The Beast: This is (pun not intended) a beast of a film that not everyone is going to vibe with and for some could be a bit impenetrable. Clocking at two and a half hours long, and with a story jumping centuries apart, Bertrand Bonello's film about the suppression of emotions be it from societal standards, technology, or social media and the consequences of said suppression isn't one I don't think I still quite fully grasp, at least not after one watch. And yet even still, from the great performances from Lea Seydoux and George McKay, to the gorgeous production design that's more emotive than some fantasy and sci-fi movies, to the writing and how the dialogue and editing of the film grapple dense themes. Again, this is not going to be for everyone but this is an experience no other film this year has matched and I'm interested in my reactions to it after a second watch.
Challengers: It's kinda bizarre in retrospect to say that Luca Guadagnino but yeah, Challengers is just that. I love the synthpop score from Trent Reznor and Atticus Ross as I love hearing their versatility as film composers. I love the cinematography of the film, not just in the Tennis matches, because it is a gorgeous film. I love the all three lead performances and the one-upsmanship being played. I love the story structure and how it builds and builds to probably my favorite ending to film this year so far. It's great, it's going to get nominated for a bunch of awards, you don't need me to reiterate how great it is.
Civil War: Is this film going to win awards from being the most politically accurate portrait of how a civil war in the U.S. would break out? Fuck no and yet that's not to say Alex Garland's best film since Ex Machina isn't great. Fantastic performances all around, particularly from Kirsten Dunst and Cailee Spaeny (the latter is quickly rising to being one of my favorite new actresses), I dug the subtle worldbuilding in the production design and cinematography, the chilling sound design and mixing should at least get this film awards – all the technicals of this are top notch. And a really engaging and tragic story highlighting the numbing and scarily passive warfare and war imagery has become. That even within your own country, senseless violence and destruction can be ignored if you put your head in the sand hard enough.
The Devil's Bath: A slowburn horror film that looks at the bleak emptiness of the world but not with any pomp and circumstance. It's an atmospheric film that puts you into that aura of depression most can fall into and – most daring of all – what it's like for a person to rationalize self-harm and suicide. It's a film that highlights how boring cosmic nihilism can often be the scariest thing: not only are you alone in a cruel world, there is nothing that's coming to save you, there is no God and you are stuck here until you die. It's not going to be for everyone as I can see even arthouse horror fans thinking this is too long and boring, but no film was as unsettling and disturbing as this and this sets a high bar for horror this year.
Dune: Part 2: I mean…it's Dune: Part 2
Evil Does Not Exist: I've been waiting to watch this film for months now and so glad I finally did. From gorgeous blue color pallette all over the film to the quiet pacing and evocative story that managed to actually say a lot about the balance of the natural good of both the environment and in human behavior, and how disruptions in either – even from good intentions – can lead to disaster quickly, it's incredible. This is going to be a film to rewatch before the end of the year, maybe more than once, and I can't wait to do so.
The First Omen: Okay we seriously need an investigation into this film because how in the hell was big major studio horror movie – and a legacy sequel horror movie at that – allowed to kick this much ass? Incredible cinematography from Aaron Morton, a great performance from Nell Tiger Free (who nails that homage), and a fantastic debut from Arkasha Stevenson who immediately shows herself to be a horror director to keep a watch on with a great eye for atmosphere, again how did Disney allow a movie this cool to come out?
Housekeeping for Beginners: Family melodrama can actually be a bit hokey and overly staged if not written, acted, or staged well. Truth be told, I was a little hesitant before watching this film because I was afraid it'd be another overly heavy, overly dramatic movie about domestic relationships we've seen before but I'm so glad I gave this a shot. With great performances – highlights are Anamaria Marinca, Samson Selim, and especially Dzada Selim who's adorable throughout – it's a family drama that manages to be funnier than expected and touching with it's look at the messy but ultimately loving queer household that thrives not despite circumstances, but in spite of them.
Hundreds of Beavers: I've talked a bit about heavy complex films so why not highlight a good old fashion silent slapstick film. Despite the lowbudget nature, the creativity not just with the props used but the physical comedy, the sight gags both in the background and foreground, to the pacing of the film feeling engaging. Without that steady hand, this could've felt long and while some jokes don't land as much as others do, the hit ratio far exceeds any stumbles and I can't wait to see Mike Chelchik's next movie. Maybe he can even do a Coyote v. Acme story!
I Saw the TV Glow: I am not trans and while I am pansexual, I've never had any resistance from my family or friends about my sexual or gender identity. And yet no film I saw this year hit me as hard as I Saw the TV Glow. From the gorgeous purple neon aesthetic, the charming throwback to 90s shows that I didn't even grow up on, to the Creepypasta-esque vibe of the story, to Jane Schoenbrun confident direction in recreating what it would mean for a trans person – or even any person – to never fully accepting their identity, and the longterm damage that could do. I haven't stopped thinking this film since I saw it and I can't wait to see it again
I Used to Be Funny: Rachel Sennott is here to stay and hopefully with this film, I hope it's more than in just wacky comedies. Ally Pankiw's is script is good as well with it feeling natural and off the cuff, and all the other actors are good as well, but this is Sennott's show through and through. From her chemistry with Olga Petsa to her portrayal of trauma and PTSD to her attempts to get back a person and relationship that can't ever return of what she's been through. I've seen some push back against this film and it is a small story so if you don't connect with it, I get it. But I loved this film and Sennott's performance has to be seen.
Inside Out 2: The biggest movie of the year so far and hey for once, a big blockbuster is something I loved. I don't care what anyone says this film is better than the first: all the past emotions fleshed out more and all the new ones given time to shine, the comedy is a lot sharper and snappy, the emotional scenes resonate, and doing what the best sequels should do and that's progress the story forward. I've seen this twice in theaters and I'm most likely going to see this several more times in different circumstances and I'm not going to complain about that at once.
Problemista: This movie could've just been an hour and forty minutes of Tilda Swinton devouring the scenery in a wild Irish accent and I would still love it, but it's great that Problemista is more than just that one amazzing performance. The style and editing of this film is creative and funny, the story is quite engaging in highlighting the unfair economic mobility immigrants have to face, and the chemistry and interplay between Julio Torres and Swinton is genuinely charming and endearing. No other film this year is going to make you smile with files being organized and sorted.
Riddle of Fire: Whimsy and the magic of childhood is a very hard thing to pull off, one wrong slip and you could easily fall into corny, schmaltz. But not only Weston Razooli's debut film doesn't just stick the landing in capturing that innocence and imagination with charm and humor, it manages does so with a lot of authenticity and sincerity. Fantastic performances from the children, great comedic writing, and a gorgeous storybook tone and aesthetic, this should be more a cult classic. This should become a regular movie for families.
Sometimes I Think About Dying: I admit that there was excitement in me to check out this film because I have had trouble socializing with others but there is more to this film that I love beyond it being a story I found relatable. From Daisy Ridley's incredible and subtle performance and hopefully the start of an indie run similar to Kristen Stewart, to the dreamy edits and music, to yeah the quiet story that perfectly captures how simply small talk and connections even in the office can be a bit difficult for some. I've seen a lot of people love this film for that reason but even if you aren't introverted and didn't struggle with social interaction, I recommend this film.
And those are my favorite films I've seen so far. There are movies like Love Lies Bleeding, Last Stop in Yuma County, Furiosa, Stopmotion, and Late Night With the Devil, that were close in making this list.
There are a bunch I've yet to catch but have heard a ton of good buzz around them like Thelma, Kinds of Kindness, Didi, The Substance, Anora, A Real Pain, A Different Man, Ghostlight, and so much more that I'm looking forward to. Not to mention a ton of interesting documentaries like Daughters and Black Box Diaries that I really hope get releases soon.
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