Best movies of 2022
Contrary to the doom-and-gloom reports about lagging theater attendance and unoriginal streaming content, 2022 turned out to be a year full of pretty good movies. Even the box office champions “Top Gun: Maverick” and “Avatar: The Way of Water” were better than your typical explosive blockbuster.
While I enjoyed those titles, they didn’t quite make my personal list of favorite movies of 2022. As what happened last year, I struggled to definitively rank the movies, so instead, I’ve listed the Top 11 alphabetically, followed by a second alphabetical list to represent the 12-20 slots. Plus 10 more Honorable Mentions! I’m very indecisive.
The Top 11 (alphabetical)
Aftersun
Writer/director Charlotte Wells’ feature debut is a vibrant and brilliantly edited drama about the flickers of memories that shape our closest relationships. It purposefully begins as a leisurely-plotted “hangout” movie about a father (Paul Mescal in an incredible performance) who takes his 11-year-old daughter to an all-inclusive vacation resort. The movie slowly reveals the father struggling with something even as he tries his best to connect with a daughter on the verge of teenage angst.
“Aftersun” builds to a stunning, wrenching climax that’ll probably emotionally destroy anybody who’s ever had a daughter… or anyone who’s ever had a father… so, you know, it’s going to wreck pretty much anyone who sticks with it to the end. But in a good way. Available on VOD.
After Yang
Colin Farrell had an incredible year (he reappears two more times in this article). In this quiet-but-deeply felt science-fiction drama from “Columbus” writer/director Kogonada, Farrell plays a father who tries to repair his daughter’s hyper-realistic robotic older brother, Yang (Justin H. Min), who has suddenly malfunctioned. As he searches for a solution, Farrell’s character investigates the brief daily “memory recordings” in the android’s mind, which reveals Yang’s life outside his familial responsibilities.
“After Yang” thoughtfully examines grief through the prism of memories and how the images we choose to “record” can fade even as we try so desperately to preserve them. Available on VOD and Showtime.
The Banshees of Inishirin
Farrell reteams with his “In Bruges” writer/director Martin McDonagh and co-star Brendan Gleeson for a darkly funny and tragic tale of a fractured friendship on a remote island off the coast of Ireland. When Gleeson’s Colm suddenly decides he wants nothing to do with his longtime drinking buddy, the kindhearted Padraic (Farrell) can’t come to grips with the rejection. Backed with striking visuals and dynamic supporting cast (Kerry Condon especially as Padraic’s sister), “The Banshees of Inishirin” is McDonaugh’s most nuanced and mature film yet, led by Farrell’s triumphant, best-of-his-career performance. Available on VOD and HBO Max.
Decision to Leave
A murder mystery elevated by master filmmaker Park Chan-wook, who incorporates vivid editorial choices and imagery as he unspools the story of a detective (Park Hae-il) who becomes entranced by an alluring-but-restrained suspect (Tang Wei). Filled with puzzling-but-striking visuals, “Decision to Leave” takes a sharp plot turn at the midway point, eventually leading to potent, emotional beachside finale. Available on MUBI.com.
Everything Everywhere All At Once
The indie breakout of the year, the Daniels’ wild, ingenious journey into the multiverse delivers everything from hot dog fingers to raccoon chefs. It’s all a little-bit crazy, but at its heart beats a story about the power of familial connection in the face of infinite meaninglessness and mediocrity. The central conflict remains relatable and grounded thanks to stellar performances by Michelle Yeoh and Stephanie Hsu. And how about the triumphant cinematic return of Ke Huy Quan? A true master of the fanny pack. Available on VOD and Showtime.
The Fabelmans
Ignore its treacly “power of cinema” marketing materials and consider Steven Spielberg’s latest masterpiece for what it actually is: A deeply personal drama about a young man who uses his movie camera to process the disintegration of his parents’ marriage. Collaborating again with writer Tony Kushner, Spielberg uses the details of his own childhood to examine how the most consequential relationships in your life can be skewed, idealized or even weaponized by carefully constructed storytelling. In theaters and available on VOD.
Marcel the Shell with Shoes On
A stop-motion animation/live-action mockumentary based on a series of shorts from Dean Fleischer Camp and Jenny Slate (who also voices the adorable title character), “Marcel the Shell” is a charming and funny gem for all ages. The seemingly simple story about a lonely shell trying to reconnect with a lost family builds into a poignant tale of determined optimism. Available on VOD.
Nope
Jordan Peele’s sprawling science-fiction adventure explores the thirst for spectacle in a trauma-ridden world without skimping on the requisite theatrics of a summer blockbuster. Daniel Kaluuya and Keke Palmer play siblings trying to capture video evidence of the something in the sky above their family ranch. There’s a lot to unspool in “Nope’s” thematically rich screenplay (including the “Gordy” of it all), but there hasn’t been a puzzle so enthralling since, well, the last Jordan Peele movie. Available on VOD and Peacock.
Guillermo del Toro’s Pinocchio
An ambitious reimagination of the story of a wooden puppet come to life, this stunningly beautiful stop-motion animated film (co-directed by Mark Gustafson) uses del Toro’s obsession with death and the underworld as an entry point into how loss and grief can fuel both necessary lies and unwelcome truths. Available on Netflix.
RRR
India delivers the biggest, most ridiculously awesome movie of the year. Director S.S. Rajamouli’s three-hour “historical” epic delivers thrilling musical numbers and truly wild action sequences that involve wild animals, motorcycles and much, much more. Expertly paced and powered by two charismatic lead performances, “RRR” is unafraid to be rousing, sentimental and absurd all at the same time. Available on Netflix.
Turning Red
Outside from its recent sequels, Pixar Animation continues to flex its superiority in the animation world by focusing on uniquely smaller-scale films (including last year’s underrated “Luca”). With “Turning Red,” writer/director Domee Shi (who made the Oscar-winning short “Bao”) zeroes in on the specific familial pressures of a 13-year-old girl living in Toronto, circa 2002, to tell a universal story about the raging unpredictability of puberty and the importance of embracing your own ferocious voice. Available on Disney Plus.
The 12-20 spots (alphabetical):
Armageddon Time
Writer/director James Gray (“Ad Astra”) avoids all the annoying cliches of the “important” coming of age story, led by two disarmingly good kid actors (Banks Repeta and Jaylin Webb) with supporting assists from the likes of Anne Hathaway, Jeremy Strong and Anthony Hopkins. Available on VOD.
The Batman
Matt Reeves’ super-moody version of the Caped Crusader probably takes on more plot than needed, but the grime of Gotham City has never been dirtier, and the chemistry between Robert Pattinson and Zoe Kravitz sizzles as any good Batman-Catwoman conflict should. Special props to that incredible Michael Giacchino score and, yep, another wildly different (and almost unrecognizable) performance from Colin Farrell as The Penguin. Available on HBO Max and VOD.
Bros
The funniest movie of the year was one of many good movies that “disappointed” at the box office this year. The foul-mouthed rom-com from writer/star Billy Eichner delivers a high percentage joke-to-laugh ratio and also earns its heartfelt finale (with a sweet original song to boot). Available on Peacock and VOD.
Emergency
When two black college students find an unconscious white girl on the floor of their apartment, their fear of the local police prompts them to help her get medical assistance without calling 911. A “Superbad”-style comedy with an anxiety-inducing dose of social commentary. Available on Amazon Prime.
The Fallout
Newly minted Scream Queen Jenna Ortega gave her best performance this year in the intelligent, introspective drama about a trio of teens who connect after surviving a school shooting. An uncomfortable-but-essential look at the psychological toll of a modern cultural blight. Available on HBO Max.
Pearl
The surprise prequel to Ti West’s other 2022 film (the effective, 70s-set slasher, “X”) this technicolor-tinged horror flick is a vessel for one of the year’s truly dynamic and exciting performances: Mia Goth as the, um, disturbed title character. The last 30 minutes is a superb, demented one-woman show. Available on VOD.
Sr.
Though many might’ve assumed this to be a vanity project for a notable Hollywood family, this unorthodox documentary serves as a necessary tribute to the counter-culture filmography of Robert Downey Sr., but also as a raw, sensitive look at a son learning how to understand and say goodbye to his dying father. Available on Netflix.
Tár
As the critic’s darling of 2022, this difficult-but-rewarding drama from writer/director Todd Field has so many enigmatic elements that it can become an overwhelming, throw-your-hands-in-the-air experience. In the end, it’s worth taking the trip alongside the fictional composer Lydia Tár (a reliably exquisite Cate Blanchett) as she slowly stumbles from the spotlight, and the film’s fascinating final scenes especially recontextualize its reputation as a movie about “cancel culture.” Available on VOD.
Vengeance
“The Office” alum B.J. Novak writes, directs and stars in one of the more refreshing comedic thrillers in years. Novak plays a big city podcaster (it’s meant to be a joke) looking for prestige and notoriety while investigating the disappearance of a female acquaintance in rural Texas. Come from some fun twists and stay for Novak’s incisive takedown of red state-blue state culture wars. Available on Peacock and VOD.
Honorable Mention: “All Quiet on the Western Front,” “Apollo 10 ½: A Spaceage Childhood,” “Catherine Called Birdy,” “Glass Onion,” “I Love My Dad,” “Matilda the Musical,” “The Menu,” “On the Count of Three,” “White Noise,” “The Woman King.”
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Tyler Wilson is a member of the International Press Academy and has been writing about movies for Inland Northwest publications since 2000, including a regular column in The Press since 2006. He can be reached at twilson@cdapress.com.