2023 has been a rollercoaster year for cinema, not only because of all the “flopbusters” but also because of the many disappointments. However, there were still plenty of gems this year, so it’s time to rank the 10 best movies of 2023 (without having seen “The Zone of Interest,” as it’s barely in release). Let’s start with some honorable mentions:
- Are You There God? It’s Me, Margaret.
- Asteroid City
- Creed III
- Poor Things (super close to making the top 10)
- Teenage Mutant Ninja Turtles: Mutant Mayhem
10. May December
Director Todd Haynes’ study of manipulation and abuse is one of the most powerful dramas of the year. The film follows an actress named Elizabeth Berry as she shadows Gracie Atherton-Yoo for a biopic about the latter. At 36 years old, Gracie had sex with 13-year-old Joe Yoo, gave birth to his child, and later married him once he became an adult. Needless to say, “May December” tackles serious subject matter, and it does so with flying colors due to the layered screenplay and top-tier cast (although it suffers from a horrendously inappropriate and melodramatic score). The script explores the subject matter through multiple perspectives and illustrates how manipulation became addictive to not only Gracie but also Elizabeth, who will stop at nothing to achieve the best performance possible.
All of this is heightened by the stellar performances, namely Natalie Portman as Elizabeth and Charles Melton as Joe. Portman plays Elizabeth with an almost seductive artificiality, as Elizabeth doesn’t have her own personality, but rather personas used to obtain what she wants out of different people. Her performance is a masterclass in subtlety. Charles Melton is the heart of the film as Joe, delivering a deeply tragic performance as someone who never fully experienced a proper childhood and is still emotionally abused as an adult. Melton defies his massive frame with a pathetic and quiet demeanor that encapsulates all we need to know about Joe’s mental state.
9. Guardians of the Galaxy Vol. 3
Although 2023 saw the beginning of the end for superhero movies atop the disastrous sludge released by the MCU, James Gunn’s heartbreaking conclusion to his “Guardians of the Galaxy” trilogy broke Marvel’s losing streak. This is one of the most emotional movies of the year. Rocket’s origin is perfect tragedy storytelling. Although I knew the characters introduced in the Rocket flashbacks likely died before the present storyline, as I watched those loving creatures their deaths actually became surprising. My cynicism faded away and was replaced by empathy for Lylla, Teefs, and Floor. Beyond the Rocket elements, the present storyline is also incredibly well written, with all characters going on their own fully formed character arcs, most notably Drax and Starlord. Speaking of the latter, Chris Pratt’s performance as Starlord might be the best of his entire career.
“Guardians of the Galaxy Vol. 3” is a truly special superhero film, as it consistently emphasizes character and heart over action and universe-ending stakes. Plus, the movie contains one of the greatest villain lines in the history of cinema: “There is no God. That’s why I stepped in.”
8. The Iron Claw
While I don’t think “The Iron Claw” is the masterpiece many have claimed, it’s still a great and deeply tragic film about familial bonds, competitiveness, and unfulfillment. The film details the triumphs and devastations of the real-life Von Erich wrestling family, and I implore those who haven’t seen the movie or heard of the “Curse of the Von Erichs” to avoid the tempting Wikipedia search. The dark turns are absolutely gut-wrenching and best experienced without knowing about them going in. “The Iron Claw” is a deeply intimate look at these real-life figures, increasing in quality as the tone darkens, leading up to arguably the best movie ending of the year with the most heartbreaking monologue of the year, delivered by an Oscar nomination-worthy Zac Efron.
7. Mission: Impossible – Dead Reckoning Part One
Never doubt Tom Cruise. Once again, he has delivered an exhilarating film built on gloriously practical action. All of the action sequences are unforgettable, especially the sweat-inducing train car escape. Beyond the stellar action, this M:I installment is easily the most emotional and weighty. You feel the stakes in the drama, specifically because of the bold and absolutely correct choice of killing off one of the franchise’s staple characters. Additionally, the introduction of Hayley Atwell’s snarky thief Grace brought a welcome and surprisingly powerful character arc to this previously thrills-over-emotion franchise. Now, is Dead Reckoning better than Fallout? No, but arguably no action film reaches Fallout‘s heights. It’s incredible how this franchise has consistently maintained such a high level of quality, and I have full faith in Cruise and company to deliver once again with the eighth film.
6. The Killer
David Fincher’s “The Killer” follows a precise, sardonic, and rigorous assassin — essentially, Fincher if he was a mercenary instead of a filmmaker. Fincher does psychological thrillers better than any director, and he proves that once again with his latest film. Michael Fassbender is excellent as the unnamed titular character, somehow both gentle and unsettling at all times. He has very little spoken dialogue, and instead we hear his inner-monologues throughout the film in which he comments on his strategy, rules, and beliefs. This is an incredibly sick-minded character with no moral code, yet I could never take my eyes off him. While some might find “The Killer” monotonous because it’s simply two hours following the routine of an assassin after a job gone wrong, I thought it was endlessly engrossing.
5. BlackBerry
With the most riveting and anxiety-inducing screenplay of the year, writer-director Matt Johnson delivered a phenomenal satire on big tech in his movie about the rise and calamitous fall of the world’s first smartphone. “BlackBerry” certainly takes inspiration from previous tech biopics like “The Social Network” and “Steve Jobs,” but due to its accelerating pace and comedic edge, it stands out. The film shines brightest in its third act reminiscent of the chaotic finale of “GoodFellas,” when the characters pay for their impulsive mistakes in an explosive everything-goes-to-hell conclusion. Of course, no discussion of “BlackBerry” is complete without mentioning Glenn Howerton’s work as vicious co-CEO Jim Balsillie, which is my favorite performance of the year. Howerton is hilarious with his animalistic rage and irritated one-liners (“Thirst is a sign of weakness.”), but also quite pitiful. Ultimately, this is a character who makes all of his decisions based on revenge and a constant need to prove himself. Yes, Howerton’s performance is incredibly loud, but more importantly there’s an insecurity beneath his glaring eyes during the quiet moments which produces a simultaneously sympathetic and despicable character.
“BlackBerry” is an exhilarating film that deserves way more attention than it’s getting, so if you haven’t seen it, please do.
4. Air
Is “Air” the dad movie of the year? Yes, but so what? Despite being about the creation of a basketball shoe, which sounds like a mind-numbingly boring premise, “Air” is supremely entertaining and uplifting due to an incredible screenplay, wonderful characters, snappy dialogue, passionate direction by Ben Affleck, and lively performances across the board. “Air” has plenty of soul, far more than 95% of movies released nowadays, and in effect it’s impossible not to fall in love with. I don’t always need my movies to be heartbreaking or thought-provoking or boundary-pushing — sometimes I need a fun, well-executed pick-me-up that I can watch over and over again. That’s exactly what “Air” is.
3. The Holdovers
“The Holdovers” is undoubtedly the most heartwarming movie of 2023. As usual for director Alexander Payne, this film is entirely character-based, similar to classic 1970s/80s movies. In fact, “The Holdovers” is filmed and recorded to feel straight out of the 1970s (which is also when the movie takes place) on a technical level. Paul Giamatti gives a career-best performance as pretentious curmudgeon Paul Hunham, a teacher left to watch over a handful of students (the holdovers) at a New England boarding school during winter break. Over the course of the film, Hunham bonds with the snarky trouble-making student Angus Tully (played by Dominic Sessa in his film debut), as well as school head chef Mary Lamb, a mother mourning the death of her son in the Vietnam War. All three leads are written and played to perfection. The script is witty and emotional, built on incredibly detailed characters who I could watch for ten more movies. While Giamatti and Sessa share the bulk of the screentime and humor, the standout is Da’Vine Joy Randolph as Mary, who balances a warm maternal energy with a somber core. It’s utterly impossible not to fall in love with these characters, and I can see “The Holdovers” becoming a Christmas classic.
2. Oppenheimer
“Oppenheimer” is the culmination of Christopher Nolan’s entire career. The film features Nolan’s usual techniques like the non-linear storytelling and bombastic music, yet unlike most of Nolan’s work, which pulls off some techniques and fails to pull off others, “Oppenheimer” nails all of them. In fact, it fixes my issues with Nolan’s previous films, namely the lackluster dialogue and overbearing score. This is easily Nolan’s best screenplay, coupled with his most gorgeous and disturbing direction (particularly during the haunting gymnasium scene).
Nolan crafted an immensely compelling, flawed, and layered portrait of J. Robert Oppenheimer, fearless enough to emphasize the gray areas in Oppenheimer’s beliefs. Nolan doesn’t shove any messaging down the audience’s throat, and instead leaves most questions up to interpretation. All of this film’s brilliance is propelled by an astounding Cillian Murphy, who gives the year’s finest performance as Oppenheimer. No actor has eyes like those, and he utilizes them perfectly. Oppenheimer was nuanced in the script, and even more nuanced in the performance. Murphy plays the character with the proper stoicism and ambiguity, never falling into the flashiness trap. Overall, “Oppenheimer” was a stunning accomplishment that deserved its monumental success, and it has to be the defining film of 2023 at this point.
1. Past Lives
I’m astonished that this is Celine Song’s feature film debut, because “Past Lives” is a revelation. The movie follows a Korean-Canadian immigrant named Nora who was wrested apart from her childhood love Hae Sung back in Korea. Now living in New York City with her Jewish-American husband Arthur, she reunites with Hae Sung in-person after 24 years of separation.
Realism is the key to “Past Lives.” Each of the three central characters are entirely grounded in reality, never behaving childish or melodramatic, amplified in their believability by the flawless dialogue. They just feel like real people talking, and that type of dialogue is the hardest to accomplish. “Past Lives” is never a love triangle, and not even much of a romance either. It’s really just a simple three-character drama about lost opportunities, and a reflection on if we’re meant to be who and where we are. Would Nora have married Hae Sung if she stayed in Korea, or would they have broken up anyway, only for Nora to marry Arthur? The film asks burdensome questions about life choices we can all relate to, and it has kept me reflecting on both the characters and myself ever since I first saw it. “Past Lives” is wholly unique, and the most poignant and thematically rich film of the year.