Film Diary — December 2022
December Recap
This month, the final month of 2022, has finally come to a close. And though 2023 is upon, it’s time to reflect on this one final month that quickly took on the theme of “catching-up.” Yet, as you can tell there were many movies to catch up on that didn’t quite make it, and instead were replaced by several rewatches of comfort movies. Let me live. And let’s jump in.
Though I do not seriously review each watch, if you’re interested in being friends on Letterboxd, here’s where to find me.
December Film Diary
12/1/22: Bones and All (2022), written by , dir. by Luca Guadagnino
12/3/22: The Menu (2022), written by Will Tracy and Seth Reiss, dir. by Mark Mylod
12/5/22: Palmer (2021), written by Cheryl Guerriero, dir. by Fisher Stevens
12/9/22: The Fabelmans (2022), written and dir. by Steven Speilberg
12/14/22: Decision to Leave (2022), written by Chung Seo-kyung and Park Chan-wook, dir. by Park Chan-wook
12/15/22: TÁR (2022)*, written and dir. by Todd Field
12/16/22: Avatar (2009)*, written and dir. by James Cameron
12/18/22: Avatar: The Way of Water (2022), written by James Cameron, Josh Friedman, Shane Salerno, Rick Jaffa, and Amanda Silver, dir. by James Cameron
12/20/22: Black Christmas (1974), written by Roy Moore, dir. Bob Clark
12/22/22: Little Women (2019)*, written and dir. by Greta Gerwig
12/23/22: How the Grinch Stole Christmas (2000)*, written Jeffrey Price and Peter S. Seaman, dir. by Ron Howard; based on the story by Dr. Seuss
12/24/22: Glass Onion: A Knives Out Mystery (2022), written and dir. by Rian Johnson
12/24/22: Carol (2015)*, written by Phyllis Hagy, dir. Todd Haynes; based on the novel, The Price of Salt by Patricia Highsmith
12/28/22: Glass Onion: A Knives Out Mystery (2022)*, written and dir. by Rian Johnson
12/28/22: The Girl with the Dragon Tattoo (2011)*, written by Steven Zaillian, dir. David Fincher; based on the novel of the same name by Steig Larsson
12/30/22: Babylon (2022), written and dir. by Damien Chazelle
*Notes a rewatch
December Rankings
Honorable Mentions
Little Women (2019): The first time I watched Greta Gerwig’s Little Women was earlier this year, before I started writing these monthly film diaries, and my heart became instantly full. It had to have been spring or early summer when I first watched, which was of its own magic, but this film is all the rave around the holidays and so I found myself snuggled up on my parent’s couch in the glow of their Christmas tree lights, selecting this treat of a film. Though the story isn’t entirely “happy”, there’s such a comfort and warmth to it that is undeniable, and seemingly universal.
The Girl with the Dragon Tattoo (2011): About two months ago I read this book, despite having already seen the movie a few years ago. Though faintly remembering the storyline and outcome, the read was such an obsessed, fast-paced read, and I couldn’t stop my brain from seeing Daniel Craig as Blomkvist, Rooney Mara (and Noomi Rapace, though not connected to this film) as Lisbeth, and Stellan Skarsgaard as one of the Vanger family members.
The film is particularly paced and edited in a way that complements the pacing of the novel very well — which, other than the demented narrative arc, is one of the most impressive things about it. Fincher captures the inexplicable essence of the mystery, and unfolds its secrets quite nicely, though I will note: it helps to have read the book for a fuller understanding of Blomkvist as a character; he’s quite dull in the film, and a little more calculated and intelligent in the novel; but given what he’s to work with, Craig makes Blomkvist as inviting as a semi-troubled protagonist can in this story. If it weren’t for a certain traumatic assault scene, this would have been a 5-star for me.
Carol (2015): Rooney Mara and Cate Blanchett. Falling in love. Leather gloves and Santa hats. A romantic road trip. Shall I go on? Is it really Christmas (or holiday) time without Carol? Todd Haynes’ beautiful masterpiece had me in such a chokehold this year. What more could my gay little heart need this holiday season than this precious, gentle sliver of romance? Two of the industry’s finest working actors, Mara and Blanchett, encapsulate such tender, steadfast love in a way most people, even in real life, cannot.
This entire film lives rent free in my brain, but there are certain scenes that will forever be imprinted on me. I thank the Cinema Gods for this film all the time.
Top 6 Ranked
6. Bones and All (2022)
In a world so hard on its people, especially those who naturally zag when the majority zigs, it can be hard to find your place. Without condoning or “normalizing” cannibalism, what sits behind the in-your-face act in this film is the notion that there is a place for everyone to belong, and thus a person for everyone who aches for it; that no matter who you are, you are susceptible to the hardships of life, but also you naturally inherit the beautiful things that life has to offer, too.
Luca Guadagnino has this inept talent for making such mundaneness look so beautiful, and for bringing emotions to life on screen. He paints with his frames, and Bones and All no exception to his brush strokes. This film is a slow-burning, fully transparent account of a liberating romance between two social outcasts, and an homage to one’s sense of belonging.
5. Black Christmas (1974)
I’d be lying if I said film Twitter didn’t influence the selection of this movie when my girlfriend and I sat down to watch something disturbing. Scary Christmas movies just haven’t been an interesting thing to me in the past, but this year, with this film, I was deeply intrigued. Was it the cheery, colorful Christmas lights blended with the chilling, unsettling phone calls? Definitely.
For a mostly enjoyable, though increasingly disturbing experience, Black Christmas caught on one snag for me. The story reached a certain point upon the transition from Act Two into Act Three, where suddenly, our main character and her friend (I forget their names) suddenly become the “dumb girl stereotype” after spending most of the movie making relatable, smart decisions. To me, this was a little too obvious these decisions were made simply to move the plot and suspense forward.
Nonetheless, for a 1970s creepy horror, this film still had me genuinely too terrified to look at the screen. And that ending…HA! This is an underrated classic horror flick.
4. The Menu (2022)
Admittedly, when I walked into the theater with my ticket for The Menu, I had very little expectations, and was not anticipating what was delivered. This film delightfully surprised me in ways I was not expecting. Beginning with the tonal shifts. What begins as a quiet ten to twelve minute honest setup of one of the most sought-after exclusive dining experiences money can buy, turns into one of the most hilarious comedic tonal shifts I have ever experienced while watching a movie.
Hilariously spiteful toward inattentive, self-centered, stereotypical wealthy people, Ralph Fiennes, Anya Taylor-Joy, and Nicolas Hoult deliver prime performances; not to mention Hong Chau plays such a catalytic role as she pulls the change in tone forward. Especially in a theater full of strangers, The Menu hits big with laughs and a sense of making each of audience member feel they are on the “horror” and thus, the joke, for the entire ride.
This feels of note, but this might be my favorite Anya Taylor-Joy role since Robert Eggers’ The Witch (2015)
3. Avatar: The Way of Water (2022)
I refuse to lie about my opinions and feelings, so I will not…I left the theater in tears after this movie; I had been moved to tears by the beauty and magic of what I was seeing on-screen, of what the story had unfolded (albeit often “cheesy”, shallow dialogue), of finally being re-immersed into the most beautiful world I’ve ever seen on screen. I mean, these underwater scenes are beyond comprehension — my brain could not intellectually differentiate between reality and fantasy on the screen, the divide was completely seamless. It was fucking incredible.
Despite my mild frustration with certain metrics of what makes a movie “good” for me (i.e. the flow of plot, the flow of dialogue, the evolution of gender roles, etc.), I was completely engulfed by the beauty in this film. I haven’t thought about 3D movies once in the last 12+ years, but now I feel like 3D’s number one advocate because James Cameron was able to leverage the power of it within every immersive second.
All this said, I had two nitpicks; one being entire Spider character, which I won’t even get into right now. The second being gender roles and family dynamic. The first Avatar film turned gender roles on its head, in my opinion — despite the “macho” stereotypical military presences. Neytiri’s character in Avatar (2009) felt undeniably powerful. Her presence demanded to be felt each time she was on screen. The audience feels her rage, her strength, and her connection to her people and land. She was undoubtedly most people’s favorite character. Knowing this and looking forward to her role in the second film, I was heartbroken with what’s given; it’s almost like she’s being cheated of an arc; she serves as a women of their home, essentially. It feels her role is limited to only being a mother, as if her arc is on its descent or is nearing its finish.
Additionally, Jake sort of leads the pack, simply because he’s “the man of the family” and “that’s what he’s supposed to do” — he parents their children as if they’re all a platoon. I understand why, but this feels a little compassionless and offbeat from his empowered, emotional state at the end of the first film.
Nonetheless, three and a half hours have never flown so fast in my life, and I was overcome with emotions as the credits rolled. The magic of Pandora’s biosphere continues in Avatar: The Way of Water, and I can’t wait to see how Big Jim evolves its magic next.
2. Glass Onion: A Knives Out Mystery (2022)
After a very intriguing and exciting first watch, Glass Onion quickly became my go-to movie for background noise during my work day, which quickly turned into my greatest distraction between holidays (I mean this with high regards and the most respect). Each rewatch brought on my own new theories and new subtle “Easter eggs” of sorts that I missed in previous viewings.
I just love this film for so many reasons: Rian Johnson is one of this generation’s most imaginative and entirely talented filmmakers; Daniel Craig as Benoit Blanc, Blanc’s cute little outfits, a beige-y Kathryn Hahn, Kate Hudson being a little bit of Kate Hudson , and a really interesting head-to-head face-off between Edward Norton and Janelle Monáe. Glass Onion is silly, playful, aware, and meticulous — it’s the perfect modern murder mystery.
There are not proven statistics on this, but I feel like I’ve watched a lot of Daniel Craig over the last twelve months, and genuinely hope this continues into 2023. And, of course, I hope this film’s explosive success means we get to see more of Benoit Blanc for a long, long time. (Pretty please, Rian)
1. Babylon (2022)
Damien Chazelle took the money and RAN. Babylon is every bit of anxiety-inducing sensory overload that a movie-going experience can be, but I left feeling oddly comforted by its 188-minute entirety. Margot Robbie stole the goddamn show with her natural electricity that blossoms beautifully as Nellie LaRoy, despite her character’s flaws — she explodes from the screen with such magnetic ferocity, that I couldn’t keep my eyes off her in each of her scenes.
Set during the chaotic, fast-paced, early Old Hollywood days, several people’s lives change through the evolution from silent to sound films. Diego Calva is the steady calm to Robbie’s perfect storm, and together they are so chemically balanced I melted to my seat. This film is a wild, chaotic mess of action and aural brilliance in the most beautiful execution. Though I can see how this film is not for everyone, Babylon certainly struck a chord with me. It’s meant to be experienced in a theater; we are meant to be awestruck and dazzled and disturbed, hurt and hopeful and sentimental.
To me, Babylon is a perspective on cinema reflection for the ages. Damien Chazelle takes every outrageous possibility, every raging emotion, and puts it on display for the whole world to see.
Additionally, a small casting note: the female director who is directing Nellie’s first movie is played by Chazelle’s wife, actor Olivia Hamilton. In my opinion, she and the AD are INCREDIBLE! They stole the show in every scene with them.
