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Inevitably Triggered by the Oscars
JUST WHO THE HELL IS OSCAR and what gives him the right, anyway? Appropriately, no one really seems to know, which is just one more puzzle piece in a historically incoherent and frustrating ceremony that awards Green Book over Blackkklansman three whole decades after honoring Driving Miss Daisy in place of Do the Right Thing. And yet no matter how hard I try to boycott, I can’t resist getting incensed and contributing to the dialogue every year. It is my great weakness, so please just indulge me this one entry.
But enough of that—celebration is the key! Much like the musical output, what a year of incomprehensible quality. I have let it simmer since leaving the theater after Perfect Days, but I think it is probable that 2023 was the best my favorite year for movies this quarter-century; and had Dune: Part Two not been delayed by the writer’s strike we could be talking all-time stuff. 2007 and 2017 present worthy cases, but never have I seen so many 10s in a calendar year across such diverse genres and talent.
Before the Boomers came for Facebook, I used to post my top ten there and it was always fun to look back on, so I figured I’d memorialize it here instead. Like my favorite music of the year they’re unranked, but I did break them into two tiers. I also included my ten favorite “old but new for me” flicks from the year as an epilogue for those so inclined.
As a contextual note, I have yet to see Anatomy of a Fall, May December, or Maestro (I guess?)
BUT WHERE ARE THE TUNES? hit the archive, big dog.
Tier 2: “Any Other Year”
Asteroid City
Where to Watch: Prime Video; wait for the inevitable Criterion 4K
The first of two movies more or less about the fear of mass destruction and the unknown; think we’ve got collective anxiety?
Every time I see a trailer for a new Wes movie I think he’s finally run out of ideas until I see it and realize he’s getting increasingly experimental and taking plenty of chances.
I get the fatigue with his style, but fuck—production design, cinematography, and editing all deserved a nom, as did Jarvis Cocker’s phenomenal “Dear Alien (Who Art in Heaven)”. At the very least should’ve earned accolades for making Jason Schwartzman a rugged stud.
The man truly understands how to make the most of Jeffrey Wright’s legendary cadence and diction to hilarious ends.
Very offputting xenophobic alien design everyone loves is a bit unsavory—esp. after the disastrous politics that was Isle of Dogs—but I could be reaching.
Spider-Man: Across the Spider-Verse
Where to Watch: Netflix, but there’s no way they do it justice. Gotta 4K this one.
The year of the Schwartz continues!
It’s a real bummer that this one is tainted by reports of grueling working conditions, especially since it paid off…every frame of these movies is an art piece.
In a landscape oversaturated and burnt out on superheroes, let this be the only series; I have felt ‘this is really all I need’ after leaving both.
Was worried in the first half hour that they were going to just playback the hits of the first movie, but I never should have doubted: somehow even more ‘out there’.
Only superhero property that threads the needle between mature, Shakespearean drama and giddy childlike entertainment.
Typically hate the American ‘let’s cast celebrities’ approach to voice-casting, but everyone here is tremendous.
Downright silly Daniel Pemberton wasn’t nominated for his score—he is becoming a favorite.
Don’t miss these on the big screen when the opportunity arises.
Oppenheimer
Where to Watch: Peacock, hilariously, but you get the theme here—physical media is king.
Proof Nolan should never film an asinine, original screenplay again but instead stick to historical (fiction).
Technical feats are undeniable and the cast is brilliant, but still plagued by infamous ‘Nolanisms’—beating you over the head with a replayed, thematically-resonant scene, paper-thin damsels in distress, and unintentionally hilarious moments like Einstein emerging behind that cab at night which still cracks me up just writing this sentence.
Speaking of ensemble, thrilled Krumholtz (and Cillian) are getting well-deserved love.
Would sit better with either of the following two conditions: 1) given he went for the R-rating, wish he went further into the horror of the aftermath i.e. that phenomenal scene where he’s giving the speech at the rally or 2) took Spike Lee’s suggestion of closing with a montage of the lasting impact on the Japanese people which will forever be unfathomable. I thought his use of that technique in Blackkklansman was devastatingly effective.
Outlaw Johnny Black
Where to Watch: some app called Hoopla—don’t get no respect round here!
The Anti-Django that demands the same recognition.
As disappointingly buried as this film was, an absolute dream that it exists and further proof Michael Jai White deserves a bigger audience.
Was worried in the first act that it was going to seriously pale in comparison to Black Dynamite! as a light spoof only for it to shockingly surpass it; never should’ve doubted the man. Takes massive swings that don’t all hit, but the Gestaltian whole knocks it out of the park.
I expected and counted on it being funny and for MJW to impress with his physical feats and slapstick humor, but I did not anticipate in any way the genuinely poignant and societally profound end-result.
I remember reading years ago that he wanted to maintain the Black Dynamite! ensemble in the vein of Monty Python and am thrilled there are so many returning faces: Byron Minns and Tommy Davidson are such phenomenal character actors and Kevin Chapman continues to be the perfectly shady blaxploitation throwback friend/foe. Newcomers and cameos are also fantastic.
The Holdovers
Where to Watch: Peacock—unexpected leader in the clubhouse thus far.
This one surprised me. Was anticipating a run-of-the-mill coming-of-age story (and it still sort of is), but the actors and narrative twists elevate it well beyond standard fare.
Production, set, and costume design deserve their flowers.
Giamatti’s best in years, possibly ever, and the kid is good.
Da'Vine Joy Randolph is a worthy winner but I think her character could’ve been pushed more and she obviously has the chops for it. Taking this moment to pour one out for the travesty that is Penelope Cruz not even sniffing a nomination for her telenovela brilliance in Ferrari which wasn’t as mid as I anticipated.
“It's this one. This is the one you should look at.”
Tier 1: Nuffin’ but 10s
Perfect Days
Where to Watch: Available to rent—must see in theaters if it’s showing by you.
More like Perfect Movie ammiright?
Physical Media, the movie. Saying more with less, the movie.
First of two 75+ y.o.’s casually delivering what could be the best in their filmography.
Koji Yakusho my should-be Best Actor but not even nominated smh.
Hysterical, profound, gorgeous, deeply moving—left wanting nothing!
Should I just start cleaning bathroom stalls?
The Boy and the Heron
Where to Watch: Surely will be on the eminently unworthy Max, but can still catch on the big screen in some places; may even be worth waiting for the inevitable Ghibli festival in a town near you (subs, not dubs, mind you).
Glad this came out the same year as Oppenheimer.
Still blown away thinking about this movie. Legitimately unsettling in Lynchian form, true to the Miyazaki way, poignant AF, filled with gray-area complexities and ethical quandaries, and of course just gorgeous and entrancing to look at.
Despite the rich complexity of the story, the animation may be the most impressive thing here; I remember some vistas feeling thick in a Van Gogh-sense; felt like paintings more than his previous work.
I can only imagine the rewatchable payoff, but the big screen was essential. And while I’ve heard the dub-cast is acceptable, you just can’t recreate the magic, humor, and pained wisdom of those elderly characters in their original language.
KOs Marty in the Octogenarian celebrity deathmatch.
The Zone of Interest
Where to Watch: Available to rent, but my god, as necessary a big screen watch as anything else this year, if only for the sound.
Projector isn’t broken.
Glazer one of the handful of truly experimental filmmakers we have left. Can’t think of anyone who viscerally manipulates sound as a device as well as he does.
A masterclass in framing and perspective. Deft approach to tackling suffering without exploiting it.
Closing sequence is the kind of brilliance Oppenheimer was missing.
You, Man? Human???
Can go on and on.
Hard to imagine another movie on this topic.
Beau is Afraid FKA Disappointment Blvd.
Where to Watch: This would be relegated to Paramount+ and Showtime, le sigh. Waiting and hoping for the 4K treatment Uncut Gems and The Lighthouse rightfully received.
Talk about experimental… I don’t think I saw a more original film this year. My Best Original Screenplay in years. To that end, the Award for Most Poorly Advertised and Misunderstood goes to… A24 uncharacteristically dropping the ball, esp. whoever was responsible for the name change.
Enjoyed parts of Hereditary; loathed Misommar; shocked to discover this is an instant classic.
Unexpectedly fucking hysterical; did not anticipate the mindblowing allegorical connections to Big Pharma either (fear not, more All the Beauty and the Bloodshed than “Fauci Ouchie” in sentiment).
In a year of epic ensembles, the appropriate use of Nathan Lane here would take the cake if it wasn’t for Poor Things. In fact you can say that about pretty much every facet of this movie (would be the best…if not for Poor Things).
Middle gets a little lost—still need to revisit—but the first and last hours are as good as it gets, with the closing shot being the first since the aforementioned Lighthouse to knock me on my ass six ways to sunday.
Poor Things
Where to Watch: hulu; I’d say buy this shit but disheartened there’s no 4K yet.
What more is there to say about this film…the updated Modern Prometheus meets Vindication of the Rights of Women executed to perfection. The Barbie we deserved. No notes.
Emma Stone the obvious Best Actress, and can you imagine anyone else in the role? Between this and The Curse, what a total badass. I always found her talented and charming but she has activated a new level since The Favourite. Right up there at the top for me right now.
Speaking of activating new levels, this is the Mark Ruffalo I want. Fucking side-splitting, Just thinking of his character is giving me fits right now. Whoever’s idea it was to cast him deserves it all.
The Perfect Ensemble. Cast Kathryn Hunter in everything.
Dafoe’s make-up my favorite in forever.
Yorgos joins Denis as my 1A and 1B. Every creative decision in every frame just completely transfixing and loaded with meaning.
One of the handful of films in history that surpass the source material (which is still good, don’t get it twisted).
Hysterical, horrifying, provoking, sharp as a tack and a well-earned triumph, what more do you want?
Old but New
If you’re an Emerging-Old like myself, you may be afraid or skeptical of Letterboxd but you shouldn’t be. It’s a dream come true and (mostly) free of trolls.
One of my favorite features is the “Diary” it keeps for you so I no longer have to hold myself accountable to the Soderbergh journal-keeping method.
Here are the ten best old-but-new-for-me flicks I caught this year:
March 03 // Criterion Channel // Mikey and Nicky (May, 1976)
March 12 // Plex // Stroszek (Herzog, 1977)
May 20 // Plex // Notorious (Hitchcock, 1946)
May 27 // Plex // Barry Lyndon (Kubrick, 1975)
June 27 // Max // The Murder of Fred Hampton (Alk, 1971)
June 28 // Plex // Deep Cover (Duke, 1992)
August 19 // Alamo // Strike! (Kernochan, 1998)
October 31 // Plex // Bride of Frankenstein (Whale, 1935)
November 11 // Alamo // The Mist (Darabont, 2007) B&W
December 31 // Plex // Tokyo Godfathers (Kon, 2003)
Fear not!
We’ll be back to our regularly scheduled programming next time out. Gotta get these sad songs off the dock before the weather gets too cheery.