Cillian Murphy as J. Robert Oppenheimer in the film “Oppenheimer.” (Universal Pictures/TNS)
by Harrison Ferger
2023 was an unusually great year for films. From the “Barbenhiemer” phenomenon , to the bustling independent and international film community, we have seen some truly great movies. It finally feels like we are out of the clutches of the global pandemic that hit the film industry so hard.
According to Fortune, the largest movie theater company in the world, AMC, saw over a 45% increase in revenue this year. We have also begun to see the seams of the once unstoppable superhero genre film as releases like “The Flash,” “Ant-man and the Wasp: Quantumania” struggle to meet financial and critical expectations. But in this absence, Old Hollywood legends and new rising auteurs seem to be filling in the gaps (for the better.) World cinema feels like it is more accessible than ever and playing a vital role at the box office as well. So, in celebration, here are some honorable mentions and the ten movies that stood out the most to me this year.
Honorable Mentions:
Ryan Gosling, left, and Margot Robbie in “Barbie.” (Courtesy of Warner Bros. Pictures/TNS)
“Barbie”
Directed By: Greta Gerwig
Gerwig uses the Barbie brand to talk about existentialism, patriarchy and the worlds we build. Using her great influences as a guide and with the help of Robbie and Gosling,; walks the line of sincerity and irony in a beautifully funny film.
“The Iron Claw”
Directed by: Sean Durkin
A tale of southern familial repression, wonderfully directed through the tinted lens of 80s Wrestling. It feels like a great Rock Ballad. Zac Effron gives a career-best by avoiding something flashy and giving us something stoic and quiet.
“Sanctuary”
Directed By: Zachary Wigon
Best Romantic-Comedy of the Year! An absolutely star-making performance from Margaret Quaelley.
“Spider-man: Across the Spider-verse”
Directed By: Joaquim Dos Santos, Justin K. Thompson and Kemp Powers
A brilliant screenplay that strikes at the central flaw of much of comic book storytelling : “The Cannon”
“Beau is Afraid”
Directed by: Ari Aster
Aster’s Don Quixote, in some ways, in other ways, a Kaufman deconstruction or one of Roy Anderson’s pitch- black comedies, but at its core, it is a story of guilt, shame and fear. Looking at the fear we experience from the moment of birth. Particularly the relationship of a mother and a son through the dynamics of sex, grief, art and coming of age.
Carey Mulligan, left, as Felicia Montealegre and Bradley Cooper as Leonard Bernstein in “Maestro.” (Jason McDonald/Netflix/TNS)
10. Maestro
Directed By: Bradley Cooper
Since its release on Netflix in the middle of December, Bradley Cooper’s passion project has been completely ripped apart. I think in part, it has stemmed from Bradley Cooper’s earnest interviews about “how hard it was” to play legendary conductor Leonard Bernstein (the story about how it took him six years to learn conducting for one scene certainly made me roll my eyes) but the filmmaking is undeniable. A film made of vignettes of a marriage and how it changes and grows over time. While many people have been discussing Bradley Cooper (and rightfully so,) it is Carey Mulligan’s performance as Felicia Montealegre that centers the film. She gives a powerhouse performance that matches the equally sincere performance from her director. While I do think that the editing style is a bit claustrophobic, there is no denying the emotional impact on me. From the soaring performance of Maulher’s 2nd to the crushing heartbreak of the final ten minutes, Maestro is certainly exciting filmmaking that deserves acknowledgement.
9. Anatomy of a Fall
Directed By: Justine Triet
The Palme d’Or winner from Justine Triet is not a new kind of filmmaking. The film is certainly pulling on many great influences from the courtroom drama/thriller and even some films that attendees of Cannes might think more schlocky (Basic Instinct) but what it creates with a taut edit, incredible music selection and maybe the best acting ensemble of the year (that includes the dog) is outstanding. A film about perspective and how we look at others lives and marriages under the microscope of the court system. The irony of the only witness being a visually impaired son only drives these ideas further. Sandra Huller may have had the most impressive year out of any actor (apologize once again for not being able to see The Zone of Interest yet.) Her performance leaves a chilling air of space between us and the character. Giving us this indecipherable performance as we are slowly learning more and more about this relationship in which we only have one side of. A rock solid film.
8. The Killer
Directed By: David Fincher
David Fincher’s return to the thriller genre is a reward by its own right. Bringing together some of the best technicians in the film industry to make a taut and action-packed film. Certainly the sound and cinematography stand out but it’s the stoic (and hilarious) voiceover that is the true highlight. Slowly exposing the flaws of this self-proclaimed perfectionist and the society that it props up. From “The Smiths” needle drops to the action-packed set pieces, the film never gives you a minute of wasted time. David Fincher continues to prove he is certainly one of the best directors working today.
7. Godland
Directed by: Hlynur Pálmason
“Godland” was a late addition for me. Which is funny because, technically, the film was released in 2022 but didn’t make its way over to the US until the middle of this year. Yet this is certainly not a film to be overlooked. This Icelandic-Danish film follows the story of a Danish priest who is commissioned to build a church in southeastern Iceland during the 100 years of colonization of the Island . He brings along his camera and takes 7 photos, which the opening titles tell us are based on the first photographs of the land. The film shows us the brutal relationship between man and nature. As a character says in the film: “The land is Brutally Gorgeous…brutal and gorgeous.” Using the old-school photography as influence, the film is shot in a beautiful 4:3 aspect ratio. While you see this beautiful landscape it is contrasted with the brutal systems humans build to control or maintain power over one another through the systems of language, religion and politics. Certainly, a film that requires patience and will remind many of the works of Werner Herzog and Ingmar Bergman; but those who lean in will find what I think is one of the most profound films on humanity’s relationship with nature and itself.
6. Showing Up
Directed By: Kelly Riechard
Movie makers love to make movies about making movies. Some are good, most are much too self-important and mythologize the artist to the point of parody. Kelly Riechard’s new film is not about making movies, but it very well could be. We follow a struggling artist, played by Michelle Williams, as she prepares for a big exhibit for her new work. But Riechard rejects previous ideas of what it means to be an artist. She instead shows us the small everyday struggles that range from feeding the cat to your water heater not working. The struggles we all face on a day-to-day basis and this is where I think the film’s power truly lies. Attempting to pursue something earnestly as your livelihood while others unintentionally get in the way. But in the end, it’s those others who matter in the first place. A film of quiet tension and brilliant detail. Certainly one for the Artist.
Julianne Moore, left, and Natalie Portman in the movie “May December.” (François Duhamel/Netflix/TNS)
5. May December
Directed By: Todd Haynes
May December feels much in line with the rest of Haynes work (Outside its lack of lesbians) with the austerity of the camera and its feeling of completely controlled direction, alongside the wit and humanity of the performances and screenplay. Written by Screenplay Writer and Casting Director(which holds a particular power when seeing the film), Samy Burch, we follow the story of an early 90s tabloid story where a 36-year-old woman named Gracie, played by Julianne Moore, sleeps with and grooms a 13-year-old boy named Joe, who is played by rising star Charles Melton. Where we find them however is close to 20 years later, when they have remained together and are currently raising their soon to be graduating twin children. A fact that the film presents early and without a “bat of an eye,” leaving you immediately off-kilter and unsure of your feelings of these people and this story. We find them through an actress, Elizabeth, played by Natalie Portman as she prepares to play Gracie in an upcoming movie. What follows is a dynamic triangle drama. As Elizabeth hopes to uncover the truth and attempts to find empathy for Gracie, we slowly begin to question both who Gracie is and the intentions behind her intrusion into this story. Todd Haynes remains one of the most outstanding directors working today. Through his connection with our modern fascinations and his ability to show it in a mirror back to us. What you’ll find in “May December” are questions. Questions of the morality of showing someone’s reality and if this style of story-telling is exploitive in the end.
4. Asteroid City
Directed By: Wes Anderson
Wes Anderson’s Asteroid City is a film that seeks to understand the beyond by looking within. A postmodernist story as we watch a television show about the making of a play, intercut with the play itself. The play follows a family dealing with the loss of their mother as they travel to a science competition for the eldest son. Set in the Roswell-esqe 50’s, amidst the height of the space race and Cold War , Anderson uses this time period to perfection as he creates a summer-like atmosphere with creamy yellows and milky blues. Amidst the arrival of the family and the beginning of the exhibition, a sudden arrival of an alien sets our story on a path of the meaning of life, grief, and performance. While many are calling to tone dial the style, Anderson pushes forward. Hoping to find these deeper means of life through his own storytelling.
An image from the movie “The Boy and the Heron.” (Studio Ghibli/TNS)
3. The Boy and The Heron
Directed By: Hayao Miyazaki
In a year where we saw many master filmmakers return to the big screen, it feels like Miyazaki had the most to say about his own work and career. The Boy and The Heron is nothing completely new in the world of Miyazaki’s Ghibli films. You have Japan dealing with post-war hardships and lingering effects of Fascism, struggling with loss and grief, escaping to a fantastical world to find understanding in the “real world.” Just like “Granduncle,” Miyazaki is building upon all that he has made before. Both commenting on its impact on our lives currently and the legacy it leaves behind. The animation is stunning in the most unsurprising way and certainly contains great performances in the voice acting as some of the great actors line up for their chance to voice a character from this iconic director. Yet the true star is the story. Asking us the major question in life, “How do you live?”
Lily Gladstone, left, and Leonardo DiCaprio in the movie “Killers of the Flower Moon,” directed by Martin Scorsese. (Melinda Sue Gordon/Apple TV+/TNS)
2. Killers of the Flower Moon
Directed By: Martin Scoresese
Martin Scorsese is someone who is constantly reckoning with himself. Whether it be his cocaine-filled days in the 1990’s “Goodfellas” or his faith in “Silence” (2016), Scorsese’s guilt filled conscience has long been the voice of America. Here, Scorsese looks at Western Colonialism right in the eyes with this simmering crime-drama. Yes, this is a gangster film from Scorsese but it is not in the style of much of his work in the genre. There is no mystery here. The killers are blatant and calloused (and stupid,) but there is no sign of hope for the Osage Nation. Choosing to follow the story through the marriage of Molly and Ernest Burkheart, we see a dark reflection of those who are complicit and participate in a society that actively is trying to steal and murder from those it deems unworthy. Thelma Schoonmaker’s edit of the film is slow and mournful. The quick cuts are violent and uncomfortable. It’s only through the spiritual and familial bonds does the film find life. Lily Gladstone’s performance alone represents a quiet confidence and yet a trust that the person she loves will protect her. We, like Molly, are sinking slowly into the mire of the film as what we feared becomes more and more obvious. Scorsese’s own guilt bubbles up from the surface in a way we’ve never seen as he questions the power of the very artform he has lived for and protected his entire life.
Cillian Murphy is J. Robert Oppenheimer in “Oppenheimer,” written, produced, and directed by Christopher Nolan. (Universal Pictures/TNS)
1. Oppenheimer
Directed By: Christopher Nolan
Duality is certainly a theme in my list this year. From the conflicted men of “Maestro” or “Killers of the Flower Moon” to the secret nature of characters in “May December” or “Anatomy of a Fall” but I don’t think there is a film that quite topped the divided nature of Nolan’s “Oppenhiemer.”Through the massive IMAX 70mm lenses, shot by one of the greatest living cinematographers Hoyta van Hoytma, we see a man who holds the power of the world in his eyes. Cillian Murphy gives one of the greatest performances of all time as “Oppenhiemer.” A man so focused on his showy appearance as the “Great Salesman of Science” that he loses his morals in a bureaucratic world. Told mostly through his cold blue eyes and stoic demeanor that seems like it might break at any moment. Jennifer Lame’s powerful edit exposes a side of Nolan’s filmmaking we’ve yet to see. One that slips into the sublime through images inside the mind of a physicist, along with a feeling of never being able to pin down who this man truly is. A film that features a “murderers row” of incredible supporting performances that could as well take up the entire supporting actor category at the Oscars. Visual effects and production design that perfectly take you into the past and yet expose his inner turmoil. Jean Tatlock, played by the exciting Florence Pugh, who helps represent his own complicated relationship to the bomb along with Emily Blunt’s strong performance as his constricted wife Kitty, represent the best written women in any of his films yet (which had certainly been a weakness in the past.) The overwhelming and dynamic score from Ludwig Göransson adds a driving nature to a film that never feels overlong. All of these pieces come together to create one of the most overwhelming, crushing and complex films of the decade.