For the first time (as far as I can recall), I am composing a top ten list as this is the first year in which I feel that have seen almost all the films likely to compete for a spot. I have seen and reviewed a total of 82 new films this year, of which 49 were released in the UK this year (that being the qualification criterion, although QuickViews identify films by the year of first release worldwide). The notable omissions are She Said and Smile; I am also due to see an advance screening of The Whale tomorrow, though it would not qualify since its general release is not until February 2023. Ratings for 2022 ranged between 2 and 10, although the average score was a respectable 6.8, bearing in mind that generally I am selecting films I expect to enjoy. The year’s worst was Moonfall, though it only narrowly beat Russell Crowe’s Poker Face to that ignominious victory.
On to the good stuff. I will link each of the Top 10 to their respective QuickView, but with some additional comments. This post will cover the honourable mentions and #10-6, with the top 5 to follow tomorrow.
This year’s best animation was Guillermo del Toro’s stop-motion Pinnochio, which outstripped Pixar’s middling offerings of late. There were a number of pleasantly surprising actions films, including a colourful and creative adaptation of the Japense novel Bullet Train, a reimagining of Prey that transported the sci-fi franchise back 300 years to a Comanche Tribe, and the heartfelt and poignant Top Gun: Maverick. There were also several horror standouts with X (which introduced me to Jenna Ortega before her excellent incarnation of Wednesday) and the high concept Hatching from Finland, which just missed out on a top 10 spot.
My opinion of Living has only improved in the months since its release, through discussing it with others and through the way Nighy’s quiet performance retains such potence. I still consider Ikiru to be the superior film, but I may have been unfair to Kazuo Ishiguro in describing his adaptation as “slavishly faithful” since he has injected something of his own style into the material as well. Its message about living life meaningfully also has a personal significance to me this year (and indeed to this post), as I have transitioned to a four-day working week. That change is what has afforded me greater time in the second half of the year to spend in darkened cinemas and writing these reviews.
Not a single Marvel film made the top ten list as Phase 4 of the MCU continued to underwhelm, but a DC comicbook movie outshone them all. The Batman fell outside of the divisive “Snyderverse” and before James Gunn took the reins in a shake up of DC’s cinematic future, which allowed Matt Reeves to carve out his own style for the Dark Knight unburdened by wider franchise concerns. Admittedly to my eye much of that style came from The Crow, but the result was the most compelling incarnation of Gotham since Tim Burton’s take on the city. Robert Pattinson has already ably proved his acting credentials but I was still pleasantly surprised by his turn in the cowl. Whatever DC’s future plans, I hope this world will not be sacrificed.
Rian Johnson reportedly hates the “Knives Out” tagline being attached to Glass Onion as he wants them to be seen as standalone mysteries like Agatha Christie’s novels. I described Knives Out as feeling theatrical with its constrained setting and by contrast the island resort of Glass Onion feels cinematic in scope, though as a mystery it is equally tightly controlled. It stands well above the other whodunits released this year, largely as Johnson continues to play with the form rather than simply replicating it. And let us not forget it also provided the Christmas gift of a delightfully idiotic Ben Shapiro twitter rant complaining that a mystery film “misdirected” him in the first half!
I was almost a year late to Belfast, Kenneth Branagh’s ode to his youth. With a US release in 2021, it already scooped a writing Oscar at the start of the year for Branagh, whose well-observed family drama within a coming-of-age tale is understated yet compelling. As an unabashed crowdpleaser, it treats the Troubles (to this day a masterpiece of British understatement) as a backdrop rather than its focus, which could certainly be viewed as an overly nostalgic take on a dark period in Northern Ireland’s history. However it does accurately reflect the naive childhood perspective that it seeks to portray.
The year’s biggest Bollywood release is a rousing revolutionary fantasy which delivers its message against colonialism but has been deservedly scrutinised in its reinforcement of an oppressive caste framework. It is nevertheless one of the most creative action films of the year, and one of the most entertaining. It also reminds me that — whilst I enjoy and advocate for world cinema — I do have a tendency to overlook cinema from the South Asian subcontinent despite my own heritage. It is something I intend to rectify next year, particularly as streaming services make many of those films more accessible than ever. Readers are encouraged to hold me to account (or provide recommendations in a less aggressive manner!).