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A celebration of the cinematic achievements of 2023.
Alright, I’ve done it, I’ve watched all the movies, 167 in 2023 that is, a number I didn’t think I would ever reach and a new record since the first year of the pandemic (147), but here we are with 20 more than 2020. If you ask me if I saw a certain movie in 2023, the likelihood of me saying yes is quite high.
It’s an interesting, though trivial, fact that movies are surprisingly nascent, still under 100 years since talking and moving pictures were first put to screen, way younger than other creative and artistic mediums such as music or paintings. When I first started documenting the movies I watched every year, I made this running watchlist that included contemporary releases as well as the classics or simply movies before I was born. This included movies backlogged as far as the 1940s to present and it was a list that, at its peak, went upwards to 400! It was honestly a list that I never thought I would ever complete, until now.
But for anyone curious, some quick math of the total movies I’ve seen in this lifetime, roughly as it stands at the end of 2023: 167(‘23) + 58(‘22) + 80(‘21) + 147(‘20) + 59(‘19) + 91(‘18) + 26(‘17) + 21(‘16) + 140(‘15-’09)+100(‘08-’99) ~ 889. Roughly 20 per year during my formative years in college and roughly 10 per year starting from Pokemon the First Movie and Toy Story 2 in 1999. Those were my first couple of physical theater viewing experiences that I still remember vividly, maybe because I was a huge Pokemon fan like any kid in the 90s.
So, with every year comes the impossible task of narrowing down a list of my favorites as I reflect on the year of movies. It’s an unlikely year to have watched a record number, especially during a year where I traveled a lot, and the task of narrowing down 167 to 10 is outright ridiculous. Unlike 2022 where I had a clear favorite (Everything Everywhere All At Once), 2023 was a big year for movies, and not only because of Barbenheimer. If there was ever a doubt of the death of the physical theater experience or a shift to all streaming, this summer certainly was an answer to a medium where both can exist simultaneously in support of one another. The blockbuster event that revitalized and energized stagnant movie theaters, and the winner of the summer movie, undoubtedly, was Barbie, but I argue, that because of its brilliant marketing campaign, it brought unlikely moviegoers and casual cinephiles to get off their couches and watch not just Barbie, but also, Oppenheimer in the theaters, in a year where a 3+ hour film with a household name director of Christopher Nolan likely would not have garnered such commercial success at the box office if it weren’t for the cultural phenomenon that was Barbenheimer. Perhaps it was, for some, the fear of missing out on this actively discussed event would have been devastating; I’m just glad I caught them individually when I returned home from my travels. This is where the Internet is a positive to the world, the engagement of people online coining such a term that will be cemented and meme’d, forever, in the lexicon and pop culture zeitgeist. If it wasn’t that event, then the movie news of the year was likely the writer’s and actor’s strike, and as of this writing, they’ve finally struck a deal that sounds reasonable and sustainable for all parties, which is fantastic news.
Now, how does one summarize a year of movies into a typical list of 10 when it’s out of a total of 167? Create multiple lists and arbitrary categories! So, my favorites of 2023 will be 3 separate lists and ultimately a top 56, which is just shy of 30% of my overall total:
My favorite backlogged films in 2023 - aka first-time viewing experiences (10).
My favorite rewatchable films in 2023 - aka revisiting after several years (23).
My favorite films released in 2023 - aka my favorites with runner-ups (23).
I will try and set a goal of a traditional 10 films for 2024 by the end of this year if that’s at all possible. Alright, here we go, with my favorite films of 2023…
-my favorite backlogged films (or first-time viewing experiences)-
56 - Face/Off.
Among the unhealthy amount of Nic Cage movies I consumed in 2023, Face/Off (1997) was on my watchlist for countless years and I’m very glad to finally cross it off. The premise is ridiculous (they literally swap faces and face off), but sometimes, if you simply suspend disbelief just for a moment, you’ll enjoy a very entertaining, over-the-top action movie with surprising value.
55 - Sling Blade.
I’ve had Sling Blade (1996) on my watchlist since a friend of mine suggested it to me a few years ago. I honestly didn’t know what to expect (I know what a sling blade is now!) and I only knew Billy Bob Thorton from the first season of Fargo, but what a stellar performance; he carried this entire movie, wrote/directed, and played a mentally challenged man who is released from a psychiatric hospital after serving time for a crime he committed as a child. As he tries to adjust to life outside the hospital, he befriends a young boy and becomes entangled in the complex dynamics of the community while forming a protective bond with the boy’s mother against her abusive partner. It’s a quiet drama that explores themes of redemption, forgiveness, and the impact of past actions on the present. (thanks for the recommendation, Kori)
54 - A Man Called Otto.
Tom Hanks is a Hollywood treasure at this point, the man has range whether it’s in a dramatic or comedic role. A Man Called Otto (2022) is a feel-good and heartwarming story about a cantankerous and grumpy widower Otto Anderson, who meets his match in a quick-witted, pregnant woman named Marisol, leading to an unlikely friendship that challenges his whole worldview of humans. It’s a sweet examination of the power of human connection and the impact individuals can have on each other's lives. (thanks for the recommendation and company, Brian)
53 - Dead Poets Society.
Speaking of heartwarming stories; Robin Williams can certainly bring emotional moments when it comes to inspiring monologues about carpe diem and appreciating poetry or thinking for ourselves. While watching Dead Poets Society (1989), I couldn’t help but reflect on the teachers of my past and the impact some left on me. Williams gives one of his finest dramatic roles as an unconventional teacher with unconventional methods who deeply cares for his students, as the film explores themes of conformity, rebellion, and the transformative power of education, in an environment bound by the strict traditions of an all-boys preparatory school.
“O Captain, my Captain.” thank you for the laughs, Robin Williams.
52 - All the President's Men.
I always enjoy a good investigative journalism movie, especially when it’s based on a true story, and All the President’s Men (1976) still holds up very well to 21st-century eyes as it echoes similar parallels to modern-day politics albeit with rhetoric much less divisive and vitriolic than today. Released just 2 years after President Richard Nixon’s resignation, the Watergate scandal today is infamously used to categorize any degree of a scandal with the appending term “-gate.” It’s, however, better known as the first major political conspiracy that ultimately led to Nixon’s resignation in 1974, back when going against party lines and seeking truth was more important than fealty to any individual. This film seeks to dramatize and chronicle the persistent investigative work of the two leading journalists to uncover and expose the extensive details of Watergate.
51 - Rear Window.
They call him the master of suspense for a reason and Rear Window (1954) is one of Alfred Hitchco*ck’s best thrillers, or at least that’s what everyone else who has studied film or drawn from his style and technique for decades has said. It’s a mastery of show-not-tell storytelling, as there’s an intentional examination of voyeurism with Hitchco*ck showing the viewer (audience) only what he wants you to see at that moment, which mirrors what the lead protagonist, who’s a photographer confined to his apartment due to a broken leg, observes his eclectic neighbors through the lens of his camera in his rear window, with one such neighbor he eventually becomes convinced has murdered his wife. It’s a taut thriller that manages to keep us all in suspense as the tension builds with every revealing piece of information and evidence gathered, all while he faces the risk of being caught. This may be an old classic, but they certainly don’t make them how they used to anymore; it’s a gripping narrative and brilliantly paced up to those final few minutes.
50 - The Unbearable Weight of Massive Talent.
The second Nic Cage (but not the last!) movie to appear on these lists is this metafictional action-comedy starring a fictionalized and heightened version of Cage alongside Hollywood’s latest heartthrob, Pedro Pascal, as the story parodies several of Nicolas Cage’s most popular movies and satirizes his trademark superlative 110% method acting. Scrolling through Cage’s entire IMDb, the first credit goes back to Fast Times at Ridgemont High (1982) when he was known as Nicolas Coppola (if you didn’t know, yes, that Coppola); the man works hard and has produced a large volume of movies, not all good, but a handful of notable highlights in his entire career, with The Unbearable Weight of Massive Talent (2022) possibly one of his best in peak performance.
49 - In the Mood for Love.
This Wong Kar-wai classic from Hong Kong is a quintessential romance drama to break into the new century. Exuding charm and love with the warm visual color palettes in every frame, the lush cinematography of In the Mood for Love (2000) produces an evocative atmosphere and poignant exploration of unspoken emotions, missed opportunities, and moral dilemmas as the story follows two neighbors who suspect that their spouses are having an affair with each other, eventually develop a close friendship and feelings for each other as they grapple with this emotional challenge.
48 - Infernal Affairs.
I understood this as the inspiration for Best Picture winner The Departed (2006) directed by Martin Scorsese (still ranked as one of my personal favorites) and I’ve been meaning to watch it for the longest time. I’m sure I finally got around to watching these films back-to-back after returning from my travels in Hong Kong. Similar to In the Mood for Love (2000), Infernal Affairs (2002) was also spoken in Cantonese, so it was wonderful to listen to the story without the need to read along with the subtitles (not like that would ever be a concern, subs > dubs). If you’re familiar with the plot of The Departed, then this action thriller will sound very familiar, as the story revolves around two characters: a police officer who goes undercover in a triad organization and a triad member who infiltrates the police force. Both individuals try to expose the identity of the mole in their respective organizations while trying to protect their covers. The film explores themes of loyalty, identity, and the blurred lines between law enforcement and organized crime.
47 - The Handmaiden.
Along with Bong Joon-ho, Park Chan-wook is one of the most talented South Korean filmmakers working today, making one of my favorites recently with Decision to Leave (2022). Like Bong Joon-ho said during one of his many acceptance speeches that night when his film, Parasite (2019), swept at the Oscars, “Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” So goes with The Handmaiden (2016), which is a psychological thriller that revolves around a young woman who is hired as a handmaiden to a wealthy heiress. Divided into 3 parts, the film explores themes of deception, betrayal, power dynamics in relationships, and sexuality, with a complex and twisty storyline that keeps viewers actively engaged. Similar to Oldboy (2003), the warranted runtime is intricately paced with thoughtfully written female lead characters, beautiful costume design, and cinematography.
a great movie is as strong as its replay value.
-my 23 favorite rewatchable films (or revisiting after several years)-
46 - V for Vendetta (2005).
“Remember, remember, the 5th of November.” I’m still amazed at how Natalie Portman shaved her head for just that one scene, such an incredible commitment to the character; it’s a brilliant political thriller based on a beloved DC comic that I occasionally return to on November the 5th.
45 - Kung Fu Hustle.
After my summer travels abroad in Asia, I went through a phase of watching nothing but international language films (many of which made it on these lists), mostly spoken in Cantonese. I recall watching Kung Fu Hustle (2004) nearly 2 decades ago even though the plot was a bit cloudy. What I didn’t recall was its unique blend of martial arts and absurd slapstick comedy, with some stylish over-the-top action sequences that reminded me of a version of live-action scenes from The Looney Tunes. It’s a creative and entertaining approach to the martial arts genre with a sweet romance underpinning its comedic drama.
44 - Scream (1996).
In preparation for Scream 6, I decided to rewatch Scream 1, 2, and 5 (I’m sure nothing important happened in 3 and 4). It’s the slasher franchise that popularized and simultaneously satirized the genre of horror films brilliantly. Fun fact, Scream 5 and 6 were directed by my college buddy’s cousin, Tyler Gillet, and I’ve been low-key keeping tabs on his horror-directed films, taking over the master of slasher, Wes Craven. Now I’m curious about this year’s Abigail (2024).
43/42 - The Big Short (2015). / The Wolf of Wall Street (2013).
I rewatched these two finance-related films to prepare me for Dumb Money (2023) when that dropped, which was fine (who doesn’t like an eat-the-rich story based on true events). Revisiting these two films years after with more mature eyes since their initial releases and understanding the technical jargon better with some historical context and real-world experience, I realized both dark comedies utilized one of my favorite narrative storytelling devices in filmmaking, which is breaking the 4th wall to speaking directly to the audience.
41 - The Fugitive.
This has to be one of Harrison Ford’s best films and I’m fully aware of Indiana Jones and Star Wars. The Fugitive (1993) is a tense action thriller masked mildly as a whodunit and a race-against-the-clock story. It’s a very 90s film, though it feels timeless, as the story revolves around Harrison’s character Dr. Richard Kimble who is wrongfully convicted of murdering his wife and, as the title suggests, becomes a fugitive after the bus crashes during his prison transfer, hence setting up the inciting incident and central conflict between Kimble and the U.S. Marshal, played by Tommy Lee Jones. The tropes may be familiar, but the engaging story of his relentless pursuit to prove his innocence is incredibly intelligent and thrilling with impeccable pacing.
40 - Stop Making Sense.
It’s no hyperbole to say that Stop Making Sense (1984) is one of the best recorded live concert films ever documented of The Talking Heads; though one can make an argument for Live Aid in 1985. If you’re a fan of the American rock band’s music, you’ll enjoy this performance, gathered over 3 nights at Hollywood’s Pantages Theater. They were recently on a media tour to celebrate their 40th anniversary of Stop Making Sense after re-releasing the concert film in remastered 4K, which I saw again in a large screen format at The New Parkway Theater.
39 - Looper.
There’s certainly no shortage of time-traveling sci-fi thrillers in our glossary of popular movies over the years. Looper (2012), directed by Rian Johnson, is a film I return to regularly for its straightforward plot that acknowledges the standard rules of time-traveling (as established over our collective understanding of how it would work from sci-fi films) without it being too confusing for the average viewer, especially when it’s the primary technique to structure the story narratively, as it’s not always easy; I’ve seen more convoluted and complex plots before (no shade on Nolan, but I still don’t get Tenet (2020)). It’s a dystopian future where time travel exists but is illegal and criminal organizations use time travel to send individuals they want to be eliminated back in time to be killed by specialized assassins called loopers; it becomes complicated when that individual is your future self. (thanks for the company, Brian)
“this time travel crap just fries your brain like an egg”
38 - Arrival.
Denis Villeneuve’s a household name at this point, often classified as a modern auteur of sci-fi filmmaking, especially after Arrival (2016) was nominated for Best Picture at the Oscars; he’s since directed critically and commercially successful sci-fi epics such as Blade Runner 2049 (2017) and Dune: Part 1 (2021). As I eagerly wait for Dune: Part 2 (2024), which was delayed from last year due to the strikes, rewatching Arrival reminded me of how beautiful the cinematography and sound design is in all his films (particularly in the aliens given sounds here); it’s epic in scope and scale, with some deeply immersive and visually stylish scenes. The story is steeped in symbolism and uniquely explores profound themes of communication and understanding the impact of language on perception in the face of an unknown crisis (i.e. an alien species that has landed on Earth).
37 - Interstellar.
Speaking of time-traveling-adjacent Nolan films, Interstellar (2014), I feel, is slowly becoming one of his more underrated sci-fi epics, as this film hits 10 years; that Hans Zimmer score still hits hard during the corn maze scene though. I rewatched this on my flight back from Singapore (an unconscious choice to prepare me for Oppenheimer) and although the screen was much smaller, it was just as visually stunning as I remembered it back in the theater in IMAX. The film may have suffered a bit due to its heavy exposition, literally explaining a lot of the physics of black holes and wormholes to the audience, but there’s no doubt the visual effects were a spectacle to witness, which partnered with Nolan’s preference for practicality over special effects made it a more authentic and raw visual experience, reminiscent of sci-fi classics such as 2001: A Space Odyssey (1968) and even Star Wars (1977) when VFX or CGI was much less common.
36 - The Breakfast Club.
HEY HEY HEY HEY…you know it, I know it, and the song by Simple Minds that plays at the ending scene of The Breakfast Club (1985) as Bender raises his fist in the air in triumph, a symbol of defiance against the constraints and stereotypes that society has imposed on them, are a couple of the quintessential moments and iconic touchstones when I think of films from the 1980s. Partnered with incredible dialogue that speaks to the affective moods of that decade, full of high school teenage drama and coming-of-age stories, this John Hughes classic has left an indelible impact on the collective film culture, especially when we think of culturally, historically, or aesthetically significant films to be recognized in the film registry. It’s a film that relies heavily on the dialogue due to the constraints of their environment (the majority filmed in their detention room) as each student, who initially clashes due to their differences, gradually opens up to one another and shares their personal struggles and insecurities, forming these organic and unexpected connections that challenge the stereotypes that define their social roles. For a story that explores such profound themes as identity, peer pressure, conforming to parental expectations, and the complexity of teenage relationships, The Breakfast Club delicately weaves these relatable topics into a cohesive narrative that has stood the test of time.
35 - Hell or High Water.
A neo-Western crime thriller about two brothers who embark on a series of bank robberies in West Texas to raise money to save their family ranch from foreclosure; it’s a simple premise about family loyalty and the impact of changing times on rural communities, with a couple of outstanding performances in this fast-paced, cat-and-mouse game between the brothers and the determined Texas Ranger.
“little brother let’s go get that money”
34/33 - Prison of Azkaban. / Children of Men. (Alfonso Cuarón)
Children of Men (2006) still contains one of the most impressive long-takes of cinema in a film that I’ve seen (the car ambush scene) and is often cited as a technical marvel with the single shot seamlessly flowing in an incredibly chaotic action sequence; it adds a heightened sense of realism and urgency of the political violence, as it unfolds in this dystopian sci-fi film about a near-future world where humanity faces extinction due to widespread infertility. I loved Alfonso Cuarón’s deeply personal passion project, Roma (2018), and sci-fi epic, Gravity (2013), but before all three of these films, he directed, frankly, my favorite Harry Potter film of the entire franchise, The Prisoner of Azkaban (2004), which I argue was the first film of the franchise to feel tonally different than its two predecessors; the darken color palettes in those cinematic wide shots of Hogwarts injected the element of fear that is to come in the unfolding saga of good vs. evil.
“something wicked this way comes”
32/31 - La La Land. / Whiplash. (Damien Chazelle)
“There are no two words in the English language more harmful than good job.” J.K. Simmons absolutely earned that Best Supporting Actor Oscar in Whiplash (2014) and La La Land (2016), with its own Oscar drama that year, were two terrific rewatches from writer-director Damien Chazelle, as he crafted a couple of amazing screenplays, though tonally distinct, on deeply ambitious characters on their pursuit of artistic excellence.
30/29 - Panic Room. / Se7en. (David Fincher)
Before the very polished courtroom drama of The Social Network (2010) or mysterious thriller that is Gone Girl (2014), there were the more scrappy and grim films from David Fincher of the late 90s and early aughts, including tense crime thrillers such as Se7en (1995) and Panic Room (2002), but I’ll be remiss not to mention Fight Club (1999) as well. Both films are stylistically known for creating and sustaining a tense and suspenseful atmosphere through their darkly lit set designs and gritty environments that match the grim subject matter. It’s great to rewatch films of directors I admire, especially during the early stages of their careers, as I’m visualizing someone’s technique evolving and elevating in a commitment to precision and perfection with every new film.
“what’s in the box?”
28 - Her.
I rewatched this film with a good friend of mine, having both only seen it once back in 2013, and now, reflecting on it 10 years later. We seemingly came to a similar conclusion, enjoying it in different seasons of our individual lives and observing how many of the ideas brought forth in the script, though fairly novel at the time, are nearly ubiquitous and pervasive in the cultural moment we live in today. When I first saw Her (2013), my takeaways were fairly superficial – a sci-fi romantic drama with some thought-provoking themes. Now, it's all that plus a deeper understanding of the nuance and the depths of connection humanity strives for in the ever-changing and evolving digital age. Whether it's the prescient ideas or debates over artificial intelligence to facilitate our modern state of human relationships and the technology that maximizes efficiency and convenience over privacy, it's ultimately this communication with our platforms that continues to fascinate me, especially when we discuss the ethical dilemmas involved.
I also really appreciate how sophisticated Joaquin Phoenix is as an actor, as he brings to life the character of Theodore, a warm, sensitive, and kind human who eventually falls in love with his operating system, also brought to life by Scarlett Johansson. The micro-expressions on his face, as I watch him act through some emotional moments in the film, are incredible, as he's essentially talking to himself in an empty room with nothing but the feedback of his virtual assistant. Rewatching this film made me think a lot about the human condition and how we yearn for a deeper connection with others in a highly surface-level and digital age; it's a beautiful story that had incredible foresight and thoughtful language on love, loss, loneliness, and finding connection in the most surprising and cathartic way. (thanks for the company, Brian)
“falling in love is kind of like a form of socially acceptable insanity”
27/26 - Asteroid City. / The Grand Budapest Hotel.
Speaking of films I haven’t seen in nearly a decade, The Grand Budapest Hotel (2014) from Wes Anderson, which I decided to rewatch after his newest film, Asteroid City (2023), just to check if it’s still ranked as my favorite – turns out, it still is. Both boast an insanely large ensemble cast, Asteroid City simply didn’t spark the same whimsical joy and wonder I appreciated in Grand Budapest. With his trademark idiosyncratic, meticulous, and visually stylish filmmaking, full of miniature set designs and vibrant color palettes, Anderson crafts a quirky yet charming comedy, with a touch of melancholy, that follows the misadventures of an eccentric concierge and his protégé as they become embroiled in a series of events surrounding a valuable painting, a murder, and a family inheritance.
“take your hands off my lobby boy”
25 - Titanic 3D.
There’s no need to pay $250,000 to go see the real Titanic when I can catch it in full, glorious 3D at the theaters…too soon? Honestly, I could have done without the 3D, but this was the 25th anniversary of the epic disaster film that took Best Picture in 1997. It’s still a timeless romance albeit with some cheesy quotable lines, it still holds up to scrutiny with 21st-century eyes. Not saying I don’t like what James Cameron is doing with his Avatar films, but I do wonder if he wasn’t all-in on the blue people, what otherworldly creative epics he could construct.
24 - Oldboy.
Top of mind, Oldboy (2003) and The Raid: Redemption (2011) are probably my favorite international action films. This was a 4K remastering of the original by Park Chan-wook to celebrate its 20th anniversary back in the theaters. It’s one of those twisty, edge-of-your-seat, action thrillers that is riveting from start to finish, with some of the best fight choreography and cinematography put to film; it's seriously one of the best vengeance films I've ever seen and I've watched all the John Wicks, twice! Similar to experiencing The Handmaiden (2016) for the first in 2023, this inspired me to look into Park Chan-wook's other work, particularly Decision to Leave (2022) when it became my 3rd favorite of the year. There's a sensitive, slow-burn, and meticulous approach that focuses on the character development through his quest for revenge as he unravels the mystery behind his inexplicable imprisonment for 15 years.
there are always the ones that just didn’t quite make the cut.
-my favorite honorable mentions (or the runner-ups)-
23 - Saltburn.
I was very curious about Saltburn, especially having enjoyed Emerald Fennell’s directorial debut of Promising Young Women (2020). Provocative and polarizing yet again, I’ve had some more time to mull this one over since I first watched it and it’s still a thought-provoking piece of cinema. The ending may not feel earned, but it certainly has interesting things to say about the rich elite, social class, obsession, and excess; it’s a wild experience and visually not for everyone, certainly some scenes. I may not have enjoyed this as much as the former, but it left me thinking after viewing, and a story that encourages thoughtful discussion is always good.
22 - Steph Curry: Underrated.
Originally a Sundance Film Festival premiere, I was lucky to score a few tickets for the opening night of this documentary at The Grand Lake during the SF Film Fest. It’s the coming-of-age, behind-the-scenes story of a nascent basketball player, Stephen Curry, and his unexpected rise from college player to now, local legend and 4-time NBA Champion. (thanks for the company, Edith and Mike)
21 - Dream Scenario.
The Nicolas Cage run of movies I watched this year was probably an unhealthy amount, but it ends here; the guy doesn’t seem to rest, including Fast Times at Ridgemont High (1982), his first movie, and an end-credit cameo in The Flash (the never-realized Tim Burton Superman), 2023 credited him with 6 movies…that’s a movie every 2 months! I didn’t happen to watch all 6 of his 2023 released movies, but I did catch The Flash, Dream Scenario, and 4 other Nic Cage movies that were on my watchlist for the longest time: Adaptation (2002), Matchstick Men (2003), Face/Off (1997), and last year’s The Unbearable Weight of Massive Talent (2022), with the latter two making these lists…oh, I almost forgot I rewatched National Treasure (2004) as well.
Now, Dream Scenario is probably one of Cage’s stronger acting performances in his very large volume of work, with a unique observation on modern-day cancel culture as it’s understood today and a character study on the sensationalized desires of virality and celebrity culture in a social media environment that is hyper-fixated on vanity, validation, and affirmation. It’s a hot take on everything the cynical grandparent is shaking their head at in the younger generations and an insightful yet darkly comedic take on fame despite one’s moral conscience. The premise was interesting, but the ending was just a bit jarring; though, if it made this list, I certainly found it worthy enough to recommend.
20 - M3GAN.
Entertaining yet prescient (and maybe not so sci-fi anymore), M3GAN addresses several timely topics of artificial intelligence and the possible nightmarish ramifications in an uncontrolled environment. This may be easily compared to the Chucky franchise, but I found this as a very thought-provoking examination of co-parenting in a world of pervasive technology that inundates our daily lives and intermingled reliance on smart devices; it’s a rare January release I enjoyed in 2023 with critical success, and a quick Google search, of course, yielded a sequel in the works.
19 - A Thousand and One.
Also a Sundance Film Festival indie premiere around this time last year, A Thousand and One tells the story of a single mother and her son who continually face systematic inequities in 1990s New York City. It’s a challenging examination of gentrification, the perseverance to survive through poverty, and a mother's unconditional love through all odds of adversity, grounded by a sterling performance by Teyana Taylor.
18 - The Color Purple.
So, follow me here: this version of The Color Purple is an adaptation of the Broadway musical version of the original version by Steven Spielberg back in 1985 of the classic novel written by Alice Walker…you got that? It’s yet again another classic adaptation remade for the modern audience, and for me, a deeply moving first-time viewing experience, as I had no prior knowledge of the source material. It reminded me of my experiences when I saw A Star Is Born (2018) and Little Women (2019) as I also watched those two stories unfold for the first time. With an ensemble cast of amazing actresses and singers, this iteration adds to the library of refreshing classic musicals in Hollywood, right behind West Side Story (2021) and ahead of Wicked: Part 1 (2024).
17 - The Killer.
A throwback to the scrappy days of David Fincher reminiscent of Fight Club (1999) and Se7en (1995), The Killer is Michael Fassbender, a skilled professional hitman, cold and calculated, lacks empathy, who seeks revenge on his handlers after a mission goes awry. This may not be the polished and peak Fincher film I’ve come to admire, but it was still an enjoyable time, especially with nothing but The Smiths’ music. I did want to highlight a particular fight scene that was incredibly well-executed, with stylish action sequences and camera movements that felt like a dramatic single-take; it’s quite amazing watching an auteur at this point in his career handle scenes with such precision, consistency, and attention to detail.
16 - May December.
Anchored by the phenomenal performances of Natalie Portman, Julianne Moore, and relative newcomer Charles Melton, May December is a fairly polarizing yet “Oscar-baity” film to grace us on Netflix in 2023; you either liked this film for its committed character performances or despised it solely for its loosely inspired and scandalous true crime story in the 90s. After the initial viewing, I immediately read into the actual true crime and how this film, which the actors involved repeatedly indicated was not based on those lives, drew parallels in sensationalizing tabloid culture that was pervasive throughout the 1990s, not just Letourneau, but also high-profile cases such as Monica Lewinsky and O.J. Simpson at the time, pre-social media.
Aside from the eerie score reminiscent of a tragic telenovela, it addresses elements of victimhood, guilt, and shame as a result of intentional characteristic choices and their transgressive behaviors in romanticizing truly heinous acts of violence, masked in a morally ambiguous love story. The richness of the character development and performances are nuanced and complex, meta even, as we, the audience, visualize Portman, a great actor, playing a not-so-great actor of an actor based in real life. These multi-dimensional states of arrested development and stunted growth of Joe (Melton’s character) and the hyper-femininity and child-like behaviors of Moore’s character, Gracie, are fully realized and manifested through the complicated lives they’ve had to build for themselves. It’s challenging yet divisive, but it’s a thinker, and that’s interesting enough. (thanks for the company, Emma and Stephanie)
15 - Spider-Man: Across the Spider-Verse. / Mission: Impossible - Dead Reckoning Part 1.
I’m going to cheat a little here. Independently, these two summer blockbusters were incredible, with Across the Spider-Verse being a rare sequel that is possibly better than its predecessor in many ways, with a very personable story about family and identity that anyone can relate to while Dead Reckoning Part 1 simply has Tom Cruise at his absolute best, with action sequences and practical stunts that are riveting and edge-of-your-seat thrilling; I don’t know how they do it, but this spy heist franchise seemingly improves with every iteration. My only criticism here is that they are still part one of a two-part conclusion. So, if they happen to stick the landing next year and satisfyingly conclude these stories then maybe it’ll appear higher on this list then. (thanks for the company, Jerry)
14 - Talk to Me.
In a year where there was Scream 6 and Saw X, both of which were decent for franchise sequels, I would almost always opt to highlight the more innovative and refreshing idea. Having said that, I am by no means a horror fan. The phrase “elevated horror” may get a bad rap these days, as independent film studios (i.e. A24) often take on risky projects with no-name actors/directors (at the time) such as Ari Aster or Robert Eggers, to highlight creative and thought-provoking stories.
It’s films like Talk to Me that interest me in the horror genre. Again, I don’t tend to enjoy horror movies when it comes to cheap jump scares or heavy gore, but I do like a good story and a narrative that is inventive, well-paced, and structured with characters I’m emotionally invested in. A24 has certainly allowed this permission structure to craft a character story shrouded in mystery that builds intensity with simple rules, clear stakes, and world-building, as the viewer is slowly introduced to more sinister aspects of the story. When there’s character and a decent story at the core, with creative plot devices, that’s a horror movie I would recommend investing some time. It’s smart, terrifying, and a bit edgy, with original scares that play on the usual tropes we appreciate in a typical horror flick, but…elevated, which is uncannily relevant to the Gen-Z shock culture of today. Like, suppose the youths somehow received a cursed Monkey’s paw and started peer pressuring or challenging each other to up the stakes for the sake of virality. In that case, it’s a highly probable scenario and the scariest types of horror are the ones grounded in reality. It’s clever, it’s inventive, and a unique take on the horror genre.
13 - They Cloned Tyrone.
Believe it or not, there was another film released on July 21st, 2023 that was not called Barbie or Oppenheimer and sadly, nobody watched or likely heard of They Cloned Tyrone. However, every once and a while, an innovative and clever sci-fi film will surprise us with the utmost wit and sharp dialogue that leaves you thinking, what did I just watch?
12 - Barbie.
Speaking of Barbie…I’ve been a fan of Greta Gerwig and her partner Noah Baumbach for several years. I’ve been excited and curious about every new project ever since Gerwig branched out to directing with Lady Bird (2017). I suspect nobody escaped the summer without mildly hearing about this movie, let alone the brilliant marketing campaign to release side-by-side with Oppenheimer, now famously dubbed “Barbenheimer.” The point of the story is clear and if you missed that, this was probably not a film for you. It may have been slightly heavy-handed and blunt with its messaging, but there’s no denying the cultural impact that is behind this iconic plastic doll. I was incredibly entertained and delighted to hear how Gerwig fought to keep multiple scenes in her story that were originally opposed by Mattel (now financially paid off in spades, making over 1.5bn in the box office); it’s courageous, empowering, and unapologetically a sharp commentary on feminism and the patriarchy.
It’s a direct acknowledgment of its stereotypical flaws and an indictment of the disparities of being a woman in today’s society (insert America Ferrera’s passionate monologue) while addressing heavier topics of self-care, perfectionism, and satisfaction with nuance, humor, and compassion. The narrative is self-aware enough to tell a compelling story that is progressive and relatable, albeit frustrating and piecemeal in its granular approach. Ultimately, it’s encouraging and enjoyable on multiple levels for kids with the bright pink spectacle and adults alike with its hopeful and profound subject matter. It’s one of those viewing experiences in film where I didn’t particularly need this, but I’m glad I have it.
11 - Godzilla Minus One.
A post-war drama that focuses on the human elements of a story, the atrocities of war, and its psychological implications, before it is remotely a monster movie. I’m certain Godzilla Minus One was one of those moments where I rolled my eyes at the idea of yet another one. For the volume of movies I typically consume, it’s wise to be judicious with my time and be skeptical, but occasionally, it’s quite fun to enter with low expectations and then be completely surprised. It’s probably the best Godzilla ever put to screen with this kaiju action epic running on one of the tightest budgets I’ve ever seen in a typical monster movie that usually relies on heavy visual effects; for scale, this operated at 15mn vs. Godzilla (2014) at 160mn. It’s deeply sympathetic to the characters and their development, especially the redemptive arc the protagonist ultimately undergoes by the end. (thanks for the company, Ramon)
-and we’ve finally made it to the top 10-
10 - Joy Ride.
A road trip movie that’s full of raunchy humor and pure comedy gold, I can't remember how many times I laughed out loud at the committed gags and physical comedy during Joy Ride, but seeing Asian representation outside of a dramatic film like EEAAO (2022) or previous years such as Minari (2020), The Farewell (2019), and Crazy Rich Asians (2018), this was a very refreshing, and yes, joyful viewing experience with some deep dramatic moments. Their epic, no-holds-barred experience becomes a journey of bonding, friendship, belonging, and wild debauchery that reveals the universal truth of what it means to know and love who you are.
9 - Air.
The names and brands of Michael Jordan and Nike are rooted in our collective sports and contemporary culture today, but what we hardly know is the origins of the Nike Air Jordans. Ben Affleck is back in the director’s chair as well as being in front of the camera as Nike’s CEO Phil Knight, along with a charismatic ensemble cast including Matt Damon, Viola Davis, Chris Tucker, and Jason Bateman. Sports dramas aren’t usually my favorites, but I love a great underdog story, and seeing Affleck and Damon reunited in this period piece after years in Hollywood individually, post-Good Will Hunting (1997), made the viewing experience very worthwhile. This unprecedented sports deal was historic at the time, particularly Deloris Jordan advocating that Michael earn a percentage on every Air Jordan sold. It’s a touching Cinderella story that captures the essence of the American Dream.
8 - Renaissance: A Film by Beyoncé.
A true stan for Beyoncé as well as the film, yes, this absolutely makes the list! We don’t need to silo ourselves to the Beehives and the Swifties, there’s enough room for the pure enjoyment of decade or eras-spanning music and for artists to find an alternative and lucrative way to cement themselves as two of the most influential pop icons working in the music industry today. So, no comparisons are needed as I did end up watching both in the theaters. I didn’t make it to the Eras Tour live due to my travel plans, however, I did make it to Beyoncé’s, and with that added live performance coupled with the concert film being part documentary, it’s the story that edges out preferably for me. Sure, you can argue that Taylor’s savant-like lyricism is a document of her entire life, but we can take that offline.
So, part documentary and part concert film, Beyoncé Knowles-Carter writes, produces, and directs this epic concert recorded during multiple shows of her Renaissance tour. I was lucky to catch her only live show in the Bay Area and like most fans, I was completely amazed with the stage production and the multiple costume/set changes, all choreographed impeccably. The show was only a slice of what the entire tour ended up being, with MANY more costumes, all different with each show, along with several cameo artists who were present for certain shows like Kendrick Lamar, Diana Ross, Megan Thee Stallion, etc. all edited ***flawless(ly). Instead of simply filming a concert show and translating that to the movie medium, the film version seamlessly cuts and splices multiple camera angles and Beyoncé’s many costume changes throughout her entire tour. And because of that, I had a chance to experience all the costumes and select songs that were only performed at certain shows like Drunk in Love, Thique, and All Up In Your Mind.
I also appreciated seeing the documentary part, with each changing act interjected with a montage, a tribute, or moments of behind-the-scenes to provide context on the backstage preparation. It showcases Beyoncé’s immeasurable involvement in the entire process and the incredible work ethic and time spent creating this entire project, thanking EVERYONE involved in the production. What viewers see is the final product, the concert itself, but I can't even start to imagine all the work, engineering, and planning that goes into crafting what we, the audience, ultimately experience on stage. There was also a surprising amount of backstage footage of all three of her children, Blue Ivy of course appears in her shows, which we learned Beyoncé was originally uncomfortable with the idea of her performing. For a celebrity family who is incredibly private about their personal lives, this was quite a welcomed addition and an intimate invitation into the humanity of it all. Beyoncé reminds us she is not a machine but a human, and at the end of every show, she is a mother to these kids and a wife to her husband. Having watched this live and now front row in the best soundstage, bass, and screens AMC had to offer, it solidifies this cultural moment in herstory as one of the best concert films ever produced and if this is indeed part one of a three-act project, this is only just the beginning of her Renaissance. I'm glad to be part of the journey.
Beyoncé shows us that life is just getting better at 42.
"I have nothing to prove to anyone at this point...this is my reward, nobody can take that away from me."
7 - American Fiction.
Based on the 2001 novel Erasure by Percival Everett, American Fiction follows a frustrated novelist/professor who jokingly writes an outlandishly stereotypical "Black" book out of spite, only for the book to be published and receive widespread acclaim. The fame propels him to the heart of its hypocrisy as his spirited family challenges his notions of prosperity and happiness. Semi-autobiographical, full of antiquated stereotypes and tropes, Jeffrey Wright stars as Monk, the author who writes this book under a pseudonym to expose how the establishment profits from Black outrage and tired clichés for the sake of entertainment. Beyond the absurd satire, the story couples as a quiet family drama that dives deep into the dynamic relationships between Monk and his brother (Sterling K. Brown) and sister (Tracee Ellis Ross), adding characterization and understanding to Monk’s often cynical outlook on life and humanity. I haven’t read the book the screenplay is adapted from, but it’s a compelling story that more than likely sparked a lot of post-viewing conversations, especially a viewing block of white people with folks of a different ethnic background; it’s bound to initiate some form of uncomfortable moments. If you’re curious and like to be challenged, the open-ended questions presented in the dialogue are worth a watch. Timely or topical, the best humor comes from a deep truth and I found this incredibly entertaining and thought-provoking.
6 - Killers of the Flower Moon.
Unlike The Irishmen (2019) where I recall splitting up the viewing into 3 parts and multiple bathroom breaks, for yet another 3.5-hour epic tale from Martin Scorsese, there was hardly a good time to catch a quick break, even with 3 beers snuck into the theater. In his decades-long career making a myriad of crime dramas and thrillers, Killers of the Flower Moon is certainly one of Scorsese’s most polished and sensitive projects and will be revered as one of the most important films in his entire filmography, particularly due to its deeply controversial topic in American history.
Centering on the Oklahoma murders in the Osage nation during the early 1920s, Flower Moon is a true story that examines a decades-long conspiracy of white settlers disenfranchising an oil-rich Indigenous tribe by ruthless and deadly tactics that tell us America's complicated relationship with the Indigenous people. It’s a complex and rich narrative that traverses themes of family, love, greed, betrayal, deception, and manipulation. Art mediums such as film and the power of storytelling are why I enjoy historical period dramas as a genre. We understand history to be written by the victors and directors often take creative liberties when crafting a cohesive story, but the narrative risks and storytelling here are not only bold but deeply horrific, in an attempt to paint a picture of the heinous atrocities while providing important context and perspective of a story rooted in the past, being viewed in the present, for the eyes of a 21st-century audience.
Now more than ever, with this absurd debate about what should be taught in schools or what books are deemed inappropriate for an educational curriculum, I find these stories incredibly important to shed light on the harsh histories of our past to inform the present and plan for a better future; to minimize its historical significance would be an absolute tragedy. Beyond the screenplay and direction, there's a lot more to praise for this film, with lush cinematography of the Western landscape, the score, and the powerful performance of Lily Gladstone. With Scorsese being 81 and musing about retiring, this would be a great one to leave on an absolute high.
Any one of these top 5 favorite films was shuffled multiple times before landing in their final spots; if you’ve made it this far, thank you for reading, here we go!
5 - Past Lives.
Very few debut directors hit it out of the park with a first-time film that transcends multiple layers of evocative feelings. To think this debuted during Sundance in January 2023 and see it now in conversations as a Best Picture contender is simply amazing; it reminds me of Everything Everywhere All At Once (2022), with one of the best word-of-mouth rallying campaigns of recent memory for the indie film studio that is A24. A broadly autobiographical story of director Celine Song’s lived experiences, Past Lives is an intimate portrait of deep romantic love, authentically portraying realistic relationships with subtlety and nuance on the paths taken, the choices made, and nostalgic wonder. It’s an indie darling that tells the story of two old friends from childhood in South Korea (possibly love interests) reunited and examining their journey of immigration and aging over two decades, as they reconcile their present adult realities with their youthful adolescent pasts. The film never puts the audience in a binary situation as quiet observers. The tropes of a typical love triangle are felt but rendered irrelevant, as we see the depths of these connections unfold in the most delicate detail with the narrative depicting the daily mundane pieces that build towards a thriving relationship. It recontextualizes and subverts our preconceived notions with unexpected character complexities on terms such as fate (a phrase explored in the film in Korean called “In-Yun”), soulmates, and first loves, without relying on tired Hollywood stereotypes often seen in standard romantic genres. The dialogue is deftly handled and melancholic yet feels incredibly natural, with the use of uncomfortable silences between the two to signal themes of yearning and longing; there are several scenes with literally no language spoken (English or Korean), and everything is instead spoken through the actors’ eyes and body language. As the doors to paths open and others close, people evolve, people change, and Past Lives paints an emotional picture of “star-crossed lovers” manifested into a beautiful story exploring the “what if” and the truest definition of enduring love.
4 - John Wick: Chapter 4.
This movie understood the assignment. If you ask me for a franchise that progressively improves with every single entry, I will likely point you to John Wick, maybe post-Mission Impossible: Ghost Protocol (2011). Who knew a franchise not based on an original IP could manifest into a classic of the action genre? For someone who is incredibly critical and skeptical of sequels, prequels, and IP-driven movies, Chapter 4 doubles down on everything its predecessors had and elevates it, with the slick, over-the-top, stylish action sequences I’ve come to enjoy while expanding on familial elements that drive character motivations. To think it all started with such a simple premise, a retired hitman returns to avenge the death of his dog who was gifted by his late wife; you don't mess with a man and his dog! It’s a formidable (final?) entry and Keanu Reaves is as charming and empathetic as he is a menacing killer with some of the gnarliest execution shots I’ve ever seen. The inclusion of Rina Sawayama and Donnie Yen added emotional stakes for Wick as he races against the clock to wipe his slate clean and finally retire. The idea of escapism and not realism when I see Wick just simply repel bullets and get up after colliding with a car, is the cinematic viewing experience I intentionally paid for and a deeply satisfied fan. The use of action set pieces with these amazing tracking shots and sharp cinematography is simply a spectacle; I’m thinking of the staircase scene and the intelligent use of sensors for Yen’s character, as he’s blind, to detect movement, followed by his epic martial arts and choreography. I understand there are potential talks in the work for a stunt ensemble/choreography-type Oscar, as movies like John Wick, undoubtedly, will not be Oscar bait for the academy. Anyway, I applaud a film franchise that knows when to call it quits and to conclude a successful run of a story on an absolute high before it gets stale. If this is indeed the last entry of John Wick, then bravo; spin-offs should be fine, with Ballerina (2024) waiting.
3 - Poor Things.
In some ways, a more sci-fi, twisted fairytale, and weirder version of Barbie, Poor Things is everything I enjoyed about Barbie, but add in the hard-R, magical creative fantasy world, bonkers-as-sh*t narrative that is pervasive throughout the script, and we have a unique feminist odyssey and an intelligent pastiche on the feminist experience. Emma Stone is Bella Baxter, a revitalized and reanimated corpse with the brain of a baby, who naively navigates this brand new life without any shame, judging every new act of self-discovery or impulse with equal meaning to her human experience, as she is not beholden by societal pressures or norms to conform in certain ways that society expects. It’s a deeply refreshing cinematic experience to observe a human rapidly develop before our eyes from infancy to adulthood when fantasy intersects with reality, as Bella gains agency through this Victorian riff off Frankenstein and curiously asks not very profound questions that challenge the power dynamics in relationships or gender roles and freedom of choice that are stereotypes and trappings of the present patriarchal world. I’ve enjoyed Yorgos Lanthimos’ work since The Lobster (2015) and have watched Emma Stone’s rise from a minor love interest in Superbad (2007) to leading roles in Easy A (2010), La La Land (2016), and now, a lead contender for her next Oscar in Poor Things. There’s a lot to appreciate in this film from production and costume design to the use of color or these vignette switches to fish-eyed wide-angle lenses to create some hyper-stylized cinematic shots that capture this fantastical world-building. It’s quirky, wild, slightly unhinged, and serves as a metaphor for our present society; I look forward to their next project together, to be released later this year: Kinds of Kindness (2024).
2 - Oppenheimer.
An average moviegoer has likely heard of Christopher Nolan. He’s one of the finest modern auteurs working today, directing several of my favorite films of all time. There’s certainly something special about this year’s Oppenheimer, very timely with its subject matter, and it’s not entirely tied to the Barbenheimer phenomenon that swept the summer blockbusters. When I look at the differences between movies and film or talk in-depth about the writing, genres, themes, and technical wizardry in production, editing, and cinematography that I appreciate, this feels like a film helmed by a master at his craft producing one of his magnum opuses, the best and most polished package after years of refining his expertise. It has the entire recipe for a deeply engrossing cinematic experience that needed to be fully enjoyed on Nolan’s preferred and intended medium, on the largest screen possible, in IMAX 70mm. I read that the Nolan team decided to shop around for different production companies instead of their typical collaboration with Warner Bros. because they intended the film to have a shorter viewing window for the audience before moving it over to streaming on Max. Seeing it way after its initial release, I’m glad they decided to distribute with Universal Pictures because I missed the Barbenheimer craze with my summer travels, though with the wildest coincidence, being in Hiroshima, Japan on July 16th, 2023 walking through the museum memorial on the 79th anniversary of the first detonation of an atomic weapon, a date forever cemented in history.
For a 3-hour epic biopic about the father of the atomic bomb, with an insanely vast ensemble cast, the pacing of the film hardly wavered, even with Nolan’s trademark non-linear storytelling and gorgeous cinematography alternating between colored and black-and-white scenes to depict the passage of time during different narrative intervals. There’s a lot to appreciate in this film: as a historical geopolitical drama and cautionary tale that is not pretentious and examines the harsh realities of war, post-war, and the people war inevitably impacts. The internal moral dilemma of a complicated hero racked with guilt is all expressed on Cillian Murphy's face, which has now been memed to death, as the sobering thought of nuclear proliferation is hyper-visualized in an objective sense at the deeply horrifying possibility of these real-world ramifications; it underscores how his understanding of what he helped achieve, has irrevocably changed the world as we know it.
The focus on the enigmatic and complex character of J. Robert Oppenheimer is what makes this film narratively compelling. Revered as one of the most important figures of the 20th century, the two facts I could have probably told you about Oppenheimer was that he was the father of the atomic bomb and led the Manhattan Project that ultimately ended WWII. After watching this film, I feel it was not only a history lesson, but also a character study of human psychology. As much as this story is rooted in breakthrough scientific research, Nolan strives to juxtapose the narrative strings of the human psyche into a cohesive, character piece that is deeply human. The film addresses the personal aspects of his family life and the philosophical dilemmas as they intertwine with the urgency to develop the bomb for the military followed by the post-war committee investigations during the heights of communism.
The exposition and steady dialogue were captivating, up to the tense moment of the Trinity test, with amazing standout performances beyond just Murphy’s, as the titular Oppenheimer (who is likely to win Best Actor), but Robert Downey Jr., Emily Blunt, and Matt Damon to name only a few. I try not to compare films, especially by the same director, but this is such an incredible improvement from Tenet (2020) where I thought Nolan’s genius intellect in writing a time-bending script was just a bit too confusing for me to enjoy. If Dunkirk (2017) was the dry-run for missing the Best Picture win and only winning in the technical achievements, Oppenheimer is currently the top contender to sweep at this year’s Oscars, including the coveted Best Director award for Nolan, which surprisingly, he has yet to achieve. He’s so well-known at this point that anything with his name, typical ensemble returning cast (sans Michael Caine for the first time in a while), and production team (his wife has produced all his movies), I would watch regardless, similar to how I felt during the peak of the MCU dominance.
Similar to Interstellar (2014), Nolan’s research and time spent on writing a scientifically accurate script speaks to his immeasurable work ethic and collaboration efforts by bringing in theoretical physicists and consultants to advise and review the merits of what is being shown; again, for a 3-hour project, it’s incredibly efficient, running a very controlled budget and tight ship that has now paid off in spades, nearing the 1bn mark at the box office. The commitment to practical effects over CGI or special effects (those were real explosions) and the sound design with that mesmerizing and cacophonous score from start to finish were all palpable. The thrilling story is a visual masterpiece and if we have to wait another 3 years for the next Nolan film then each hour/year is worth it.
1 - The Holdovers.
A heartwarming holiday spectacle that is unabashedly grounded in its 1970s aesthetics and nostalgic vibes, The Holdovers is a slice-of-life dramedy that touches upon themes of isolation, pessimism, and troubles of different family dynamics, bringing together a trio of eclectic actors that draw on their humanities and show us how even the most unlikely pairings can lead to significantly deep relationships. I couldn’t help but draw some parallels to Dead Poet’s Society (1989) – a story set in an elite New England all-boys preparatory school with an unconventional teacher in Paul Giamatti, who initially projects as a prickly curmudgeon, with a tired and downtrodden personality. By the end, he’s shown as a compassionate character imbued with a deep well of melancholy and thinly disguised tenderness, traits that tend to reveal themselves in wordless, physical gestures. He is tasked to watch a problem student, newcomer Dominic Sessa, held over winter break, abandoned by his family, along with cafeteria worker, Da'Vine Joy Randolph, who’s coping with her grief, having lost her son during the Vietnam War.
It may be a familiar trope in narrative storytelling to see individual characters who all have haunted pasts come together as they spend more time together, but Alexander Payne directs the hell out of these characters, juxtaposing the obnoxiousness of the youth with the youthful sensibility in us all; it’s a deeply evocative story that challenges our initial assumptions of each person, who are different people at the start of the film and through tense and funny exchanges, find out that they have a lot more things in common than they realized. It’s also an interesting examination of how grief affects us in certain ways with thoughtful conversations on the importance of human connections, memorable monologues, and endearing performances all around that invigorate the holiday spirit and perhaps, a commentary on teaching us how to let go of the past to move on in the future.
The Holdovers is my favorite film of 2023. With some of the best writing and character development I’ve seen in a long time and as someone who also appreciates great music in films, this is one of the most beautiful soundtracks I’ve listened to as well. In a huge year defined by several new releases, this is the new, feel-good, quirky little Christmas movie to talk about next December, outside of Elf (2003) or Home Alone (1990) that will pull at your heartstrings and have you returning to it every holiday season from here on out.
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