My 12 Favorite Films of 2022
Whether or not my opinion carries weight, here are my top 12 movies of the year.
A Year for the Books
This year in movies has been either really fantastic or a bit of a swing and a miss, depending on who you ask. If you’re asking me, I am pretty pleased with my experiences this year, both with movies that were and were not 2022 releases. What can I say? I’ve had a really nice movie-watching year.
Check out my Year in Review (coming soon) piece for more.
My Account of 2022
Going through my Letterboxd diary this year, there have been countless moments where I truly felt a certain movie was going to be my favorite of the year. In June, Everything Everywhere All At Once felt like that movie, or Watcher. In July, Nope felt like that movie. And again in November/early December with movies like The Woman King, TÁR, Bones and All…you get the point.
Not to mention, there’s a decent number of 2022 releases I’ve not yet seen — such as The Banshees of Inisherin, She Said, Armageddon Time, Fire of Love, The Wonder, and Close to name a few of many.
In addition to missing out on several of this year’s releases, I spent a lot of time backlogging, catching up on films from various years that I’ve never seen before, such as Robert Eggers’ The Witch, Tarantino’s Kill Bill Vol. 1 and Pulp Fiction, Greta Gerwig’s Little Women, Sofia Coppola’s Lost in Translation and The Virgin Suicides; even classics like Poltergeist and critically-acclaimed modern classics like Spotlight, Zero Dark Thirty, Argo. Then of course, I was eager to make time for some incredible international films such as The Worst Person in the World, Anaïs in Love, The Handmaiden, Portrait of a Lady on Fire, and Parasite.
All this to say that making a personal ranking has been extremely difficult. This year, I fell in love with movies again, far beyond what I’ve felt before. I started seeing movies in a different light, from the spectacle of an artistic eye, rather than simply basing my enjoyment based on entertainment value (though this still holds value in my overall enjoyment). This year was a year of immersing myself into the world of cinema — both widespread and independent — uncovering a true passion for film, influencing a desire to dig deeper into this world for years to come.
2022 Rankings
12. Cha Cha Real Smooth
The moment Cha Cha Real Smooth began, I knew I was in for an emotional treat. Cooper Raiff is exceptional as both lead actor and writer/director for his second feature, about a young man, Andrew (played by Raiff), post-undergrad who heads back home after graduation with seemingly less direction than his peers.
This film has such emotional awareness, capturing the weight of overwhelm caused by post-graudate life and the weight of expectations we face in our early 20s. Cha Cha is a peek into an everyday guy’s life while he struggles to adapt into adulthood. In his efforts, Andrew, begins to understand that sometimes life brings people into our lives who are meant to nudge us in the direction we need and moments we’re meant only to learn from in hindsight.
Prior to Cha Cha, I’d not seen Cooper Raiff’s debut , Shithouse, so I was unfamiliar with his work. What initially drew my attention to this film at all was the fact that Dakota Johnson is part of the cast (arguably, reason enough at all times).
11. Barbarian
Barbarian is a beast of its own, taking a high mark for horror movies this year. In a theater full of eager horror movie lovers on opening weekend completely enhanced the experience for me. Without spoiling the twists and turns, it’s hard to provide an honest review of Zach Cregger’s horror masterpiece, even so long after its release. Barbarian is made for the theatrical experience, made for a screening surrounded by friends and strangers, but is destined to be a fantastic watch no matter where you are.
The film holds the audience in its grasp while providing successful shifts in tone and style throughout, only to carry viewers through an adventure through dark tunnels, popping them out at a completely different place on the other side. I left the theater both impressed and giddy by way of a great film-going experience.
10. Nope
Jordan Peele returned to the big screen this summer with his much-anticipated third feature, Nope, that had us all in a chokehold (myself included). Beyond visual effects, what I loved about this film was its energy. Featuring a dynamic, lively, often comedic collaboration with Daniel Kaluuya and Keke Palmer at the helm, with some standout support from Brandon Perea, the great Steven Yeun, and the mysterious Michael Wilcott.
Nope received both high and low praise from audiences worldwide. Though notably a very different take on the horror-thriller genre, Peele crafted a careful, thoughtful, and very precise film that was instantly captivating, whether or not the movie took the shape of what viewers expected.
I was lucky enough to watch it twice this year, once in a theater, and once at home. For me, both environments worked well, but naturally, this film dominates on a huge screen — given the daunting presence of an enormous extraterrestrial hovering our clouds.
Nope grabs the audience’s attention by keeping them on their toes before the great reveal. This is no easy feat, yet Peele plays with this device and he executes with pleasant precision. It’s a shame there isn’t more love for this movie, but I’m happy to be in the hive of those who do. A sensational visual piece of art, with engaging, fun performances from an eager, outside-of-the-box thinker in Peele, Nope was certainly one of my year’s notable moments.
9. The Menu
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 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.
8. The Woman King
Once I started Gina Prince-Bythewood’s epic, I was kicking myself for missing this action on the big screen. The Woman King very quickly took hold of my collar and brought me on the ride of my life. Incredible performances, insane badassery, wildly fun and thrilling, yet thoughtful and sentimental; this film had it all, and then some. An instant favorite of the year for me.
7. Bones And All
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.
6. Aftersun
Charlotte Wells’ debut feature struck the indie scene like a match and the whole world caught aflame. Personally, this film reached into certain parts of my heart I had not allowed anything else to enter in a while. This film draws attention to the smallest of details, and calls attention to the very visceral pain of loving people without ever really, truly understanding them. Utterly speechless and left aching in my bones, Aftersun stunned me beyond what’s imaginable, in the very best way.
Read my full review, Aftersun — Film Review from November 2022.
Honorable Mentions (13–20)
Glass Onion: A Knives Out Mystery
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)
Pearl
After watching X earlier this year, I was blown away (despite my laptop viewing). Not long after seeing X is when there was an announcement for this incredible prequel, Pearl. X is a fantastic showcase of Mia Goth’s versatile talent, but Pearl is truly her time to shine. Not only is she bringing Pearl’s character to life on screen, but she’s giving her life behind the scenes by co-writing with Ti West. Pearl really feels like Mia Goth stepping into her talents in the industry, and it feels like a very wonderful step toward an evolution of her career. I can’t wait to see where she goes from here, in completing the X Trilogy and beyond.
Resurrection
Rebecca Hall is the Queen of Arthouse Horror. Throw Jessie Buckley into this personal Hall of Fame, because this film gave me Men vibes. In tone and, well, certain…events — and if you’ve seen both, I think you can infer. This movie frightened me and angered me with just the right amount of unsettling creep behavior and mystery. There’s a certain portrayal of manipulation in this film that’s painted in a different way than I’ve seen it before, capitalized by two wildly visceral performances from both sides of the coin in Rebecca Hall and Tim Roth.In its entirety, Resurrection proves to be a metaphor to the power of manipulation and the effects it has its victims.
Decision to Leave
Meticulous with his pacing and plot-point placements, Park Chan-wook is a master at threading emotional value into his thriller storytelling abilities. Cinematic beauty laced with a charming, mysterious, subtle romance, Decision to Leave follows a dedicated detective who falls in love the widowed wife of his victim. Thematically bold with obsessive longing and a display on the emotional effects of keeping secrets from others and ourselves.
Emily the Criminal
Admittedly, the reason I went to see this in the first place was Aubrey Plaza. After watching the trailer, it became clear that the mashup of genre and Aubrey Plaza is exactly what I’d needed. I was lucky enough to catch this in theaters at my local arthouse theater. There was a skip in my step as I left this screening — I really felt like this quiet indie action thriller could be one of my favorite of the year. Something to do with Emily (Aubrey Plaza’s character), despite her questionable decisions, had me regretfully rooting for her.
Emily the Criminal is a wonderfully crafty indie heist-thriller, soft-action film with a truly great performance from Plaza, and a project she is publicly very proud of working on — as she should be. At the center, we see a woman who will not let herself drown, and she will not let themselves break. And she especially won’t let a single person take advantage of her or try to take away something she’s worked hard for. Plaza portrays this kind of character perfectly; one who will go through great lengths to succeed, without any moral consideration. And I loved every second of it.
Kimi
Another fantastic, quiet film from Steven Soderberg. “Quiet” in that there’s nothing flashy or fancy about Kimi, but it’s a movie that just works. When you’re watching, you’re in it and there’s no where else to be. The flashiest thing about this movie is Zoe Kravitz’s blue hair, which she absolutely rocks by the way.
Now that I think of it, this film gave me a similar feeling that Emily the Criminal did, in that no over-the-top action or uber-dramatic sequences, nor any visually technical events need to occur in these movies. They are propelled by a compelling story and a talented woman at the helm. Kimi might be one of those movies that slide under the radar for people, but becomes more popular over time while living on HBOmax as it is now, or airs on cable where people passing through eventually get around to it and are immediately immersed. Kimi is a taut, soft sci-fi thriller that captures the perfect amount of stakes and spark, behind the talented Zoe Kravitz, to maintain its own control while audiences sit back, relax, and enjoy. An easy movie to give in and let it take you on a ride wherever it wants to go.
Anaïs in Love
This is one of those movies that I don’t even remember how I discovered it. Either I found it randomly on Letterboxd or I discovered it through checking what was playing at my local arthouse theater one fine June afternoon. Spoiler alert: this film is sapphic, and it’s French so you know it’s going to be emotionally intimate, as the French so beautifully are. Two points about this film that are extremely important to me. The French just understand love and they paint it so beautifully, both in words and in actions. A beautiful, unlikely meeting of two very different women and a genuine love blossoms between them in secret, despite their difference in age and how they came to meet.
The story centers around Anaïs, who is an extremely energetic young woman — always on the move, thinking fast and present — who meets Emilie through an interesting connection, and the two form a sensual romance. Without spoiling too much, this film gave me strong Carol vibes, not only in the brunette and blond parallel, or the age difference, but in the delicacy in unraveling their mutual desire, the soft and subtle moments of realization there’s really something between them. I fell in love right alongside them. You can say I enjoyed this film.
Bodies Bodies Bodies
Historically, a slasher/horrors have not been my jam, though this year I’ve forced myself to grow up. I saw Bodies with a group of friends on a Saturday night at my favorite local theater; the environment could not have been more perfect. Overall, this film was genuinely fun and absolutely hilarious with its Gen Z-ified satirical awareness. Rachel Sennott stole the show because of her character’s obnoxious nature, to which she performed so perfectly. I was on the edge of my seat for the entire ride, theorizing who had indeed “dunnit” right until the great reveal — which notably made me burst, laughing out loud in a way that excited me. It all worked pretty well for me.
2022 Ranked — Continued
5. Everything Everywhere All At Once
What more is there to say about this incredible film that hasn’t already been said? A film with such integrity, heart, and sentiment behind it comes from two filmmakers with those very traits bleeding out from their core. The Daniels carved their own niche, their own style of filmmaking, and they do it with such tender, love, and care for the art. It’s a sight to behold.
Beyond that, Everything, Everywhere All At Once is a sight to behold. I sat, staring up at the big screen in awe. I laughed, I cried, I was struck by every emotion floating around; for a film that is independently produced yet executes such organized chaos with precision, beauty, and grace, this film rightfully took all of our breath away this year. Even if this film wasn’t for you, there’s a certain level of respect this film so wonderfully deserves. If for some reason you’ve missed The Daniels’ latest masterpiece, take this as a sign to rent and watch NOW.
4. Avatar: The Way of Water
Say what you will about James Cameron and his obsessions, the world of Pandora is completely on point with its allegorical relation — Pandora’s Box — because you open it and continue to discover new things within, each time you visit.
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.
3. Watcher
Chloe Ukono’s debut feature film (!!!) is one of the most perfectly-crafted thriller-horror movies I’ve ever seen. It’s daunting, disturbing, and unsettling with its slow, effective tightening of its grip around you until it has you completely engulfed in its horror. I will forever recommend this movie, forever love this movie, and forever advocate for more deeply unsettling movies to be crafted as such. And that last frame…yes, Maika Monroe has earned her praise. Please bring her around more, Hollywood.
2. TÁR
What more can be said about Lydia Tár that hasn’t already been said? I will be the first to admit, I went into TÁR without much understanding of the film. Granted, very little information had been officially released; even then, I made it my life’s mission to avoid all additional mention of the film from those who were able to catch the film at festivals and the like.
I went in thinking this film was going to be a little more along the likes of Resurrection (2022), The Night House (2020), or even Men (2022) — a labeled “psychological” thriller with a kind of supernatural, tangible psychological element. After seeing TÁR, even though it wasn’t what I was anticipating, it still lingered in my mind. As online threads began and podcast episodes were listened to, my perspective opened back up again because this film was much more subtly haunting than something that’s thrown in the audience’s face. It’s something that sinks its teeth in and the venom spreads slowly and thoughtfully, rather than infecting with immediate impact. I’ve now seen TÁR twice, and it has not left my head; it’s one of those films that leaves an impression you discover became a permanent mark after all.
Finally, of course, Cate Blanchett’s performance is one for the goddamn books — but, who doesn’t already see that coming?
1. Babylon
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. Glued to my seat as the credits rolled, I had tears streaming and a smile planted on my face. Not once, but twice.
That’s a Wrap, 2022!
What an incredible year to be alive and at the movies. In hindsight, 2022 turned out to be a pretty stellar year, despite the great debacle of theater vs. streaming — the times may be changing and the business may be evolving, but the magic does and always will remain.
Upcoming pieces: Year in Review, Favorite First Watches of 2022, Babylon — Film Review, and My 2023 Most Anticipated.
Thank you for reading! In absolutely no way should my personal opinions be taken as gospel. Talking movies is purely subjective for me, and I do my best to be honest and uplifting for the movies I choose to discuss. Follow me on Twitter and Letterboxd for more of me.
