino balances being heartfelt and horrifying brilliantly, as the gore is expertly used to highlight the stakes of love and why they’re so scared of letting the other person in. Bones and All is a beautiful film, even if you may need a special stomach for it.
Check out Knockturnal contributor Sydney Hargrove’s interviews with Taylor Russell and Luca Guadagnino here and her coverage of the premier here.
RRR
Bombastic, powerful, heartfelt, wild, RRR is all that and more. RRR is a blockbuster that doesn’t care about being grounded and realistic but still gives us human and real characters. Director S. S. Rajamouli injects tremendous passion into RRR, with some of the most glorious spectacle I’ve ever seen. The action in RRR is electrifying; I’ve rarely seen an action film with such shameless gravitas. But throughout all the energy, Rajamouli never loses sight of the bromantic strength of his two leads: Bheem (N. T. Rama Rao Jr.) and Raju (Ram Charan). Both characters are powerful, charasmatic, and have excellent chemistry. These two conduct us through the wild ride of RRR, and I hope the film’s popularity breaks Indian cinema into the mainstream.
Check out Knockturnal contributor Dano Nissen’s coverage of a Q&A with S.S. Rajamouli here.
Everything Everywhere All At Once
This movie truly is everything, everywhere, all at once. The Daniels take a story about a woman trying to do her taxes and molds it into an epic battle where the fate of the multiverse is at stake. The film crosses the boundaries of genre, narrative, and tone to tell a compelling story of love in a nihilistic world. Few films are as philosophically positive as this one, as it’s easily the most optimistic film I’ve ever seen to examine handling a busy and uncaring existence. What keeps me invested in the film, beyond all the beautifully choreographed action and high concept sci fi, is Evelyn Quan Wang, played gracefully by Michelle Yeoh. Yeoh delivers an astounding performance as Evelyn, as she’s so grounded trying to process the madness around her, but her goals are all the same, trying to find balance her life. Everything Everywhere All At Once is truly unlike any film I’ve ever seen, as it basks in its creativity.