My Favorite Movies Of The Year - Best Movies 2023
Happy New Year! Every day seems faster than the last, but that doesn’t bum me out as much as it used to. Suppose it’s better to live in the moment, as they say–whoever are they anyway? For many reasons, 2023 was an exceptional year, and I appreciate the couple hundred of you sticking around and reading my ramblings for the past year.
I’ve blogged to a certain extent since graduating college in 2020 and look forward to doing more of it this year and expanding to the video essay world. I hope to put more effort into this, and I have confidence I will. So, thank you.
Nevertheless, 2024 was an excellent year for cinema. I managed to see over 150 movies this past year, and while I saw a lot, I didn’t see everything, so if something notable isn’t on this list, it’s probably because I didn’t see it. So don’t get too upset with me! Regardless, let’s take a look.
Notable Mentions
Asteroid City
Barbie
Bottoms
John Wick: Chapter 4
Infinity Pool
May December
No One Will Save You
Oppenheimer
Passages
Spider-Man: Across the Spider-Verse
Talk to Me
The Iron Claw
The Killer
When Evil Lurks
Other Notable 2023 Movies I Still Need to See
All Of Us Strangers
American Fiction
Godzilla Minus One
Priscilla
The Zone Of Interest
AND SO MANY OTHERS! AH!
Best Movies Of 2023
10. Beau is Afraid
You’re probably aware of Ari Aster if you’re interested in film. His latest, Beau is Afraid, is a polarizing film, particularly regarding its scope and ridiculousness, but it worked for me on many levels.
Beau (Joaquin Phoenix), a mild-mannered yet paranoia-ridden individual, undertakes a surreal journey to return home for his mother's funeral, confronting his deepest fears throughout the odyssey. While that seems straightforward, if you’ve seen the film, you know that’s only the surface.
The first half features some of the funniest moments in film I’ve experienced, while the back half has a beautiful reflective metaphorical capability regarding relationships, abuse, and health. I’m glad it exists and look forward to seeing what Aster does next.
9. Dream Scenario
I’m here for the Nic Cage resurgence, and so should you. Dream Scenario takes a somewhat simple science fiction premise: What if a nobody—a middle-aged underachiever with a decent life—starts appearing in everyone’s dream?
While its darkly comedic aspects are remarkable, the film touches on tabloid culture, fame, and feeling stuck and aging out before accomplishing a personal goal or dream. I need to see more from Kristoffer Borgli because this really worked for me.
8. Saltburn
Similar to Beau is Afraid, Saltburn is very polarizing among audiences, and I’m not sure why. On the one hand, I know general audiences will find it too weird, while a good chunk of film fanatics will make it an easy target for trying too hard.
In early 2000s England, the movie traces the story of an Oxford University student who develops an obsession with an affluent fellow student within their college. Eventually, he receives an invitation to spend the summer at the eccentric family estate of his wealthy classmate.
Personally, I think it’s corny to want more art house films only to dunk on one because you gain an odd intellectual superiority complex. With that being said, I love Saltburn. It’s shot beautifully, has a deadpan script reminiscent of a Yorgos Lanthimos film, and has some of the most deranged scenes I’ve seen recently.
7. Killers Of The Flower Moon
Martin Scorsese is king. What’s not to say about Killers Of The Flower Moon that hasn’t been said already? It flows closer to a 2-hour film than a 3.5-hour epic, has an incredible cast, looks exquisite, and touches on a part of American History that’s often forgotten.
6. Fallen Leaves
Aki Kaurismäki’s Fallen Leaves is probably the biggest surprise from the year for me, given I didn’t know much about it or Kaurismäki. That ignorance is no longer a reality because this film is outstanding, and looking at Kaurismäki’s filmography, I need to dive into his work as soon as possible.
Running at a tight 81 minutes, set in Helsinki, Finland, the film follows two lonely hearts, Ansa (Alma Pöysti) and Holappa (Jussi Vatanen), who cross paths in a neighborhood karaoke bar.
Their journey toward happiness is hindered by challenges, ranging from misplaced phone numbers to struggles with alcoholism, all while a charming stray dog adds an unexpected twist to their story. It’s great. I can’t recommend it enough.
5. The Boy And The Heron
As I’ve said in my The Boy And The Heron analysis, Much like Scorsese is an icon in American cinema, Miyazaki is a master in animation and anime, with a career spanning since the 1960s.
His latest and possibly his last—though it’s reported he’s working on another—The Boy And The Heron is everything you could want from a Miyazaki film.
Mahito Maki, a young boy navigating the trials of the Pacific War, discovers an abandoned tower in his new town after his mother's tragic demise in a hospital fire. This leads him to unravel a mystical realm accompanied by a talking grey heron.
The narrative follows a traditional Oz-fantasy land structure, where the protagonist embarks on a journey through mythical worlds in search of something meaningful. It explores themes such as grief, relationships, family, and responsibility.
4. The Holdovers
In Alexander Payne's latest, The Holdovers, the spotlight is on three individuals, each grappling with depression and loneliness for different reasons, as they find themselves compelled to spend time together at Barton Academy during the Christmas season in the early 1970s.
These characters—unhappy teacher Paul Hunham (Paul Giamatti), rebellious student Angus (Dominic Sessa), and the head cook Mary (Da’Vine Joy Randolph)—are starkly different from one another. Yet, they share the common thread of being and feeling alone.
After watching it a few times, The Holdovers is a return to form for Payne and is easily the best Christmas film I’ve seen. Admittedly, there aren’t many holiday-oriented films I love, but this one checks all the boxes for me. It looks excellent, is acted well, and has the emotional overtones Payne is known for.
3. Poor Things
It’s official: Yorgos Lanthimos is my favorite contemporary filmmaker. Poor Things is astonishing on many levels, from its set design to the script and the respective performances by Emma Stone, Mark Ruffalo, and Willem Dafoe.
The film centers around Bella Baxter (Stone), a young Victorian woman who, having been roughly brought back to life by a scientist (Dafoe) following her suicide, escapes with a licentious lawyer (Ruffalo) to embark on a journey of self-discovery and liberation.
It’s absurd and hilarious while being deeply profound in areas like knowledge, growth, sexuality, independence, and so much more.
2. Past Lives
I can’t believe Past Lives is Celine Song’s debut because, my God, it is a masterful film. The narrative unfolds around childhood friends Nora (Greta Lee) and Hae (Teo Yoo), who share their formative years in South Korea and appear destined for each other.
However, their paths take a different turn when Nora and her family relocate to New York City. Years later, Hae rediscovers Nora on Facebook and FaceTime, rekindling their connection.
While the film has few surprises, its execution and universal relatability make it a consequential and memorable film. I suppose it serves as a reminder that we’re much more similar than we realize.
1. Anatomy Of A Fall
Upon seeing it at the theatre, Anatomy Of A Fall immediately shot up to the top of my list, and it’s my favorite of the year. Sandra Hüller takes the lead role as Sandra Voyter, a writer attempting to establish her innocence in the death of her husband, Samuel.
The narrative commences with the discovery of Samuel's lifeless body in the snow outside their home in Southeastern France, where he resided with Sandra and their 11-year-old son Daniel, who is blind.
As investigators dive into the incident, the unsettling verdict of a "suspicious death" emerges, leaving uncertainty about whether Samuel's demise was a result of suicide or foul play.
There are many ways this film could go—with much of it being a courtroom drama—but instead, it focuses on Sandra and Samuel’s relationship being zoomed in on in the public eye with a heavy focus on envy, accusations, and bitterness, coupled with infidelity and deceit. It’s remarkable.