The Top 23 Films of 2023
23. The Boy and the Heron – Ten years since his last feature film, Hayao Miyazaki returns with a semi-autobiographical tale of loss and acceptance. Studio Ghibli’s animation has never been anything short of gorgeous, as nearly every frame here is lush and colourful. Mahito’s journey into an altered world is unpredictable and completely bonkers, like a heightened Alice in Wonderland. Yet, even within the madness, Miyazaki’s ruminations on humanity’s faults and imperfections are clear. In terms of pure, uninhibited imagination no film this year comes close.
22. Pearl – Infused with a vibrant, technicolour aesthetic and grand, swooning, overly romantic score; Pearl, is a true throwback to the golden age of Hollywood, instilled with a twisted grotesqueness. Mia Goth is astounding in the titular role, bringing the spirit of childlike innocence weaved with an ever-growing darkness. Goth’s true power creeps up on you, and by the third act, you soon realise the pathos Goth and West have given to someone so perverse. Amidst the brutality both given and received by Pearl, this is the film’s best quality, its ability to find a soul within the sinister.
21. The Eternal Daughter - Writer and Director Joanna Hogg has always made deeply personal films and now utilising a supernatural genre, Hogg conveys an emotional story of regret, guilt, and the power of memory. Hogg manages to make the idea of memory feel like a roaming presence, something that always surrounds us, pervading the physical world. Tilda Swinton is one of the world’s most fascinating performers to watch. Within her dual roles, Swinton brings a nuanced, performance enriched with small, humanistic details, bringing these two to life amidst the presence of the dead. Impeccably shot by Ed Rutherford who manages to instil an eerie, unsettling atmosphere with his use of space and shadows, which is also aided by the ghostly cooing that brings old fashioned chills to a surprising, even tender tale.
20.
Rye Lane – One of the finest rom-coms in recent times, Rye Lane, is a dreamy, colourful, and irresistibly charming film. Its two leads David Jonsson and Vivian Oparah ooze charisma, with the pair playing off each other’s distinctive character quirks with zest and passion. Its vibrant aesthetic gives the film a dreamy quality, joining the pair as they saunter through London and into zippy, creative, cut-away gags that fill the film with personality. The story flows naturally, sprouting silly scenarios that draw Dom and Yas closer together. It is a sweet and heart-warming picture that will undoubtedly leave you with a smile on your face.
19. Sanctuary - Directed by Zachary Wigan, Sanctuary, is a wild blend of drama, erotic thriller, and comedy. Micah Bloomberg’s fun, energetic script and Wigan’s controlled, seamless direction, manage to maintain the film’s momentum, with every act exploring new facets of Rebecca and Hal’s relationship. Margaret Qualley and Christopher Abbott’s chemistry sizzles, playing off each other’s rhythms, keeping you engaged at every twist and turn. Qualley is especially hard to decipher, manipulating the situation so both Hal and the audience are lost between fact and fiction. Sanctuary explores the dynamics of power in humorous, while simultaneously being quite tense. However, Sanctuary’s fascination with fantasy and its ability to reveal truths in ourselves, that makes Sanctuary unique in its exploration of the erotic. Coming in at a trim 90 minutes, Sanctuary, zips by without a wasted minute. Fun, electric and punchy, Sanctuary is simply a blast.
18. Enys Men – The reality bending, abstract horror, Enys Men, is an experience that no other film has produced this year. The feeling of isolation sinks in quickly, every passing scene bends reality and time further as The Volunteer (Mary Woodvine) has nothing left but to fall into her tortured and twisted memories. Dialogue and plot are seldom here, as director Mark Jenkins prioritises mood and atmosphere, putting you in an uneasy position for its entire runtime. Through its abstraction and symbolism, Jenkins conveys the deterioration of isolation in a feature that will leave everyone with their own unique interpretation of what the truth of Enys Men is.
17. Reality – Based on the true FBI interview of Reality Winner (Sydney Sweeney), Reality is bound by a brilliant concept, as every piece of dialogue is pulled from the real interview transcript. Sweeney captivates, playing against type as the lonely and imbittered government intelligence specialist. Set in primarily one location, director, Tina Satter, has made a claustrophobic film that grips you tighter as the agents slowly get closer to truth with their duplicitous small talk. Between the lines of this unaltered transcript and Sweeney being the sole female character, Satter manages to convey an analogical story of a predatory male force and the perversion of power.
16. Bottoms - A twisted rendition of High School comedies of yesteryear, Bottoms is an absurdist comedy that expresses the dangers of celebrating hyper-masculinity. Sennot and Edebiri are terrific leads. Of the pair, Sennot brings the more unhinged, chaotic energy, while Edebiri plays the more level-headed, comedy straight person, which in turn makes her one of the more rational people in this bizarre world. They are a dynamic duo, whose energies jive and clash at perfect points. There is rarely a dull moment, with the film always firing jokes and filled with hilarious side characters (Mr G and Sylvie being particular standouts) that keep you engaged with the club. Leo Birenberg and Charli XCX also provide an energetic, dreamy score that heighten the film’s romance and ferocity, making it one of the year’s most exciting film scores. Bottoms is, without a doubt, the funniest film of the year. Even in its whacky, wild and violent ways, it packs real heart, making you truly care for this band of misfits.
15. Spider-Man: Across the Spiderverse – Artistically bold and innovative, Across the Spiderverse manages to recapture the magic of its predecessor, somehow surpassing it with a story that questions franchise stagnation and the importance of forming your own path. In a world where multiverses are used for cheap fan service and remove dramatic sincerity, Across the Spiderverse flips the franchise formula, using the narrative device to heighten the emotion, action and hilarity. Miles Morales has solidified himself as one of the best on-screen Spider-Men we’ve ever had. Filled with pure drive to change the established order, Miles’ monumental quest to save his family and the multiverse is truly engrossing. Across the Spiderverse’s ending tantalises and makes the wait for this saga’s conclusion all the more excruciating.
14. John Wick: Chapter 4 – The John Wick series may be the most consistent and entertaining franchise in recent memory. With every instalment, the scale and the world building of the Wick universe gets bigger, yet, never loses sight of its identity or the thrills. John Wick: Chapter 4 is the franchise’s magnum opus. Every frame looks grand, operatic and drips with style, with much of the credit being attributed to director, Chad Stahelski and cinematographer, Dan Lausten. The creativity and the extensiveness of every action scene is astounding, with an exceptional stunt ensemble coming together to bring some of the most chaotic and over the top action in Hollywood cinema. Keanu Reeves continues to be one of the most enjoyable and likeable action stars and brings tremendous physicality to the role. John Wick: Chapter 4 is the best kind of action spectacle. One that demonstrates the collaborative effort of cinema and the brilliance that comes from a truly committed crew with a sole vision.
13. May December - May December is a strange, understated psychological thriller of obsession, denial, and metamorphosis. Natalie Portman delivers her most interesting performance to date as the self-absorbed, disingenuous Elizabeth; a performance within a performance, with truth seeping through the cracks in her mask only briefly throughout. Julian Moore’s, Gillian, is a woman completely lost in the fort of her own delusion. Her childish voice and narcissistic tantrums allude to something deeply wrong in her psyche or even a want to be perceived as innocent. Charles Melton is absolutely terrific as the broken Joe. He walks in an ape like slouch with the weight of the world on his shoulders – gloomy, giving the expression that something has been lost. Joe has the most intriguing and sorrowful arc, but Melton successfully delivers on the emotion, providing one of the best supporting performances of the year. What is vital here is that director Todd Haynes handles the film’s subject matter with respect, looking at the multiple facets of such a tragedy and, most importantly, how it effects Joe and his family.
12. Are You There God? It’s Me, Margaret – Kelly Fremon Craig’s film exhibits humanity and warmth that few films are able to achieve, with much of this success being attributed to the brilliant, Abby Ryder Fortson. There is a real found naturalism to many of the film’s performances, but it is Fortson who encapsulates the nervousness, joyousness and awkwardness that comes with childhood. Along with Rachel McAdams as Margaret’s mother, Barbara, the two provide touching, wholehearted performances that highlight a mother and daughter’s parallel connection through change and alienation. Through its sincerity, Craig provides a truly hilarious script, with much of the humour involving childish misunderstandings of puberty that make the characters even more endearing. The mother and daughter story at its core and the cute comedy that surrounds it, makes Craig’s film a charming, moving watch that beckons for a return to comedy for the whole family.
11. Marcel the Shell with Shoes On – Not since the likes of Wall.E has there been a character filled with such pure innocence as Marcel (Jenny Slater). Within five minutes, Marcel becomes a character you cannot help but root for as this mocumentary style feature showcases the struggles of his day-to-day life after the disappearance of his family. Even with this style, Marcel the Shell is deeply cinematic, expressing the control of fear and the necessity to push ourselves beyond the realms of comfort. Marcel the Shell with Shoes On is the most wholesome and infectiously joyous film this year, a must watch and one that will surely make your day a little brighter.
10. Mission Impossible: Dead Reckoning – It comes to no surprise that Tom Cruise and long-time partner, Christopher McQuarrie, have created yet another astonishing blockbuster. The seventh instalment in the near thirty-year franchise feels as fresh as ever, with each set-piece building and evolving in exhilarating fashion. Each stunt is, of course, performed with commitment by Cruise, who at sixty years old is pushing to make the most thrilling action sequences in modern cinema. Dead Reckoning also finds the perfect balance between tension and comedy being the funniest in the franchise to date. Its story is surprisingly relevant too, exploring A.I.’s involvement in global security, turning truth into the world’s new super weapon. Dead Reckoning is the type of action blockbuster studios should strive to make, enthralling, inventive and a finale that truly takes your breath away.
9. Passages - Passages is an unpredictable and fascinating look into sexuality and the power dynamics of relationships. Tomas’ self-centred and narcissistic persona is engrossing to watch and is captured brilliantly through Rogowski’s duplicitous face. He has the eyes of an innocent deer, but his seductive soul is transparent, only wanting what suits him in the moment. Wishaw is also terrific as the emotionally scarred husband, exhausted with Tomas’ behaviour and is conflicted in whether to stay or move on from Tomas. His facial expressions manage to convey fragility and fatigue with his relationship that highlight the damaging history between them. Adèle Exarchopoulos’ as Agathe, is similarly effective in her role as the alienated woman, bringing understated tragedy to someone lost in the throes of passion. Passages is exquisitely shot with cinematographer, Josée Deshaises, utilising natural light and evocative close-ups to bring life to this troubled threesome. Director Ira Sachs delivers on an intriguing look into the unjust consequences of loving someone and the victims it leaves behind.
8. The Eight Mountains – An ode to the power and meaning of friendship, The Eight Mountains is a soaring tale that beckons us to reflect on the connections we have formed in our own lives. Pietro and Bruno’s relationship ebbs and flows between envy and affection throughout their lives; flawed, but utterly human, you are drawn to the men’s s humble ambition of rebuilding a house on the Italian mountainside. The mountain peaks of Italy make for meditative, yet striking imagery, transported to a wondrously colossal part of the world. Much like the mountainsides, the emotional depths of The Eight Mountains is vast and by the film’s conclusion you too feel the immensity of Pietro and Bruno’s odyssey together.
7. The Fabelmans - Steven Spielberg’s semi-autobiographical tale of passion becoming obsession only perpetuates his status as one of the greatest filmmakers of all time. It is both personal and universal, a tragic story which tells the tale of the fractious relationship between a mother and her son and how the blessings of talent can exile you from those you love. A soulful piece that shows us how art can reveal truth within ourselves as well as its power to move us. Spielberg infuses his film with his signature visual flare that brings with it the essence of something classical, and John Williams provides a sweetly sentimental score instilling this intertextual device that takes us back in time along with Spielberg himself. The ensemble here are all distinctly terrific, but it is Gabriel LaBelle who delivers the most underrated lead performance of the year. Even after 50 years of filmmaking, Spielberg still has powers like no other.
6. Past Lives - Past Lives is a tender, resonant account of two people with a profound bond. Through divergences in culture and career, Nora and Hae-Sung are still bound to each other through fate or, as the two call it, “in-yeon” (a connection between two people that span multiple lifetimes). Even, with its typically romantic set-up, Past Lives is more interested in the complexities of love and its undying, evolving form. For Nora and Hae-Sung, love is not one static entity, but something that sleeps and reawakens over time. It is Greta Lee and Teo Yoo’s naturalistic performances that manage to convey love’s intricacies, as their eyes look deep into the soul of the other with longing and a tinge of wonder. There is a meditative quality to Song’s direction that allows the viewer to soak in this relationship, bringing focus to the dialogue and characters. Past Lives is one of the sweetest films of the year and a heartfelt look into the everlasting and indecipherable ties between us.
5. Tár - Todd Field’s grandiose arthouse picture is a testament to pitch perfect character writing. Lydia Tár is the most strikingly well realised character of the year, with Cate Blanchett delivering what might be her greatest performance, as Blanchett brings this problematic, predatory figure to life in such a strikingly authentic way. Along with Field’s sublime screenplay, his film feels visually distinct. Overcast with the bleak grey skies of Berlin, there is a compounding sense of dread that hangs over Tár’s head. The wide and still nature of the film’s frames liberate the actors to deliver the full weight of Field’s script. There are even moments of horror and dreams of fate that feel simultaneously alien and at home in this dark character study. Tár is a dense, distinctive film that, much like its titular character, has many secrets to uncover. Yet, even after one watch, the power of Blanchett and Field overwhelm and astonish.
4.
Oppenheimer – Oppenheimer took the world by storm this July and rightfully so. This is a colossal film, one that manages to capture the personal plight of its protagonist, while ruminating on humanity’s own, potentially fatal mistakes. At times Nolan makes us want to turn back the clock, bringing forth the horror of scientific discovery that feels emotionally overwhelming at points. All of it is punctuated by Murphy’s profound performance and an ensemble that aid him at every turn. Once it starts, Oppenheimer never stops, going at blistering pace for its entire three-hour runtime. Yet, even within this rapidity, Nolan makes everything clear, and the tension built between courtrooms, marriages and detonation tests become almost too overwhelming to bear. This is spectacle on a terrifyingly beautiful scale, with an ending that will remain one of 2023’s most memorable.
3.
Anatomy of a Fall - This is an enthralling piece about the complexities of relationships and the myriad of ways in which we are perceived by the outside world. Sharply penned by director Justine Triet and Arthur Harari, their story grows more complex with every passing scene, as revelations lead to engaging courtroom clashes. Sandra Hüller ignites as the imperfect widow. Her performance is instilled with misjudged self-assurance as her emotions unravel in the realisation of what her life appears to the public. Milo Machado Graner plays the tortured son Daniel, caught between two narratives of his mother’s life. He carries much of the film’s emotional weight, giving a remarkably powerful turn that stands out as one of the year’s best supporting performances. Every member of the ensemble is pitch perfect, making each line of dialogue all the more riveting, having you on the edge of your seat to see what they deliver next. With primarily only two locations and coming in at 2 hours and 30 minutes, Triet has made movie magic as all that time slips away through a captivating tale filled with secrecy and the realisation that even your own memory and perceptions may not in fact be the truth at all. Anatomy of a Fall is an instant courtroom thriller classic, layered, enthralling, unforgettable.
2. Killers of the Flower Moon - Killers of the Flower Moon is a rich tapestry of a film. One that encompasses a multitude of ideas and shines a light on one of America’s darkest and most shameful chapters. Where The Irishman was a statement on Scorsese’s life as a filmmaker and his mortality; Killers of the Flower Moon is his final statement on America’s true nature: ugly, violent, and greedy. Its subject matter is uncomfortably relevant, exposing mankind’s lack of self-reflection, as one character puts it, “This is just another tragedy. People will forget and no one will care.” Its trio of main performances, from Lilly Gladstone, Leonardo DiCaprio and Robert De Niro all give career best turns, showing us the banality and consequences of true evil. Scorsese triumphs with yet another profound and unforgettable ending. After twenty-five films, Killers of the Flower Moon may stand as one of Scorsese’s final films, but also the most important he has ever made.
All of Us Strangers – Andrew Haigh’s fifth feature film is nothing short of a masterpiece. Framed like a ghost story, enwrapped in a dream, All of Us Strangers is an absorbing look into the psyche of the lonely and the peculiar ways in which we deal with trauma. Haigh’s direction is controlled, layering this mystery with fraught romance, tender conversation and even tinges of psychological horror. Andrew Scott delivers a heart-wrenching performance, one where he reaches into the depths of the human soul to produce a performance that tears you apart by the film’s finale. Without question, Scott gives the best performance by a male actor this year. His supporting cast, consisting of Paul Mescal, Claire Foy and Jamie Bell, all rise to the complexities of their roles, giving new facets to Adam’s life, revealing truth as to his life and feelings. Every scene is essential here, building to a climax that brings this strange, uncanny film to a devastating conclusion. All of Us Strangers is cinematically powerful, one that leaves you in awe of the emotional might film can achieve.