Well, here we are, the end of yet another year for cinema, and 2023 has been an interesting one to say the least. While beset by the large strikes from actors and writers along with an onslaught of box office flops, as far as the quality of films being released goes, I'd honestly say this has been a very strong line-up. When it comes to the post-pandemic years, this has easily been the best in my opinion, with so many highly anticipated releases living up to their high expectations, so many surprises coming out of nowhere, and not that many disappointments. So, let's take a look at what I consider to be the ten best of 2023!
But before that, some honourable mentions:
Air - never in a million years would I have thought that I'd enjoy a film about the development of a sports shoe, but this true story was a feel-good and insightful watch with great performances from Matt Damon and Ben Affleck among others.
Asteroid City - Wes Anderson at his most Wes Anderson-ish, with all the delightful deadpan humour, immaculate craft, and ocassionally overly self-indulgent storytelling we've come to expect from him, which I've slowly started to find more enjoyment in.
Scream VI - a new entry into a franchise I've recently taking a liking to, and one that maintains the twisty-turny fun and doesn't feel repetitive or tiring despite sticking to the same, ever-reliable formula as all its predecessors.
Barbie - one of at least two films that everyone on the planet saw this summer, which undoubtedly succeeds as a crowd-pleaser with some excellent production values and hilarious performances, even though it's a bit muddled on the more artistic side.
Chicken Run: Dawn of the Nugget - a very enjoyable, albeit considerably less memorable, sequel to one of my all-time favourites, with beautifully tactile stop motion animation and plenty of terrific gags that had me chuckling and grinning the whole way through.
It's also worth mentioning that there are a lot of notable releases from this year that I haven't seen, many of which probably would've made this list. Some are for the simple reason that they haven't had their UK release just yet, such as The Holdovers and Poor Things, but there are others from earlier in the year that I haven't caught, such as Teenage Mutant Ninja Turtles: Mutant Mayhem, Past Lives, Bottoms, Saltburn, and May December. If it seems like there are some glaring exclusions on the list, it may well be for this reason, but I do have a full 2023 ranking over on my Letterboxd account along with reviews of most of the films on there, so go and check that out if you're especially curious. Anyway, let's get started!
There's usually one film on my top ten of the year that I went into with hardly any expectations yet ended up loving, and for 2023, I believe Sofia Coppola's Priscilla suitably fills that role. A biopic about a real-life figure I knew nothing about, but one with a story I found absolutely fascinating. What unfolds here is an uncomfortably natural transition as a young and starry-eyed girl initially living the dream life becomes a mature woman who realises the lack of any true fulfillment in what she has. This is brought to life by an excellent lead performance from Cailee Spaeny, who subtly conveys the growth of the titular character over the course of the runtime, aided by some very clever use of hair and make-up. The film is somewhat let down by feeling more like an ordinary recounting of events than a nuanced introspective piece; I couldn't help but think about 2021's Spencer and the more unique approach to balancing history and character study seen in that film, which might have benefitted this. Still, a thoroughly engaging watch and one that I'm very glad to have seen. It's also a better Elvis film than Baz Luhrmann's Elvis from last year in case you were wondering!
9. The Creator
Without a doubt, the most underrated film of 2023. From its weak box office earnings to its lukewarm reception with critics and audiences, The Creator absolutely deserved so much better. Yes, we've all seen films tackling AI before, and I'm sure we'll see a lot more as anxieties surrounding such in the real world are at an all-time high, but this took a far more thoughtful approach to the subject matter than I expected it would in the current climate. It could have simply been critical of the technology and given audiences reassurance that humanity will always prevail against it, but it was instead more interested in questioning the latter's role in this supposed conflict and highlighting how it might be us and our attitudes that need to change in order for a bright future to lie ahead, a sentiment that extends beyond the specific topic at hand. Sure, it conveys this by borrowing many elements from existing works such as Apocalypse Now and Blade Runner, as well as relying on some additional overdone tropes, but I feel like it was overall a very distinct approach, and arguably an important one for this specific moment in history. On top of that, the execution is very elegant with some gorgeous spectacle to take in (despite somehow only costing about $80 million), and to see a completely original film on this scale with such high artistic
aspirations is something I can't help but appreciate. In my
opinion, it succeeds in most of what it sets out to do, so if you didn't see this on the big screen (which you probably didn't) definitely give it a go.
8. John Wick: Chapter 4
The John Wick films are ones that, up until earlier this year, had been sat on my back-burner for ages. As the fourth entry approached, it only seemed right to finally kick them off the watchlist and hop on board with this franchise that everyone seems to love, and I'm ever so glad that I did! These films are brilliant, and the fourth is no exception. It's not the best, but I love just how much it felt like a natural evolution of what's come before. We began with a tight, small-scale piece that was deliberately insular in its scope, and now we have a huge, long, all-round epic picture, with grand action scenes that left me in awe, and a surprising amount of thematic and emotional depth as the ending rolled around. It does perhaps go on for a bit too long for it's own good, with a couple dull stretches throughout, but as the conclusion to one of the coolest franchises to emerge out of the last decade, it more than did the job.
7. The Boy and the Heron
I only got into the wonderful world of Studio Ghibli during the pandemic, and by that point, their reduced amount of new content lead me to believe that I wouldn't be present as a fan for any new releases from them. But, three years later, not only do we have another new film from them, but one by the legendary Hayao Miyazaki, which was a pleasure to go and see at the cinema. As is the case with many renowned directors returning this year, The Boy and the Heron sees Miyazaki going all out with what we know him for. The narrative and visuals echo many elements of his previous films, be it the discovery a fantastical new world reminiscent of Spirited Away, the cuddly creature designs of My Neighbour Totoro, or the intimacy and terror combined with a World War II backdrop as seen in The Wind Rises, all of which make the film feel like a true amalgamation of everything Miyazaki. But, beyond that, it boldly takes a step back and ponders exactly what the films within this man's career represent, asking whether they actually are meaningful and impactful works of art as many of us believe them to be or just frivolous and trivial as the general stigma towards animation would dictate, as well as if what merit he has accomplished will persist as new artists take his place or if he is obligated to continue as much as humanly possible to ensure that it will. There's definitely more to the film than just that angle, but its place as a thoughtful meditation on legacy and the desire for meaning / value in what one does with their life is what stood out to me the most. Being a more intellectual piece, it doesn't quite reach the highs of films like My Neighbour Totoro or Spirited Away, whose more emotional stories came across as far more engaging and compelling, but there's nonetheless a lot to say about The Boy and the Heron, arguably more than those aforementioned films. I plan on revisiting this many times as it is extremely dense and I'd love nothing more than to unpack all that it has to offer. He's claimed to be retiring many times in the past, but if this truly is Miyazaki's final film, I believe it is the most perfect note he could possibly go out on.
6. Guardians of the Galaxy Vol. 3
Like many people, I've started to lose interest in the MCU in recent years. What was once one of my favourite ongoing franchises where each instalment was something to look forward to has devolved into a monotonous series of increasingly uninteresting films and bloated TV shows. But, as I prepared to call it a day with being a fan, they went and delivered an absolute banger, that of course being... Loki Season 2. Only joking, it's Vol. 3 of course (though Loki was great too). As the third and final film with the beloved Guardians, the characters whose first outing helped me get into the whole franchise in the first place, this was basically everything it needed to be, disregarding the nonsense going on elsewhere in this universe and purely focusing on making an exciting, funny, and emotional adventure with characters we all love and care about. I laughed, I smiled, and I was even brought to tears, a feat that very few other films have accomplished as I am not an easy film crier at all, especially when sat in a cinema. I can't say this has brought back my enthusiasm towards the MCU as it's more just given me further reason to move on now that most of my favourite characters have had their stories wrapped up, but I hope that Marvel can look at the success of this film relative to their other flops from this year and perhaps learn a lesson or two regarding what they ought to do next. Then and only then might they reach the heights of their glory days again, but I can't say I'm holding my breath for that moment.
5. Killers of the Flower Moon
If you're a long-time reader of Cinema Chat with Jack, you may remember back around 2019 when I mentioned how I found Martin Scorsese's The Irishman quite a tough film to sit through despite how I could recognise many obvious merits. Coincidentally, around the same time, I cited Avengers: Endgame as my favourite film of that year. Well, four years later and we've reached a point where I'm losing interest in Marvel and a new, three and half hour Scorsese picture is in the top half of my ten favourite films of the year. If that ain't character development, I don't know what is. I've recently become a fan of this master of modern cinema, loving films such as The Departed, Shutter Island, and Gangs of New York, so I was very excited for Killers of the Flower Moon, and it was unsurprisingly brilliant. What a fascinating yet deeply horrific story this is, conveyed so masterfully in every way. So many shots and sequences are nothing short of mesmerising, from the hypnotic, blurry imagery of men against a firey backdrop, to the chilling aftermath of a bombing as seen by the man partially responsible for such. All the acting is expectedly compelling, the score is atmospheric and easily my favourite of the year, and despite having such an extraordinary length, I can't say I was every bored or that it dragged for me. Marty really is one of the best filmmakers of all time, and the fact that he's still active and allowed to make films on this scale is just awesome. Needless to say, I'm glad to have reached a point where I enjoy his work more, and I've definitely got to watch everything else he's ever made!
4. Oppenheimer
Well, here we have another dramatic, epic picture based on real life from one of the best filmmakers working today. You've probably seen or at least heard about Oppenheimer; the way this and Barbie dominated the pop culture discourse back in July was so cool to see. I mean, yeah, the phenomenon they spawned definitely isn't something we'll see repeat itself any time soon and probably isn't indicative of anything concrete regarding the future of cinema, but it was at least neat to have a time where two original films created such infallible enthusiasm while so much standard blockbuster fare releasing around them did barely anything of the sort. Oppenheimer is easily my favourite of the two, giving me one of the best cinema experiences... EVER! I was able to see this in 70mm at the BFI IMAX on opening day in a huge crowd, and spent three hours completely and utterly transfixed. As a Nolan fan, it was basically everything I wanted. Non-linear storytelling that was extremely satisfying despite its density and overwhelming intricacy, dazzling and stellar visuals to take in, and the exploration of many thought-provoking ideas, leading to an ending that, despite being downright haunting in its implications, left me giggling with excitement at the brilliance I'd just witnessed, as most Nolan endings do. Seriously, that man knows how to finish his films better than anyone else, and this is just more proof of that. Is it my favourite of his? No, The Prestige and Inception are definitely still comfortably above it for me, but given that I've only seen Oppenheimer once and am yet to even begin dissecting and fully comprehending everything it has to offer, I can imagine it potentially becoming formidable competition for the top spot with time. Obviously citing Nolan as a favourite director is one of the most basic opinions a film-lover like myself can have, but when he puts out stuff of this calibre, I think that's easy to see why.
3. Spider-Man: Across the Spider-Verse
Spider-Man: Into the Spider-Verse completely changed the game for animation back in 2018, doing for stylised, unique, and inventive aesthetics what Toy Story did for computer animation all those years ago, and since its release, we've seen countless films build on what it brought to the table in their own ways, such as last year's Puss in Boots: The Last Wish and Entergalactic, to name a few. But, this year, the king made its triumphant return in the form of a sequel with Across the Spider-Verse, and it somehow managed to shatter expecations all over again. I know everyone has talked about just how unbelievable the animation is here... but like, that fact really cannot be overstated. I don't think I've ever seen a film quite as visually breathtaking as this, especially with its use of colour, which was absolutely masterful. But, that's not all there is to the film, as it's just as satisfying narratively and thematically as it is visually. The story naturally progresses things in following on from the original, with revelations and twists that feel so organic to the point where I'm convinced they were all planned out from the start. Plus, it tackles some admirably bold concepts, with Miles realising his place within the universe beyond his own surroundings and coming to terms with the extent of how much his place matters in any way, something that's fascinating to generally think about as much as it is to see articulated in a film. It's also nice to see Gwen have more focus, she's another really compelling character, and I love that this is just as much her film as it is Miles'. Many have criticised the ending for being too abrupt in leading into a direct sequel, but I honestly didn't mind it so much because the film gave me so much to adore up to that point that I felt sufficiently fulfilled instead of wanting more, although I will say it doesn't do the whole 'part one' schtick as well as the next entry on this list. It seems like it'll be a long time until we see Beyond the Spider-Verse given the extreme workload that this film's crew struggled to endure just to get this one released on time, but I will gladly wait as long as necessary for it because they've already given us two of the best animated films and superhero films of all time, and the one that ties everything together and forms a trilogy deserves to be the absolute best it can be.
2. Mission: Impossible - Dead Reckoning Part One
OH YES! Tom Cruise unexpectedly snuck into my top ten of 2022 with Top Gun: Maverick, and he's only gone and done it again here. Similar to John Wick, the Mission: Impossible series is one I wasn't all too familiar with for the longest time, as I'd only seen one or two of the recent entires but didn't really have a feel for the overall franchise. So, back in July of this year, with a new one on the near horizon, I watched all of them over the course of a week, and I have to say, what a spectacular set of films this is. It has everything that a mainstream film franchise nowadays should aspire towards, with no feeling of repetition across any of the films despite their broadly similar narratives, a sense of experimentation through different filmmakers and unique styles being given a chance to shine before the series found its footing, and each instalment being treated as a standalone piece that anyone can enjoy while also serving as a satisfying piece within a larger story, as well as not having an excessive intermedia presence beyond cinema. Over time, it's just kept getting better, and Dead Reckoning Part One honestly might be my favourite of them all. It goes without saying that the action is truly remarkable and reaches levels of tension I frankly never thought were possible, but I think what's more noteworthy is that such is only enabled because of the story having more depth than any previous entry. The danger this time around feels more real than ever before, and we see such a different side of these characters as they're at their most vulnerable, thus increasing our desire to see them succeed more than ever. What's also impressive is that, even in overtly being the first part of an overarching narrative shared by the next entry, it somehow retains the self-contained sensibility that defines each film in the Mission: Impossible franchise. By the end of it, I was the perfect mix of fulfilled from what I'd just seen and eager to see how it will continue, more so than other cliffhanger endings like those in Spider-Verse or Dune. Additionally, it's another very long film that just went by in a flash, as I had such an amazing time with it. Of all the box office disappointments we saw this year, Dead Reckoning's is easily the most crushing. It's so unfortunate that it was given such a dodgy release window merely one week before Barbenheimer entered the mix, as in my opinion it's a better film than both of those, even if its place as another instalment in an ongoing franchise is less attractive. Nevertheless, Dead Reckoning Part Two is on the way, and I will absolutely have the release date marked in my calendar once all is confirmed!
1. Rye Lane
When it comes to the films I have listed as my favourite of each year, it's usually something that's, against my best wishes, quite a generic choice. In 2021, it was Spider-Man: No Way Home, a massive event film that everyone was raving about at the time. In 2022, it was Everything Everywhere All at Once, a widely acclaimed hit that went on to be a winner of many awards. I don't really like it when this is the case as, even though I can't help it, I feel like it makes my lists a bit uninteresting. But this year, I feel like I finally have a somewhat unique choice for the top spot, and for that I could not be happier! Rye Lane is the biggest surprise of the year, a film that has absolutely no right being as clever, funny, charming, subversive, creative, heartwarming, and all round wonderful as it is. The romantic comedy is a genre I generally have little to no interest in, but this put such a fresh spin on it with two loveable leads, too many funny interactions to count, and a ton of memorable creative flourishes. Plus, it has some aspects that hit quite close to home for me personally, namely in its depiction of London, which might be my favourite version of the city that I've seen on-screen. I've lived in London almost my entire life, and while I'm unfamiliar with the specific area that the film takes place in, so much of it is reminiscent of places near where I live, and it captures the essence of them really authentically. No reliance on overused iconography or anything, just everyday surroundings inhabited by down-to-earth people. But, instead of being miserable as many slice of life depictions of London often are, such as your average kitchen sink drama, Rye Lane is so refreshing because it's the exact opposite! It recognises that there's enough doom and gloom in the real world and that films can allow us to see things a different way. It's lively, it's upbeat, it shows how colourful and vibrant the everyday world of London can be as its two protagonists navigate their way through many sides of it, and I love the film so much for that. I have mixed feelings about London overall, but this is a pleasant reminder that there's so much to love about it at the end of the day. On top of that, at a time when it feels like every film is three hours long, this manages to do so much in only eighty minutes of runtime! I don't mind a long film when it's done well, as seen by many entries on this list, but I think it's more admirable to see a film accomplish a lot in a short space of time, and Rye Lane is a model example of this. It's just an absolute joy of a film in every way, and I left the cinema with a right skip in my step after seeing it. While I'm not entirely sure if I prefer it to the likes of Mission: Impossible and Spider-Verse, I think it's absolutely worthy of the top spot because it's something I want to see more of. I want to see more short and sweet and, most importantly, original pieces with a distinct take on an otherwise fairly stale genre or series of tropes, more so than I want to see more of anything offered by the other best films of 2023. And, if they can give me a couple heartfelt laughs and smiles along the way, that's a more than welcome bonus in my book!
Well, there you have it. What a wonderfully varied and all-round brilliant selection we have this year! As mentioned, say what you will about 2023 in film overall, but I don't think I can deny that it's given us some absolute gems that I'll be thinking about and revisiting for many years to come. Speaking of years to come, let's take a look at what the next twelve months hold and highlight my most anticipated films of 2024:
Argylle - Matthew Vaughn is back, let's hope he makes another banger
Dune: Part Two - we've waited long enough so it better be good
Kung Fu Panda 4 - not particularly excited but Dreamworks have surprised me in the past
Kingdom of the Planet of the Apes - not sure if needed but looks pretty solid
Inside Out 2 - also not sure if needed but looks... like something
A Quiet Place: Day One - I love this franchise, I'll eat up any more of it
Deadpool 3 - only one MCU film this year? Probably for the best
Joker: Folie à Deux - I heard this is going to be a musical... I love musicals
Paddington in Peru - oh how I've missed this lovely little bear
Gladiator II - he let me down this year, but hopefully Ridley doesn't with this one
Nosferatu - yet to see the original but will absolutely see what Eggers has cooking
