2023 was a great year for cinema, offering a wide selection of films from all over the world. Narrowing down my favorites of the year was no easy task, nor was putting together my personal picks for what deserves awards recognition. Despite a tumultuous year of strikes, delays, and the collapse of the theatrical market, great movies were not in short supply.
I don’t view the Academy Awards as the definitive determination of what constitutes the “best” in film, but they’re a helpful metric in determining what is worthy of recognition. The Oscars have the power to spotlight great films that have slipped under the public radar, and while they don’t always award the “best,” they do recognize a lot of great work. As is the case, I enjoy trying to make predictions each year as to what they will end up choosing.
This year, I was lucky enough to cover the virtual Sundance Film Festival. Sundance is among the pre-eminent festivals in the world; while the Toronto, New York, and Venice venues serve as important arbitrators during award season, Sundance is a festival that celebrates emerging filmmakers and gives them a platform to have their work shown. It’s a festival that’s storied history has had significant ramifications upon the industry at large, and changed the distribution and coverage of indie cinema forever.
I wasn’t fortunate enough to see everything at Sundance this year; certain titles were restricted to the in-person festival, which remains a challenging one to attend for financial reasons. However, I admire that Sundance has opened itself up in recent years with its online component to allow a wider spread of filmgoers and critics (many of whom can’t make the trek to PArk City, Utah) the opportunity to see what’s at play.
I saw a number of great films this year. While some of these have distribution deals and may be seen at other festivals this year, others are still waiting to find a home. Here are a few thoughts on the film’s I caught up with. As always, you can catch my movie features on Collider, follow what I’ve been watching on Letterboxd, and catch up with my other writing work here.
Between The Temples
Between The Temples isn’t just a perfect embodiment of Jewish anxiety, but a remarkable arrested development tale that doesn’t end with a series of empty platitudes. The comic story follows a cantor (Jason Schwartzman in another awkward, self-loathing role) whose newest Bat Mitvah student happens to be his elementary school music teacher, Carla Kressler (Carol Kane). While “things get awkward” would be an understatement, Between The Temples is more intent on exploring its characters’ capacity for maturation. It’s about aging, relationships, and religion in equal measure, and often examines the uncomfortable intersections between them.
Between The Temples opts for sincerity when it could be snarky, but there’s also an underlying mannered nature to how the story is framed that avoids getting too cringey. As he was in last year’s Asteroid City, Schwartzman is perfectly tapping into the uncomfortable middle-aged crisis of confidence in a way that’s both self-deprecating and wholly irreverent. I don’t think Between The Temples entirely sticks the landing, but that may speak to the film’s unwillingness to commit to just one truism more than anything else. Grade: 3.5/5
Little Death
To go too in-depth with the premise of Little Death would be a disservice to the film’s purposively subversive structure, but this is essentially an examination of the lasting ramifications of the opioid epidemic on various levels of social infrastructure. There’s nothing particularly new within the commentary, but filmmaker Jack Begert takes some ambitious tonal and aesthetic swings that are certainly bound to generate conversations. It’s undeniably immersive, although that may be a detriment to some viewers’ enjoyment.
Little Death struggles to keep its momentum going as it reaches its second half (it’s one of the festival’s longer narrative films), but I was impressed by David Schwimmer’s role as a disgruntled filmmaker dealing with the pressure to conform to diversity standards. The Friends actor has had a few strong supporting turns in arthouse projects over the years, but his embodiment of masculine insecurity field by creative depression was easily one of my favorite performances I saw at the festival. Grade: 4/5
Exhibiting Forgiveness
Sundance is a festival that’s built on discovery; this is the place where future game changers like Queintin Tarantino, Damien Chazelle, Kevin Smith, Paul Thomas Anderson, and Wes Anderson among others established their careers. I sense that we will be hearing a lot about Exhibiting Forgiveness’ Titus Kaphar in the next few years. This may not be the film that breaks through into the mainstream (it’s a slow-moving meditation on trauma that’s not sensational enough for award conversations), but in my eyes it’s the birth of a great new artistic voice.
Andre Holland gives one of the best performances of his career as a brilliant painter whose family life is uprooted by the sudden reappearance of his neglectful father, who hopes to reinsert himself into his son’s life. Kaphar’s approach to depicting memory is quite inventive, as is his synthesization of literal paintings to reach emotional conclusions. This is a movie about forgiveness that asks more questions that it raises, and is ambiguous enough in its intentions that I certainly think it should be revisited. One of the festival’s revelations. Grade: 4.5/5
Suncoast
On paper, Suncoast seems like the proto-typical “Sundance dramedy.” You have a semi-autobiographical story about an unusual family situation, scene-stealing supporting roles from veteran character actors, a terminal illness storyline, and an unquenchable aura of sincerity. While this could easily be dismissed as a parody of the types of first-time indies that appear at Sundance, Suncoast really charmed me in its blatant refusal to embellish what was clearly a very personal story for director Laura Chinn.
Chinn’s stand-in character is Doris (played by Nico Parker in a remarkably effervescent breakout role), a teenage girl who cares for her terminally ill brother with her domineering, vindictive mother (Laura Linney in her nastiest post-Ozark role). While there’s something familiar to a lot of these family dialogues, Parker’s charisma and the film’s dour sense-of-humor keeps it interesting, as does a fun supporting role from Woody Harrelsen as an eccentric activist. This will be on Hulu soon, and is certainly worthy of streaming if you need a good weepie. Grade: 3.5/5
Kneecap
The story of Ireland’s most popular rising rap group is propulsively energetic, uniquely framed, and surprisingly pointed in its analysis of how language informs culture. Kneecap is a universal story about finding your place in art, but its exploration of “outsider art” and its unlikely association with political movements makes this burst of energy something more profound. The assides taken to explore the wider context of the pressure put on Irish native speakers is never a detriment to the pacing.
Kneecap is both nasty and brutally funny at points, but the trio of lead performances by rappers Liam Óg Ó hAnnaidh, Naoise Ó Cairealláin, and JJ Ó Dochartaigh (playing lightly fictionalized versions of themselves) are so authentic in their chemistry that the shock value never feels like it’s too extreme. There’s a few instances when the story comes to a grinding halt to hit the necessary plot beats, but the insight granted to how this art was conceived was enough to make me forget a few minor contrivances. Sony Pictures Classics has this for what I believe could be a mid-year breakout and real crowd pleaser. Grade: 4/5
A Real Pain
Jesse Eisenberg’s second film as a director sees him and Kieran Culkin playing cousins that reunite on a Holocaust tour in Poland to reminisce on the memory of their recently departed grandmother. Although it’s ostensibly a story about grief, A Real Pain is completely charming thanks to the signature mannerisms of the two leads. While Eisenberg and Culkin are both perhaps playing versions of roles they’ve done before, there’s so much history created between these two characters that A Real Pain never feels inauthentic.
What impressed me most about Eisenberg as a writer and director is how observational he is; he allows scenes to play out until their awkward conclusions, and gives a sense of interpersonal relationships while never completely unraveling entire backstories. It’s a lightly paced movie that never feels hurried in tying together its loose threads, and Eisenberg’s simple visualism is the perfect choice for this type of slice-of-life narrative. Like a great vacation, it’s the type of movie that I immediately started to miss when it was over. Searchlight is handling the situation for what is probably my favorite movie of the festival. Grade: 4.5/5
Frida
Frida has the unfortunate challenge of being the second major film about the highly influential Frida Kahlo behind Julie Taymor’s 2002 masterpiece of the same name. While Taymor opted for a narrative biopic that examined the key events in Kahlo’s trajectory as an artist, this documentary utilizes her artwork itself to tell a visual poem about the events that shaped her mindset. While it’s an interesting narrative conceit, Frida’s beautiful animation can’t disguise that it’s a fairly standard doc that regurgitates information that could be found elsewhere.
The realizations that Frida reaches about its subject seem to be largely editorial, and it could certainly be accused of focusing more on her anxieties that celebrating her achievements. That being said, the gorgeous animation and well-rounded perspective of those in Kahlo’s inner circle make it worth a watch for art enthusiasts (and anyone with a Prime Video account, where it will be streaming later this year). Grade: 3/5
Rob Peace
I’ve always contended that Chiwetel Ejiofor is one of the most underrated actors of his generation; never flashy, generally understated, and entirely graceful, he’s the type of actor who elevates even the most trite of material, and can take something truly great to the next level. It shouldn’t be a surprise that these qualities extend to his work as a director. This is a coming-of-age movie with larger ambitions to speak about generational inequity, the flaws within the justice system, and learned behavior, but it’s also just a great, well-told character study with a firm grasp of time and place.
The role of the titular Harvard graduate turned marijuana dispenser is occupied by an arresting performance from Jay Will, who is both imminently likable and mature beyond his years. Rob’s arc takes unexpected and unnerving turns, and while Ejiofor is bound to follow history, each segment of the narrative is well equalized. I’ve seen criticism that this is either too earnest, blunt, or straightforward, but I was impressed by how live-in the world Efiofer constructs is. Grade: 4/5
Skywalkers: A Love Story
The dominance of IMAX certainly was one of the biggest news stories of 2023, and it’s my sincere hope that documentaries like Skywalkers: A Love Story are given the opportunity to use that format. As a documentary, this is a rather tried-and-true examination of compulsively driven daredevils whose commitment to an unusual craft puts them in unbelievable danger. However, the incredible scope, scale, and intimacy of the footage captured by director Jeff Zimbalist had me completely immersed.
This documentary centers on Angela Nikolau and Vanya Kuznetsov, two young Russian stunt performers that scale massive buildings for both the commercial prospects and their own fulfillment. While it’s not necessarily interested in going that deep on the societal forces at play (the NFT market and Ukraine conflict get only off-handed references), the construction of this as a heist movie makes the potentially unnerving psychology of these figures more compatible for a crowd leader. Grade: 3.5/5
Love Me
Love Me is by far the weirdest movie I saw at Sundance, although it surprisingly reiterates a lot of the freshman philosophy topics that are commonly seen in existential indie films. The story is set in the distant aftermath of humanity’s extinction where the connection between a buoy and a satellite becomes a deep infatuation reminiscent of how mankind expressed “love” in the social media age. This is essentially a sexed-up WALL-Ethat’s equally cheeky and existential; it’s undeniably ambitious, even if I’m not entirely convinced there’s nothing deep to the film’s analysis of digital personas.
Love Me takes a dive into its characters’ digital interactions through scenes reimagined using digital avatars, played in both archive footage and recreations by the always charismatic Steven Yeun and Kristen Stewart. The strength of these two idiosyncratic stars on screen together is worthwhile in its own right, even if the film itself seems to be finding more excuses to keep the human faces on screen. Love Me may be intentionally twee and rather fundamental in its realizations, but the endeavor is so utterly bizarre that I found it mostly captivating (in no small part due to its 92 minute running time). Grade: 3.5/5
Good One
A slice-of-life camping dramedy about familial bonding, aging friendships, and the merit of escaping the confines of an all-too connected world. Yes, you’ve seen this type of story before, but it’s rarely been as well done as Good One. India Donaldson’s remarkable debut follows the thoughtful teenager Sam (Lily Collias in one of my favorite performances of the festival) as she takes a trek into the woods with her father Chris (James Le Gros) and his idiosyncratic best friend Matt (Danny McCarthy).
While there’s a fair amount of camping hijinks (what happens when someone forgets their sleeping bag?), Good One become a more observational study on the importance of perception, and in turn the refusal to conform to social standards. Each interaction sheds insight on an underlying motivation or character trait, and the exchanges range from amusingly trite to surprisingly profound. Good One is so ambulatory in its initial approach that the surprising mature swing it takes towards its third act comes as an effective twist on expectations. This could potentially rise in my estimation, and I can’t wait to see what Donaldson does next. Grade: 4/5
In the Summers
In the Summers earns its place within the “vacation with an irresponsible father” subgenre that also includes 2022’s Aftersun, and to some extent Richard Linklater’s Boyhood. The winner of this year’s Grand Jury Dramatic Prize, In the Summers follows the sisters Eva (Sasha Calle) and Violeta (Lio Mehiel) amidst a series of challenging summers with their father, Vicente (René Pérez). While there’s not much that’s unfamiliar about the way that In the Summers unfolds, I remained impressed by how keenly observational writer/director Alessandra Lacorazza Samudio is on how children’s perception of their parents colors their social development.
Both excruciatingly awkward and genuinely disturbing, In the Summers avoids sentiment at all cost. This is perhaps why the few moments of empathy, much of which center on Eva’s burgeoning relationships, land with such an impact. Pérez in particular surprised me with the depth of his performance. He never acts overtly malicious, but there’s still a strong sense of danger anytime he’s onscreen. While its glacial pacing prevented me from truly being immersed, In the Summers is a solid “feel bad” coming-of-age film of remarkable insight. Grade: 3.5/5
Brief History of a Family
One of the most exciting debuts of this year’s festival, Brief History of a Family turns the domestic melodrama on its head with a thorough examination of a post one-child policy China. This slick thriller examines the commodification of family legacy by showing how the young man Shuo (Sun Xilun) befriends the parents of his best friend, Wei (Lin Muran). While Brief History of a Family touches on everything from digital avatars to educational pretension, it’s entirely filtered through the perspective of a single family unit. The brief glimpses of the outside world serve as merely contextual clues that illuminate the domestic drama that occupies a majority of its runtime.
While comparisons could be made to everything from The Talented Mr. Ripley to Parasite, Brief History of a Family doesn’t have overt genre connotations. It’s a family drama first and foremost, which somehow makes its more subversive elements more shocking. It perhaps drags its feet a bit too long getting to the finish, but this is an exciting, darkly amusing mystery that’s far more confident than most first features aim for. Grade: 3.5./5
Didi
There’s nothing necessarily groundbreaking within Didi, but given its specific goals, it doesn’t have to be. A pleasant throwback to the late 2000s (a genre that will certainly grow more prominent in the coming years), Didi is a slice-of-life coming-of-age story about the young boy Chris (Izaac Wang) during his last weeks of middle school. Between examining the anxiety of early online interactions to the pressure to create a digital avatar, director Sean Wang unravels an impressive amount of specificity in depicting this unique era in culture.
Refreshingly, Didi doesn’t cast judgment upon its characters, as it’s willing to show Chris at his most infantile and aggressive. At the same time, the film has an underlying sense of compassion that extends to even the most menial of supporting characters. While it’s certainly a blend of coming-of-age archetypes that have been seen before, Didi feels highly personal, and will certainly evoke feelings of nostalgia from those who remember this time and place. Grade: 3.5/5
Veni Vidi Vici
The “eat the reach” subgenre has grown substantially in the last few years thanks to novel reinventions within projects like Succession, Parasite, The White Lotus, and Knives Out among others. While the Austrian dark comedy Veni Vidi Vici presents a thorough examination of the upper class at their cruelest, the lack of substantiality in showing the system’s infrastructural ramifications leaves the film as unsatisfying. It’s admirable that filmmakers Daniel Hoesl and Julia Niemann were unafraid to be so blatant within their approach, Veni Vidi Vici does little more than call out a well-recognized existing issue.
The film centers on the salacious activities of a family of eccentric billionaires that have an aptitude for literally hunting down and murdering traveling members of the “undesirable” class; it’s a modernization of The Most Dangerous Game as a mere hobby for a family unit that lives without consequences. While there are visceral moments that are effective and an undercurrent of pitch black humor, Veni Vidi Vici has so little to say that even its sub-90 minute running time feels egregious. Grade: 2.5/5
Porcelain War
Due to the technology that exists within the nonfiction arm of the industry, filmmakers have the rare opportunity to capture history as it is unfolding, and bring to life moments that have barely left the headlines. Porcelain War is an all-too recent reminder of the tragedy that is unfolding within plain sight; this macro look at the Ukrainian conflict follows Crimean artists, soldiers, and families as they adjust to the overwhelming circumstances that surround them. Given that the film is shot almost entirely by its subject, Porcelain War is authentic to the point of uncomfortability.
While the bravery of the project’s inception makes it in of itself worthy of recommendation, Porcelain War is just as daring artistically. Using a recurring motif of a porcelain sculpture to explore the plight of artists within a revolution, Porcelain War is both a great example of and argument for ingenuity in the face of hardship. While its content is bound to have political ramifications, Porcelain War’s analysis of how art preserves gives it a timeless quality. Grade: 4/5
A New Kind Of Wilderness
When the subject of a nonfiction story is inherently compelling, there’s actually more pressure on the filmmakers to construct a medium that suits their story. In the case of A New Kind of Wilderness, director Silje Evensmo Jacobsen refreshingly abstains from editorializing, choosing to present the subjects at their most natural. This touching Norwegian documentary examines the Paynes, an “off the grid” family that is forced to assimilate to supposedly “civil” society after a tragedy.
The film touches on the challenging process of cultural acceptance, adjusting to technology, and the separation of a family unit, but it’s at its best when it’s merely being observational. Instead of using the story as a means of making broad generalizations about nature, nurture, and everything in between, Jacobsen keeps the film focused on how these intersections uproot a specific family dynamic. Gorgeously shot and unafraid of sincerity, A New Kind Of Wilderness is a wonderful escapade into its subjects’ world. Grade: 4/5
Union
Union is inspiring, incendiary, and perhaps most critically, incomplete; this is the examination of a revolution in progress, and the monumental gains that hopefully will become footnotes in a larger story. Brett Story and Stephen Maings’ propulsive documentary examines the Amazon Labor Union’s fight to emerge from the depths of the company’s notoriously abusive working conditions, and sheds a spotlight on many of the key figures within its inception. Central to the text is the ALU’s charismatic leader, Chris Smalls, whose empathetic, plainspoken communication style makes him the perfect person to spearhead this movement.
The glimpses Union gets of Amazon’s propaganda campaign and intrinsic refusal to evolve are powerful, but the film is at its most effective when depicting the unrelenting spirit of the union’s organizers. It bears witness to the internal dialogue regarding the movement’s tactics and leadership, and reflects on the improbability of finding a perfect solution. While the intimate focus of Union is perhaps why it’s so emotionally satisfying, it speaks to larger ramifications that will continue to be seen as the story develops. Grade: 4.5/5
2023 was a great year for cinema, offering a wide selection of films from all over the world. Narrowing down my favorites of the year was no easy task, nor was putting together my personal picks for what deserves awards recognition. Despite a tumultuous year of strikes, delays, and the collapse of the theatrical market, great movies were not in short supply.
I don’t view the Academy Awards as the definitive determination of what constitutes the “best” in film, but they’re a helpful metric in determining what is worthy of recognition. The Oscars have the power to spotlight great films that have slipped under the public radar, and while they don’t always award the “best,” they do recognize a lot of great work. As is the case, I enjoy trying to make predictions each year as to what they will end up choosing.
In the past few years, I’ve contributed to my blog less due to my involvement with other freelance opportunities. Currently, I’m happy to be writing about film and television at Collider, MovieWeb, Slashfilm, Taste of Cinema, Rebel Scum, and Dallas Observer. Please find a complete link to my profile of writing here, or consider following my film review on Letterboxd.
I’ve already listed my favorite television shows and my favorite films of 2023, but as another yearly tradition, I like listing my personal picks for the Academy Awards. These are not predictions, but rather what I would choose to nominate if I was a voting member. Bold indicates my selected winner.
BEST PICTURE
All of us Strangers
Anatomy of a Fall
Asteroid City
The Holdovers
The Iron Claw
John Wick: Chapter 4
Killers of the Flower Moon
May December
Oppenheimer
Priscilla
BEST DIRECTOR
Wes Anderson, Asteroid City
Todd Haynes, May December
Christopher Nolan, Oppenheimer
Alexander Payne, The Holdovers
Martin Scorsese, Killers of the Flower Moon
BEST ACTOR
Bradley Cooper, Maestro
Leonardo DiCaprio, Killers of the Flower Moon
Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer
Andrew Scott, All of us Strangers
BEST ACTRESS
Leonie Benesch, The Teacher’s Lounge
Lily Gladstone, Killers of the Flower Moon
Sandra Huller, Anatomy of a Fall
Cailee Spaeney, Pricilla
Teyana Taylor, A Thousand and One
BEST SUPPORTING ACTOR
Robert De Niro, Killers of the Flower Moon
Robert Downey Jr., Oppenheimer
Holt McCallany, The Iron Claw
Charles Melton, May December
Dominic Sessa, The Holdovers
BEST SUPPORTING ACTRESS
Penelope Cruz, Ferrari
Da’Vine Joy Randolph, The Holdovers
Scarlett Johnasson, Asteroid City
Rachel McAdams, Are You There God? It’s Me, Margaret
Tilda Swintwon, The Killer
BEST ORIGINAL SCREENPLAY
Asteroid City
The Holdovers
May December
Monster
The Teacher’s Lounge
BEST ADAPTED SCREENPLAY
All of Us Strangers
American Fiction
Killers of the Flower Moon
Oppenheimer
Priscilla
BEST EDITING
Anatomy of a Fall
Asteroid City
John Wick: Chapter 4
Killers of the Flower Moon
Oppenheimer
BEST CINEMATOGRAPHY
All of us Strangers
Asteroid City
Oppenheimer
Priscilla
John Wick: Chapter 4
BEST VISUAL EFFECTS
Dungeons & Dragons: Honor Among Thieves
Godzilla Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible- Dead Reckoning Part One
Napoleon
BEST SOUND
Maestro
Mission: Impossible- Dead Reckoning Part One
Oppenheimer
Priscilla
John Wick: Chapter 4
BEST MAKEUP AND HAIRSTYLING
Beau is Afraid
Ferrari
Maestro
Poor Things
Priscilla
BEST PRODUCTION DESIGN
Asteroid City
Killers of the Flower Moon
Oppenheimer
Poor Things
Priscilla
BEST COSTUME DESIGN
Asteroid City
El Conde
Chevalier
Poor Things
Priscilla
BEST ORIGINAL SCORE
Asteroid City
Killers of the Flower Moon
Mission: Impossible- Dead Reckoning Part One
Oppenheimer
The Zone of Interest
BEST ORIGINAL SONG
“Can’t Catch Me Now,” The Hunger Games: Ballad of Songbirds and Snakes
In the past few years, I’ve contributed to my blog less due to my involvement with other freelance opportunities. Currently, I’m happy to be writing about film and television at Collider, MovieWeb, Slashfilm, Taste of Cinema, Rebel Scum, and Dallas Observer. Please find a complete link to my profile of writing here, or consider following my film review on Letterboxd.
It wouldn’t be right for me to not list off my favorites of the year. This has been a tough year for the industry; we’ve seen studios cancel completed films, strikes disrupt production schedules, and seemingly guaranteed hits fail at the box office. It would all be very depressing if the quality wasn’t there, but thankfully, it is! Although I could easily list off much more, I’ve included my top 25 favorite movies and shows of 2023.
25. Perfect Days
One of the most most poignantly observational movies of the year, and the best use of “Perfect Day” since Trainspotting.
24. Fallen Leaves
A movie about why we love movies. Deeply steeped in classical influences, but never subservient to them.
23. The Zone of Interest
A terrifying examination of evil through banality. Sadly, this frank depiction of genocide couldn’t be more timely.
22. Fair Play
One of the most compulsively watchable sexual thrillers in awhile with two dynamite performances at its center by Alden Ehrenreich and Phoebe Dynevor. What an ending, too!
21. Air
While movies about brands and products are a shortcut to cynicism, Air has the makings of an old-fashioned crowd pleaser. Ben Affleck has emerged as a director who can generate empathy for every member of his ensemble.
20. Past Lives
A touching study of how dual identities can create romantic strife. Celine Song’s simplicity behind the camera reminds me of the Old Hollywood classics that I love.
19. The Killer
David Fincher took a page from Steven Soderbergh’s book and made a movie about process, obsession, and the perpetual state of violence. Both kinetically riveting and darkly amusing.
18. The Boy and the Heron
A profound meditation on the loss of childhood innocence and power of storytelling. Miyazaki pulls from his entire filmography to create one of his most profound films to date.
17. Ferrari
There’s perhaps no one better suited for a film obsessive artistry than Michael Mann. A haunting look at the personal and professional trauma within the life of one of the genius inventors of the 20th century.
16. Mission: Impossible- Dead Reckoning Part One
Easily the best franchise currently running (no pun intended). Mission: Impossible- Dead Reckoning Part One doesn’t suffer from “part one” fatigue because it tells its own story. It’s an argument against A.I. that shows why franchise filmmaking can still offer something new.
15. Maestro
This is the type of biopic I enjoy because it’s not a collection of facts and figures; it’s a story of a marriage, and how celebrity, artistry, and disease weathered it over a lifetime.
14. American Fiction
One of the funniest movies of the year, and also one of the smartest. This is the type of movie that has the power to change minds without ever feeling like “homework.”
13. The Teacher’s Lounge
One of the best movies about the failings of public education and the dedication of great teachers. Anxiety inducing, yet feverishly watchable.
12. Monster
This is an emotionally upsetting movie about misperceptions, assumptions, and truth. Like The Teacher’s Lounge, it has an insight on public education that few American films could rival.
11. Poor Things
A Dickinsian-class study wrapped up in Fritz Lang-esque visuals. I was blown away by Emma Stone’s skills as a physical comedian.
10. The Iron Claw
Even for those with no knowledge or interest in wrestling, The Iron Claw is a powerful examination of the destructive side of competition and artistic perfectionism. This is an earnest take on sports dynasties and what living up to “family legacy” really means.
9. John Wick: Chapter 4
Like Mission: Impossible, the John Wick series continues to grow more inventive with each installment. This is a nearly 3 hour movie about grief that works in references to Lawrence of Arabia, Modern Times, Yojimbo, and The Good, The Bad, and The Ugly. One of the best action movies ever made.
8. Priscilla
While I enjoyed Elvis, I’m glad Sofia Coppola was given the opportunity to offer a feminist counter narrative. Cailee Spaney shows just how alluring (and destructive) the gateway to celebrity can be for an adolescent.
7. Anatomy of a Fall
Better titled “Anatomy of a Marriage.” This is a creative way to show the pitfalls of a relationship through the lens of a courtroom drama.
6. All of Us Strangers
A powerful take on the memories we hold on to from childhood, and their ramifications later in life. The fantasy elements don’t detract from the emotional truths.
5. May December
An absolute masterpiece of tone that had me second guessing intentionality, motivation, and morality at every moment. While the homages to melodrama are amusing, this becomes devastating by the time that it concludes.
4. The Holdovers
Simply delightful. A movie for everyone that loves its characters, and loves 1970s movies too!
3. Asteroid City
A brilliant piece of self-reflection from Wes Anderson, who is a much more self-conscious filmmaker than he is often given credit for. In conversation with Fellini’s 8 ½ and Woody Allen’s Stardust Memories.
2. Killers of the Flower Moon
This is framed as a gangster epic, but it’s really an expose on a disturbing chapter of American history. Incredibly moving, and never loses attention for over 3 hours.
1. Oppenheimer
It’s not surprising that Christopher Nolan’s most personal movie is about playing God. Creative in its accounting of history, haunting in its depiction of violence, and moving in what it says about one man’s achievements. There hasn’t been something like this in a long time.
In the past few years, I’ve contributed to my blog less due to my involvement with other freelance opportunities. Currently, I’m happy to be writing about film and television at Collider, MovieWeb, Slashfilm, Taste of Cinema, Rebel Scum, and Dallas Observer. Please find a complete link to my profile of writing here, or consider following my film review on Letterboxd.
It wouldn’t be right for me to not list off my favorites of the year. This has been a tough year for the industry; we’ve seen studios cancel completed films, strikes disrupt production schedules, and seemingly guaranteed hits fail at the box office. It would all be very depressing if the quality wasn’t there, but thankfully, it is! Although I could easily list off much more, I’ve included my top 25 favorite shows of 2023.
25. Dead Ringers
A remarkable performance from Rachel Weisz that should make Jeremy Irons proud. I’m impressed that this got away with some much Cronenbergian weirdness!
24. White House Plumbers
A delightfully absurd insight into one of American history’s most beguiling scandals.
23. The Gilded Age (Season 2)
I think Julian Fellowes does a great job at generating empathy for his characters whilst keeping them at a distance. This is lavish and indulgent to the point that it has to be self-aware.
22. Invincible (Season 2)
2023 was the year “superhero fatigue” really hit, but Invincible was the subversive, creative, and oddly truthful remix of the genre that was needed.
21. Arnold
A masterful celebrity documentary that actually engages with Arnold Schwarzeneggar’s faults. Brilliantly segmented, this would make a great viewing alongside the terrific Stallone documentary Sly.
20. Black Mirror (Season 6)
Every season of Black Mirror has its ups and downs, but I do believe that the astronaut-centric installment “Beyond the Sea” is an all-timer.
19. Love & Death
This is true crime done well, mixing gothic influence with southern melodrama. Elizabeth Olson is great, but Jesse Plemons’ comic aloofness keeps me even more engaged.
18. Lupin (Season 2)
Lupin keeps escalating the heights without ever forgetting the emotional stakes. Omar Sy is just so damn charismatic!
17. Loki (Season 2)
This is one of the best things that the Marvel Cinematic Universe has ever done. I wish every superhero project was this grounded in character and creative in its execution.
16. That ‘90s Show
An intelligent “legacy sequel” because it’s less reliant on references than it is on emulating a “teen hangout” comedy vibe.
15. Tom Clancy’s Jack Ryan (Season 4)
Clancy is hard to get right, but the Amazon series had the freedom to explore the political minutia and internal dilemmas that the Jack Ryan films lacked. A thoughtful final chapter.
14. The Fall Of The House Of Usher
Leave it to Mike Flanagan to use the Sackler family as the subjects of an Edgar Allen Poe adaptation. His most graphic, yet most hilarious show to date!
13. Good Omens (Season 2)
An absolute delight. Good Omens season 2 is more anarchic, romantic, and profound than its predecessor.
12. Full Circle
Steven Soderbergh is an unparalleled craftsman, and Full Circle is a masterpiece in process. The crime itself is less interesting that how it was pulled off.
11. The Crown (Season 6)
A magnificent ending to one of the grandest historical epics of all-time. A lesser show would’ve been more obliquely political, but The Crown empowers its audience to make up their own minds.
10. Beef
A great miniseries about the pent up anger we keep inside ourselves, and how the most minor indiscretion can spiral out of control. This is perfectly self-contained and doesn’t require any follow up.
9. Perry Mason (Season 2)
It’s a shame this got canceled. I didn’t love the story of Perry Mason season 1, but I loved the swanky vibes and Matthew Rhys’ grizzled performance. The show found its footing in its second season with a case that presents a genuine ethical dilemma.
8. Our Flag Means Death (Season 2)
So absurd and silly, yet also one of the best love stories of the year. It’s impressive that this can get so anarchic without ever losing sight of the characters that make it great. A tribute to outsiders everywhere.
7. The Righteous Gemstones (Season 3)
This is the wildest season yet, and also the most sincere. I’m impressed that Danny McBride is able to string together familial conflicts into a show with this much insight on religion, politics, and entertainment media.
6. The Diplomat
This is classic The West Wing-style political intrigue mixed with a healthy amount of skepticism about western politics. Highly watchable, but definitely not fluff either.
5. Winning Time: The Rise of the Lakers Dynasty (Season 2)
Screenshot
A larger-than-life sports story like this gets the larger-than-life adaptation it deserves. Each of the stars breath so much life into this; definitely one of the most disappointing cancellations of the year.
4. Daisy Jones & The Six
There will probably never be a Fleetwood Mac series because Daisy Jones & The Six did the story justice. Even when the characters are at their most hostile, this series reflects their shared love of music.
3. The Last of Us
I never played the video game, but this is just an excellent drama about loss, societal collapse, and mankind’s animalistic nature. Emotionally nuanced in a way that genre shows rarely are.
2. Barry (Season 4)
The real joke of Barry was that Bill Hader got us invested in a story about a psychopath’s rise to prominence as a media icon by featuring a few jokes. The end is absolutely uncompromising.
1. Succession (Season 4)
Perhaps the greatest achievement in the history of television. This is a family saga worthy of The Godfather that is every bit as heartbreaking, hilarious, and frightening as these characters deserve. Succession feels like a byproduct of a forgone era, but I’m so grateful that it exists.
In the past few years, I’ve contributed to my blog less due to my involvement with other freelance opportunities. Currently, I’m happy to be writing about film and television at Collider, Movie Web, and Dallas Observer. However, it wouldn’t be right for me to not share my annual award season picks.
I’ve had fun writing about the Academy Awards, so I thought it might be interesting to add my mid-year picks. These are not my predictions, but rather my personal picks on what I would nominate if I had a ballot. If you’d like to see more of my picks, reviews, and thoughts on film and television, consider following my page on Link Tree.
Bold indicates my selected winner.
BEST PICTURE
10. Chevalier
9. Of An Age
8. Spider-Man: Across the Spider-Verse
7. Showing Up
6. A Thousand and One
5. Beau Is Afraid
4. Air
3. John Wick: Chapter 4
2. Past Lives
1. Asteroid City
BEST DIRECTOR
Ari Aster, Beau Is Afraid
Ben Affleck, Air
Celine Song, Past Lives
Chad Stahelski, John Wick: Chapter 4
Wes Anderson, Asteroid City
BEST ACTOR
Jason Schwartman, Asteroid City
Joaquin Phoenix, Beau Is Afraid
Kelvin Harrison, Chevalier
Paul Mescal, Carmen
Yoo Teo, Past Lives
BEST ACTRESS
Florence Pugh, A Good Person
Greta Lee, Past Lives
Michelle Williams, Showing Up
Sydney Sweeney, Reality
Teyana Taylor, A Thousand and One
BEST SUPPORTING ACTOR
Bryan Cranston, Asteroid City
Chris Messina, Air
Dar Salim, The Covenant
John Magaro, Past Lives
Nathan Lane, Beau Is Afraid
BEST SUPPORTING ACTRESS
Hong Chau, Showing Up
Rachel McAdams, Are You There God? It’s Me, Margaret
Sabrina Wu, Joy Ride
Scarlett Johansson, Asteroid City
Viola Davis, Air
BEST ORIGINAL SCREENPLAY
A Thousand and One
Air
Asteroid City
Beau Is Afraid
Showing Up
BEST ADAPTED SCREENPLAY
Are You There God? It’s Me, Margaret
Carmen
Champions
Reality
Spider-Man: Across the Spider-Verse
BEST EDITING
Air
Asteroid City
Beau Is Afraid
John Wick: Chapter 4
Past Lives
BEST CINEMATOGRAPHY
Asteroid City
Beau Is Afraid
Carmen
John Wick: Chapter 4
Past Lives
BEST VISUAL EFFECTS
Dungeons and Dragons: Honor Among Thieves
Evil Dead Rise
Guardians of the Galaxy Vol. 3
Indiana Jones and the Dial of Destiny
Peter Pan & Wendy
BEST SOUND
Beau Is Afraid
Carmen
The Covenant
Guardians of the Galaxy Vol. 3
John Wick: Chapter 4
BEST PRODUCTION DESIGN
Asteroid City
Beau Is Afraid
Carmen
Chevalier
John Wick: Chapter 4
BEST COSTUME DESIGN
Asteroid City
Chevalier
Beau Is Afraid
Air
Dungeons and Dragons: Honor Among Thieves
BEST MAKEUP AND HAIRSTYLING
Beau Is Afraid
Chevalier
Asteroid City
Evil Dead Rise
Dungeons and Dragons: Honor Among Thieves
BEST ORIGINAL SCORE
John Wick: Chapter 4
Asteroid City
Past Lives
Carmen
Chevalier
BEST STUNT COORDINATION
The Covenant
Plane
John Wick: Chapter 4
Carmen
Creed III
BEST CASTING
Of An Age
Chevalier
Past Lives
Beau Is Afraid
Carmen
BEST DOCUMENTARY
Still: A Michael J. Fox Movie
Lynch/Oz
It Ain’t Over
Judy Blume Forever
A Disturbance In The Force: How The Star Wars Holiday Special Actually Happened
In the past few years, I’ve contributed to my blog less due to my involvement with other freelance opportunities. Currently, I’m happy to be writing about film and television at Collider, Movie Web, and Dallas Observer. However, it wouldn’t be right for me to not share my annual award season picks.
I’ve had fun writing about the Academy Awards, so I thought it might be interesting to add my insights on the Emmy Awards as well. These are not my predictions, but rather my personal picks on what I would nominate if I had a ballot. If you’d like to see more of my picks, reviews, and thoughts on film and television, consider following my page on Letterboxd.
In the past few years, I’ve contributed to my blog less due to my involvement with other freelance opportunities. Currently, I’m happy to be writing about film and television at Collider, Movie Web, and Dallas Observer. However, it wouldn’t be right for me to not share my annual award season picks.
I previously ranked my favorite films of 2022 and chose my personal selections in the Academy Award nominations. The following is not my personal preference, but what I expect to win at this year’s awards ceremony.
If you’d like to see more of my picks, reviews, and thoughts on film and television, consider following my page on Letterboxd.
Best Picture
Will Win: Everything Everywhere All At Once
Should Win: The Fabelmans
Could Win: All Quiet On The Western Front
Snubbed: Babylon
Best Director
Will Win: The Daniels, Everything Everywhere All At Once
Should Win: Steven Spielberg, The Fabelmans
Could Win: Steven Spielberg, The Fabelmans
Snubbed: James Cameron, Avatar: The Way of Water
Best Actor
Will Win: Austin Butler, Elvis
Should Win: Austin Butler, Elvis
Could Win: Brendan Fraser, The Whale
Snubbed: Adam Sandler, Hustle
Best Actress
Will Win: Cate Blanchett, Tar
Should Win: Andrea Riseborough, To Leslie
Could Win: Michelle Yeoh, Everything Everywhere All At Once
Snubbed: Mia Goth, X
Best Supporting Actor
Will Win: Ke Huy Quan, Everything Everywhere All At Once
Should Win: Brian Tyree Henry, Causeway
Could Win: Barry Keoghan, The Banshees of Inisherin
Snubbed: Anthony Hopkins, Armageddon Time
Best Original Screenplay
Will Win: The Banshees of Inisherin
Should Win: The Banshees of Inisherin
Could Win: Everything Everywhere All At Once
Snubbed: Cha Cha Real Smooth
Best Adapted Screenplay
Will Win: All Quiet On The Western Front
Should Win: Women Talking
Could Win: Women Talking
Snubbed: Guillermo del Toro’s Pinocchio
Best Editing
Will Win: Everything Everywhere All At Once
Should Win: Tar
Could Win: Top Gun: Maverick
Snubbed: Nope
Best Cinematography
Will Win: All Quiet On The Western Front
Should Win: Empire of Light
Could Win: Elvis
Snubbed: Top Gun: Maverick
Best Original Song
Will Win: “Naatu, Naatu,” RRR
Should Win: “Naatu, Naatu,” RRR
Could Win: “Lift Me Up,” Black Panther: Wakanda Forever
In the past few years, I’ve contributed to my blog less due to my involvement with other freelance opportunities. Currently, I’m happy to be writing about film and television at Collider, Slashfilm, Taste of Cinema, Rebel Scum, and Dallas Observer. However, it wouldn’t be right for me to not share my annual award season picks.
I previously ranked my favorite films of 2022 and chose my personal selections in the Academy Award nominations. The following is not my personal preference, but what I expect to be nominated when the honorees are revealed.
If you’d like to see more of my picks, reviews, and thoughts on film and television, consider following my page on Letterboxd.
Best Picture
1. Everything Everywhere All At Once
2. The Banshees of Inisherin
3. The Fabelmans
4. Tar
5. Elvis
6. Top Gun: Maverick
7. All Quiet On The Western Front
8. Avatar: The Way of Water
9. The Whale
10. Triangle of Sadness
Runner’s Up:
11. Women Talking
12. Babylon
13. Glass Onion: A Knives Out Mystery
14. Black Panther: Wakanda Forever
15. RRR
16. The Woman King
17. Living
18. Decision to Leave
19. Aftersun
20. She Said
Best Director
1. The Daniels, Everything Everywhere All At Once
2. Steven Spielberg, The Fabelmans
3. Martin McDonagh, The Banshees of Inisherin
4. Todd Field, Tar
5. Edward Berger, All Quiet On The Western Front
Runner’s Up:
6. Baz Luhrmann, Elvis
7. Joseph Kosinski, Top Gun: Maverick
8. James Cameron, Avatar: The Way of Water
9. Park Chan-wook, Decision to Leave
10. S.S. Rajamouli, RRR
Best Actress
1. Michelle Yeoh, Everything Everywhere All At Once
2. Cate Blanchett, Tar
3. Viola Davis, The Woman King
4. Ana de Armas, Blonde
5. Danielle Deadwyler, Till
Runner’s Up:
6. Michelle Williams, The Fabelmans
7. Margot Robbie, Babylon
8. Emma Thompson, Good Luck To You Leo Grande
9. Andrea Risenborough, To Leslie
10. Olivia Colman, Empire of Light
Best Actor
1. Colin Farrell, The Banshees of Inisherin
2. Austin Butler, Elvis
3. Brendan Fraser, The Whale
4. Bill Nighy, Living
5. Paul Mescal, Aftersun
Runner’s Up:
6. Adam Sandler, Hustle
7. Hugh Jackman, The Son
8. Diego Calva, Babylon
9. Tom Cruise, Top Gun: Maverick
10. Tom Hanks, A Man Called Otto
Best Supporting Actress
1. Angela Bassett, Black Panther: Wakanda Forever
2. Kerry Condon, The Banshees of Inisherin
3. Jamie Lee Curtis, Everything Everywhere All At Once
4. Hong Chau, The Whale
5. Stephanie Hsu, Everything Everywhere All At Once
Runner’s Up:
6. Donny de Leon, Triangle of Sadness
7. Carey Mulligan, She Said
8. Janelle Monae, Glass Onion: A Knives Out Mystery
9. Jessie Buckley, Women Talking
10. Claire Foy, Women Talking
Best Supporting Actor
1. Ke Huy Quan, Everything Everywhere All At Once
2. Brendan Gleeson, The Banshees of Inisherin
3. Barry Keoghan, The Banshees of Inisherin
4. Paul Dano, The Fabelmans
5. Eddie Redmayne, The Good Nurse
Runner’s Up:
6. Albrecht Schuch, All Quiet On The Western Front
7. Brad Pitt, Babylon
8. Judd Hirsch, The Fabelmans
9. Ben Whishaw, Women Talking
10. Woody Harrelson, Triangle of Sadness
Best Adapted Screenplay
1. The Whale
2. All Quiet On The Western Front
3. Living
4. Glass Onion: A Knives Out Mystery
5. Women Talking
Runner’s Up:
6. She Said
7. Top Gun: Maverick
8. Guillermo del Toro’s Pinocchio
9. Avatar: The Way of Water
10. Black Panther: Wakanda Forever
Best Original Screenplay
1. The Banshees of Inisherin
2. Everything Everywhere All At Once
3. Tar
4. The Fabelmans
5. Triangle of Sadness
Runner’s Up:
6. Aftersun
7. Elvis
8. Decision to Leave
9. The Menu
10. Babylon
Best Editing
1. Top Gun: Maverick
2. Everything Everywhere All At Once
3. All Quiet On The Western Front
4. The Banshees of Inisherin
5. Elvis
Runner’s Up:
6. Tar
7. The Fabelmans
8. Babylon
9. Avatar: The Way of Water
10. Decision to Leave
Best Cinematography
1. Top Gun: Maverick
2. Avatar: The Way of Water
3. All Quiet On The Western Front
4. Empire of Light
5. The Batman
Runner’s Up:
6. Elvis
7. Babylon
8. Everything Everywhere All At Once
9. The Fabelmans
10. The Banshees of Inisherin
Best Visual Effects
1. Avatar: The Way of Water
2. Top Gun: Maverick
3. All Quiet On The Western Front
4. The Batman
5. Thirteen Lives
Runner’s Up:
6. Doctor Strange in the Multiverse of Madness
7. Black Panther: Wakanda Forever
8. Nope
9. Jurassic World Dominion
10. Fantastic Beasts: The Secrets of Dumbledore
Best Sound
1. Top Gun: Maverick
2. Avatar: The Way of Water
3. Elvis
4. All Quiet On The Western Front
5. Babylon
Runner’s Up:
6. Everything Everywhere All At Once
7. Babylon
8. Moonage Daydream
9. Black Panther: Wakanda Forever
10. Guillermo del Toro’s Pinocchio
Best Costume Design
1. Babylon
2. Elvis
3. The Women King
4. Black Panther: Wakanda Forever
5. Mrs. Harris Goes To Paris
Runner’s Up:
6. Corsage
7. Living
8. Amsterdam
9. All Quiet On The Western Front
10. The Fabelmans
Best Makeup & Hairstyling
1. The Whale
2. Elvis
3. Babylon
4. The Batman
5. Blonde
Runner’s Up:
6. All Quiet On The Western Front
7. Amsterdam
8. Black Panther: Wakanda Forever
9. Crimes of the Future
10. Emancipation
Best Production Design
1. Elvis
2. Babylon
3. All Quiet On The Western Front
4. Avatar: The Way of Water
5. Everything Everywhere All At Once
Runner’s Up:
6. Black Panther: Wakanda Forever
7. The Fabelmans
8. The Batman
9. Guillermo del Toro’s Pinocchio
10. Glass Onion: A Knives Out Mystery
Best Original Score
1. Babylon
2. The Fabelmans
3. Guillermo del Toro’s Pinocchio
4. The Banshees of Inisherin
5. All Quiet On The Western Front
Runner’s Up:
6. Women Talking:
7. Avatar: The Way of Water
8. The Woman King
9. Black Panther: Wakanda Forever
10. Everything Everywhere All At Once
Best Original Song
1. “Naatu Naatu,” RRR
2. “Here My Voice,” Top Gun: Maverick
3. “Lift Me Up,” Black Panther: Wakanda Forever
4. “Ciao Papa,” Guillermo del Toro’s Pinocchio
5. “Applause,” Tell It Like A Woman
Runner’s Up:
6. “Till You’re Home,” A Man Called Otto
7. “Stand Up,” Till
8. “This Is A Life,” Everything Everywhere All At Once
Liam Gaughan Movie Reviews 