Top Ten Films of 2023
2023 was the year of Barbenheimer and the year superhero movies took more than one fatal hit and I’m fine with all of that. It was great to see audiences flock to theaters to see two very different July releases, one by Greta Gerwig and the other by Christopher Nolan. It helps that both films happened to be worth the trip to the big-screen. I liked both of them, but not nearly as much as everyone else. That being said, I see the merits and re-watchability of each, but neither moved me or resonated with me the way any of the ten on my list did.
Each year, these arbitrary lists become an obligation of habit rather than a labor of love. Thankfully, I am not alone in this agonizing endeavor. I am joined by friends Mark Lester and Steve Attanasie – Mark returns from last year and I am glad to welcome back Steve. Thank you gentlemen for adding your Top Ten to mine. As always, it’s intriguing to compare and contrast.
Once again, I am honored to be welcomed back this year to the Kicking the Seat show, founded by my friend and colleague, Ian Simmons. I am also whelmed to continue to lead film discussions at the beautiful Tivoli Theatre in Downers Grove, IL for the After Hours Film Society twice a month.
Usually, there are a handful of films that I have yet to see, but this year, the list is surprisingly short: “The Teacher’s Lounge”, “You Hurt My Feelings”, and “Memory”. Sure there are others, but those are ones I’ll be getting to soon.
Here are some of my honorable mentions that could easily fill out my 11-20 spots and then some (in no particular order): “Godzilla Minus One”, “Blue Jean”, “The Unknown Country”, “The Creator”, “Bottoms”, “No Hard Feelings”, “The Iron Claw”, “Oppenheimer”, “Full Time”, “Barbie”, “Other People’s Children”, “American Fiction”, “Talk to Me”, “Showing Up”, “The Boy and the Heron”, “Society of the Snow”, “Poor Things”, “Silver Dollar Road” and “Anatomy of a Fall”.
Without further ado, you know what to do…
10.
Mark – HOW TO BLOW UP A PIPELINE
Along with some of the films mentioned above, the year had some good thrills with the likes of “John Wick 4” and “Mission: Impossible Dead Reckoning: Part 1”, Even so, one much smaller film from earlier in the year, “How to Blow Up a Pipeline”, was just as heart-pounding despite its lack of recognition (at least compared to bigger releases). The film’s plot is basically in the title, as a group of environmentalists gather together for their own individual reasons to, you know, blow up a pipeline. Regardless of your political leanings, the filmmaking cannot be ignored. It reminded me greatly of that impeccable French thriller “The Wages of Fear” from 1953. Add in a great cast and its unconventional narrative and you have a true hidden gem. (available on Hulu)
Steve – FERRARI
As someone with a deep abiding love for film, it’s been kind of a bummer these last eight years living in a world where Michael Mann no longer directed films. Thankfully he hasn’t missed a beat in that near-decade-long hiatus and his latest film “Ferrari” finds him in top form. While the film is anchored by a terrific performance from Adam Driver in the title role, it’s Penélope Cruz who gives the film its beating heart with what is inarguably the best female character in any Mann film. The film’s thrilling third-act race, the now-defunct Mille Miglia across Italy, finds Mann doing what he does best, bringing all of the film’s themes and conflicts together in breathtaking fashion. Much like the cars the film shares a name with, “Ferrari” is a sleek, gorgeous, impeccably designed machine. (still in theaters)
David – RADICAL
It may check all the boxes for a feel-good “based on true story” movie, but writer/director Christopher Zalla’s “Radical” does so with such an undeniable earnestness, that it’s obvious its heart is in the right place. Mostly known for his comedy roles, Mexican actor Eugenio Derbez headlines the touching drama as an unorthodox sixth-grade teacher who manages to turn around low-scoring students from an underserved school in Mexico and not only get them to care about learning but surprise all the adults around them by showing how smart they all are. Derbez played the music teacher in “Coda”, and brings so much more to his role here, and not just because he has more screen time. His character is vulnerable, real, and funny, treating the children respectfully, while cleverly and gently emboldening the potential he sees in them. The film benefits from a stellar supporting cast of unprofessional first-time actors who make up the students. “Radical” reminded me that transformative magic can happen in the classroom. (no streaming, digital or physical media date yet!)
9.
Mark – SPIDER-MAN: ACROSS THE SPIDER-VERSE
If forced to, I would pick the first “Spider-Verse” film, but that is not at all to take away from the sequel. What “Spider-Man: Across the Spider-Verse” does is what all great sequels do: truly expand on the source material of its predecessor. Gloriously animated and well acted by a stellar voice cast (most notably Oscar Issac), the film is the true exception of a superhero film in a year where all other superhero films (although I did like “Teenage Mutant Ninja Turtles: Mutant Mayhem”) failed. A true saving grace. (available on Netflix)
Steve – PRISCILLA
After last year brought us Baz Luhrmann’s frantic and showy “Elvis,” Sofia Coppola gives us the polar opposite film about his wife with “Priscilla.” Coppola’s film counters the excess of last year’s biopic with a stately and staid film that brings a legend back down to earth by reminding us that he was human. More than that, however, this film gives its title character—played beautifully by Cailee Spaeny—a grace, dignity, and quiet power that is absent in every other telling of Elvis’ story. Jacob Elordi’s Elvis is substantially more complex and human than most portrayals of the king of rock and roll, exhibiting equal parts charm, menace, and naiveté. Not having access to Elvis’ music also allows Coppola to flex her soundtrack muscles, giving us everything from The Ramones’ cover of “Baby, I Love You” to Dolly Parton’s “I Will Always Love You,” with the latter being a sly dig at the king himself (look it up if you don’t know). Elvis devotees are sure to pick their nits with this film, but it isn’t reckless with Elvis’ legacy, it’s just unafraid to push him to the periphery to shine a spotlight on the most important woman in his life. (available on digital platforms and set for a blu-ray release on February 13th)
David – ARE YOU THERE GOD? IT’S ME MARAGARET
Never would I have thought that an adaptation of Judy Blume’s classic 1970 book Are You There God? It’s Me, Margaret would get made, much less in the year 2023, but thank God it’s a movie set in 1970. If you grew up reading the book, then you know the mantra “We Must, We Must, We Must Increase Our Bust!” that eleven-year-old Margaret (a wonderful Abby Ryder Fortson) and her peers chanted as they navigate through the wilderness of adolescence. Writer/director Kelly Fremon Craig takes the same open-hearted authenticity she applied to “Edge of Seventeen” to Blume’s material and delivers a kind-hearted, beautiful story of a young girl exploring life. Puberty and menstruation is covered as is an understanding of sex, but are questions about religion and understanding family dynamics. The movie boasts an amazing supporting cast such as Rachel McAdams, Benny Safdie, and Kathy Bates, but what’s most memorable is the story’s tone. It has an undeniable warmth and its take on the female experience is more moving and powerful than anything “Barbie” had to offer. (available on digital platforms & blu-ray)
8.
Mark – ZONE OF INTEREST
Bad weather almost stopped me from getting to see “The Zone of Interest”, but I am glad I managed to at the last second. The film is based on real life Nazi Rudolf Hoss, who ran the concentration camp at Auschwitz. The film does not center on the atrocities he and others under his command committed, but on his family life. Yes, almost every Nazi (save for a few like Oskar Schindler) was evil, but this film manages to almost make them seem somewhat human. For a film about one of the darkest times in the history of humanity, it is gorgeously shot. (still in select theaters)
Steve – LYNCH/OZ
If you were to construct a Venn diagram with the red circle being “The Wizard of Oz” and the blue circle being David Lynch films, you would find me in that perfect purple area. A film discussing one of my favorite filmmakers in relation to my all-time favorite film is basically daring me not to enjoy it, but the video essay cum documentary “Lynch/Oz” likely has something for anyone outside that aforementioned Venn diagram. Since Lynch is a filmmaker who avoids ascribing his thoughts or intentions to anything in any of his films, it leaves his work open to all manner of wild interpretations. What Swiss filmmaker Alexandre O. Philippe‘s “Lynch/Oz” brilliantly does is break the film into six segments and invites filmmakers John Waters, Rodney Ascher, Karyn Kusama, David Lowery, and Justin Benson & Aaron Moorehead, as well as film critic Amy Nicholson, to interpolate the influence of 1939’s “The Wizard of Oz” on Lynch and how imagery, names, and themes from that film recur throughout his filmography. In the age of the YouTube video essay, this is masterfully done and can certainly help fans and non-fans alike to cling to new lifelines within the work of a master filmmaker. (available on digital platforms)
David – THE KILLER
I never would’ve thought David Fincher’s latest film, “The Killer”, would be one of the funniest films of the year. It’s not an outright comedy, but the director’s cold approach and Michael Fassbender’s dry delivery make for a surprisingly humorous albeit entertaining combination. Fincher’s reunion with “Seven” screenwriter Andrew Kevin Walker (adapting a series of French graphic novels) is a lean and mean travelogue that follows Fassbender’s methodical and moody assassin (the mostly silent character relaxes and concentrates on the music of The Smiths) after a hit gone wrong. Technically sharp and narratively simple, “The Killer” boasts one of the best action sequences of the year (set in Florida) and is heavy on psychological moodiness. What makes the movie though is Fassbender’s wry narration. It goes without saying the film wouldn’t be the same without his voice. “The Killer” wound up being the coolest movie of the year for me. (available on Netflix)
7.
Mark – MAY DECEMBER
No 2023 release was rewatched quicker by me than Todd Haynes’ “May December”. It’s all the more astonishing when you look at the subject matter (an actress studying the role of an older woman who had a sexual relationship with a middle schooler) from the outside. From the inside, there are far more layers yet to be uncovered. As expected, the performances from Natalie Portman and Julianne Moore are top-notch, but the stand out is Charles Melton as the troubled soul who grew up way too fast. (available on Netflix)
Steve – MAY DECEMBER
No film in 2023 had more control over its tone than Todd Haynes’ “May December.” For a subject with no inherent comedic value—it loosely cribs from the infamous Mary Kay Letourneau case—Haynes manages to bring an almost absurdist lens to the proceedings. Natalie Portman is outstanding as an actress cast to play Julianne Moore’s Gracie in a film about her seduction of and ultimate marriage to a teenage boy, played as an adult by a surprisingly excellent Charles Melton. Attacking this salacious material with the gusto of a ripped-from-the-tabloids basic cable film while also giving it the unmistakable prestige of casting two of our finest female actors is a task Haynes seems almost insane to attempt. However, thanks to three great performances—with Moore turning in one of her best performances ever—and a sharp-witted script from first-time screenwriter Samy Burch, the film never upsets its perfectly tuned ecology. “May December” is an acute reminder that not all serious stories need to take themselves quite so seriously.
David – KILLERS OF THE FLOWER MOON
Watching the latest from director Martin Scorsese felt like listening to a dirge and not because of the film’s 206 minute runtime, but maybe because of the late Robbie Robertson’s hypnotic score. What’s a dirge? A lamentation of the dead, which is appropriate considering the film focuses on the horrifying treatment (displacement and exploitation) and genocide of the Osage people in the United States in the early 1920s. Scorsese co-wrote the script with Eric Roth, both of whom are loosely adapting the non-fiction book from David Grann. They make the smart decision to deviate from the book by focusing less on the birth of Bureau of Investigation (BOI) and moreso on the Native American victims and the scheming white criminals that plagued them. There are times when the story of prejudice and greed is overwhelming, but thanks to the great performances (and fantastic supporting ones), as well as the production value, at no point was able to look away from “Killers of the Flower Moon”. (available on VOD and Apple TV+)
6.
Mark – THEATER CAMP
While I rewatched my number seven film quicker than any other film, no other film was rewatched by me in total than “Theater Camp”. Would this be here if I hadn’t been bit by the theater bug as a kid as well as volunteered at summer camps? I don’t know, but so what? This is a me pick. No other film this year had me laugh as hard and nod in agreement at the same time. I only wish the ending song “Camp Isn’t Home” was on the shortlist for best original song at the Oscars. If you have even the slightest knowledge/background in theater, see this. Thank me later. (available on Hulu)
Steve – DREAM SCENARIO
Now well into his fifth decade as a leading man, Nicolas Cage seems to have wrested himself from the shackles of self parody and embarked on a five year run of expertly subverting his image with films like “Mandy,” “Color Out of Space,” and especially “Pig.” However, his turn as hapless goofy professor Paul Matthews in writer/director Kristoffer Borgli’s film “Dream Scenario” might just be the best example of what Cage is so gifted at doing as an actor. As an ordinary man thrust into extraordinary circumstances—he begins appearing in the dreams of dozens of people, many of whom he doesn’t even know—Cage effortlessly plays an average doofus despite being one of the most famous actors alive. The supporting cast is equally game, with Julianne Nicholson, Dylan Baker, and Michael Cera all dropping by to lend expert support. Borgli, meanwhile, has a grand old time deliriously painting himself into a narrative corner from which there is seemingly no escape. As a commentary on the whole notion of cancel culture, “Dream Scenario” takes a pretty interesting stance and one worth exploring, even if you can’t bring yourself to agree with it. (available on digital platforms)
David – AFIRE
Having admired the work of German writer/director Christian Petzold for some time now, it’s no surprise that his quiet character study “Afire” won me over when I saw it last May. A modern-day story of four individuals who share a cottage near the Baltic Sea and wind up navigating various levels of passive-aggression, shifting loyalties, and unexpected kindness. Looming in the backdrop of this slow-burn tale is the threat of a forest fire. The performances here are absorbingly great, especially Thomas Schubert, who plays the protagonist (an aspiring novelist) and frequent Petzold collaborator, Paula Beer. “Afire” is an engrossing story within a story (finding the director often channeling Rohmer) that found me contemplating whether or not I’m appreciating where I am at any given moment in life, even if I feel annoyed or inconvenienced. How am I handling the inevitable and unforeseeable changes of life? (available on the Criterion channel & digital platforms)
5.
Mark – THE HOLDOVERS
From one feel-good film to another, perhaps Alexander Payne’s “The Holdovers” secret weapon is its predictability. Drawing similarities to films like “Dead Poets Society” and “Scent of a Woman”, the film is not so much that we know how it will go and end but that it is the best way for it to go. Don’t be surprised if this becomes a classic around the holiday season in the future. You can’t imagine anyone else in these roles. Giamatti has not been this good in a long time, Randolph will almost certainly win an Oscar, and what a miracle find it was in newcomer Dominic Sessa. (available on Peacock)
Steve – THE ZONE OF INTEREST
British director Jonathan Glazer has only directed four films in 23 years—”Sexy Beast,” “Birth,” and “Under the Skin”—but each one of them was worth the wait, including and especially his fourth film, “The Zone of Interest.” Set during the waning years of WWII, the film follows the family of Rudolf Höss (Christian Fredel) living in a lavish countryside estate that happens to be literal feet from the Auschwitz Concentration Camp, over which Höss presides. Much like the characters in the film, the horrors of the Holocaust remain out of sight for the viewer, but the film’s immaculate sound design reminds us that these characters are living in willful ignorance of what is happening mere feet from their idyllic lives. No film in the eighty years since these atrocities occurred has managed to so eloquently and chillingly portray British historian Ian Kershaw’s infamous quote that “the road to Auschwitz was built by hate, but paved with indifference.” “The Zone of Interest” is an astonishing and devastating film that, for my money, secures Glazer’s place in film history as the heir apparent to Stanley Kubrick.
David – ALL OF US STRANGERS
It’s impressive to learn that for his latest film, writer/director Andrew Haigh (“Weekend” and “Lean on Pete”), has adapted a Japanese novel from 1987 (which was previously adapted to a Japanese horror film) and made it his own, turning it into something personal. Rather than a ghost mystery, Haigh has created an absorbing metaphysical drama that revolves around, Adam (Andrew Scott), a lonely gay writer who interacts with his parents (tenderly portrayed by Jamie Bell and Claire Foy) who look as they did 30 years ago at the age they died when Adam was 12 – as if time has stopped and brought them back to life. At the same time, Adam meets Harry (Paul Mescal), a neighbor in the London high-rise where he resides, and the two gradually begin a relationship despite Adam’s reticence. The conceit of the film is fascinating. What if you were able to reunite with your loved ones, the way you remember them, and catch them up on your life? What if you were able to question them on what you remember or confront them about something you haven’t gotten over all these years? One cannot help pondering such questions, just as one will no doubt be impressed by the quartet of actors who bring this touching take of loss and loneliness to life. (still in select theaters)
4.
Mark – ANATOMY OF A FALL
I have yet to see The Taste of Things, the film that France has submitted as their film to hopefully be nominated for best international feature at the Academy Award (countries are only allowed to submit one film). While I am sure it is a great film, it still baffles me that they did not pick Justine Triet’s “Anatomy of a Fall”. One can see the actual anatomy of the screenplay (which was just recently awarded the Golden Globe), as this film is clearly, meticulously constructed around the death of a husband and spends the rest of the time seeing whether or not his wife (Sandra Huller, who was also in “The Zone of Interest”) is guilty or not.
While the best actress category is very competitive this year, it would truly warm my heart if Huller gets in. What is not getting as much attention is young Milo Machado-Graner, giving the best child performance of the year as her blind son. Or the dog, in one of the most heart-stopping scenes a canine has ever been in. (available on digital platforms)
Steve – AMERICAN FICTION
The ultimate irony of any white male film critic naming “American Fiction” one of the best films of 2023 isn’t lost on me, but it is impossible to discount a film that manages to cut so deeply while never losing sight of the fact that it’s a satire, first and foremost. Jeffrey Wright is in top form here, portraying bottled rage in a way few other actors could do so effortlessly as Monk, a professor and novelist at a personal and professional crossroads. While setting out to mock the white liberal establishment with a book designed to offend, he ends up becoming an overnight sensation when the irony is lost on them, thus beginning a delicate balancing act where Monk must continue the ruse if he’s going to reap the financial rewards. Featuring my absolute favorite performance of the year from Sterling K. Brown as Monk’s ne’er-do-well brother, “American Fiction” is both hilarious and poignant without ever forcing either of those things. First-time feature film screenwriter and director Cord Jefferson walks a tightrope with this film, and while the ending won’t land with some audience members, I thought it was as expertly executed as the rest of the film. (still in theaters)
David – SPIDER-MAN: ACROSS THE SPIDER-VERSE
In a year where superhero movies didn’t reach the success they typically do, Sony Pictures Animation and Marvel Entertainment reminded audiences how it can be done right with a sequel that dazzles, thrills, and amuses, as much (if not more) than the previous entry. It’s impressive that even though three different directors replaced the three directors from the last film, the quality hasn’t changed or suffered. This remains an impressive artistic feat that continues to stretch the boundaries of animation. “Across the Spider-Verse” is proof that it may be time to give live-action superheroics a breather and rely on what kind be done in animation…which is: anything. If the folks who made this amazing animated adventure continue what they’re doing, the likeliness of the sequel landing on my top ten (of whatever year it comes out) is inevitable.
3.
Mark – OPPENHEIMER
No other film director has been as synonymous with the 21st century as Christopher Nolan. Ever since Memento over two decades ago, he soon became one of those directors who, by name alone, could sell a movie.
Everyone will have their preference as to his best film, but Oppenheimer is certainly in the conversation. A technical marvel to say the least, all the actors in the film bring all they have to the table (especially Cillian Murphy and RDJ, who are sure to be nominated for the film). It definitely took me more than one viewing to truly understand all that was happening, but this is far from the only great movie that needs that to happen (think of “JFK”, which is a true spiritual cousin to this film).
As of now, the film is the front-runner for the Oscars, and Nolan’s chance of finally getting his Best Director win is so certain he may as well just bring in the sheets. (available on digital platforms & blu-ray)
Steve – THE HOLDOVERS
Alexander Payne’s “The Holdovers” is the new gold standard for filmmakers seeking to create what I can only describe as a time capsule film, one designed to look like a film made in the bygone era in which it’s set. Homage is one thing, but this film feels unmistakably like it could’ve been made by Hal Ashby in 1972 and tucked away for people to discover in fifty years. Paul Giamatti stars as Paul Hunnam, an irascible and unlikable Ancient Civilizations teacher at the fictional Barton Academy, who is tasked with watching over the students who aren’t leaving campus for the holiday break, including a troubled student named Angus (brilliant newcomer Dominic Sessa). Together with the school’s head cook Mary (the immaculate Da’Vine Joy Randolph), they’ll form an unlikely bond that’s more prickly than the standard for this sort of film, but also substantially more rewarding thanks to a terrific script from writer David Hemingson. The three lead performances in the film are spectacular, with Giamatti and Randolph turning in career best work, and Sessa proving himself a young actor to watch. “The Holdovers” is the kind of film that creeps up on you in the best way possible, showing more depth, heart, and humor than a dozen other films combined could manage.
David – MAY DECEMBER
Todd Haynes made such a memorable and mesmerizing film in “May December”, a sly melodrama that gradually develops its unsettling feeling as the story unfolds. Loosely adapting a real-life scandal, what the film does is humanize the subjects of the kinds of reports we’ve seen in the media over the years (that being teachers having a relationship with minors, aka sexual predators). However, screenwriter Samy Burch’s impressive debut never justifies actions from the past (or present), but rather deliberately provides a stage to attempt an understanding for those involved. It’s fascinating how the two central women in the story could both wind up having immoral actions as Haynes intersects their stories somewhere between empathy and exploitation. Caught between two career-best performances from Natalie Portman and Julianne Moore is Charles Melton, who provides the vulnerable heart of the movie. Like every other Haynes film, the framing, editing, and cinematography are sublime. I chuckle at the idea of viewers stumbling upon this one while scrolling through Netflix.
2.
Mark – KILLERS OF THE FLOWER MOON
2023 had a lot of older men making movies in their twilight years, from Hayao Miyazaki (The Boy and the Heron) to Michael Mann (Ferrari) to Ridley Scott (Napoleon). Yet the one who showed his mastery of film the most is the legend that is Martin Scorsese in “Killers of the Flower Moon”.
Easily the longest film on my list, I never once felt the film dragged, because Scorsese definitely knows how to set the pace for the audience, even in a story about a terrible time in our country’s history. All should be praised here regardless of what side of the camera they worked on. Behind the camera (besides Scorsese) you have his frequent legendary editor Thelma Schoonmaker, the eye-popping cinematography by Rodrigo Prieto, and the last score done by the late Robbie Robertson. As for those in the front, you have the likes of Leonardo Dicaprio and Robert De Niro, two of the best actors of their respected generations (if not the best), yet they are being upstaged when sharing the screen with the uncanny Lily Gladstone, giving what is most likely the best performance of the year.
Steve – PAST LIVES
Much like another A24 film from last year, the beautifully melancholy “Aftersun,” “Past Lives” is a deeply personal film for its writer/director Celine Song that also manages to get to universal truths about our shared experiences as human beings. There is nothing to connect me personally to the plight of the three main characters in this film, but a great storyteller can forge those connections in unexpected ways, and that’s exactly what Song does here. Nora (Greta Lee) and Hae Sung (Teo Yoo) grew up together as best friends and childhood sweethearts in Korea before Nora left with her family as a pre-teen to live in North America. When Hae Sung finally comes to America to see Nora some twenty-five years later, she is happily married to an author (John Magaro), and the unrequited childhood love hangs over every moment these two old friends spend together. While so much of the film’s power is what isn’t spoken between them over the course of their day together, Song’s spare dialogue is beautifully observed and every last word seems to pack a punch. From “Great Expectations” to “The Umbrellas of Cherbourg,” unrequited love has been a powerful storytelling device for centuries, but never has it felt more immediate and personal than it does in Past Lives. (available on digital platforms & blu-ray)
David – THE HOLDOVERS
Alexander Payne reunited with actor Paul Giamatti for another potent and poignant character study. This time, it was a period piece set in 1970 New England, and everything about the way “The Holdovers” looks and feels like those dramedies from that decade. While the story is set during Christmas break at a boarding school, the holiday takes a backseat to the
personal issues and domestic situations of the three central characters. David Hemingson’s screenplay is smart and funny, and the magnificent work by Giamatti, Da’Vine Joy Randolph, and newcomer Dominic Sessa truly makes this movie stand out. Their work communicates compelling rawness and pain while being quite touching and often hilarious. “The Holdovers” may be a Christmas movie, but it’s one that can certainly be viewed multiple times at any time. And it’s Payne’s best work in quite some time.
1.
Mark – PAST LIVES
Honestly, if it were any other year, numbers 2-5 could have been my pick as the best of the year. That said, no film hit me on a more personal note than Celine Strong’s film debut, “Past Lives”. Centering on two souls who once shared a “date” as kids, they meet up as adults and see where they now stand in their lives (I won’t say more, because the less about the film you know, the better.) The subject matter in this film is always rich material if done right, and boy, does this film do that and more. All the actors (especially Greta Lee, another hopeful Oscar contender) are enthralling. The only downside? While it does look like it will get at least a few Oscar nominations, I am coming to terms that it probably won’t win any (I obviously hope I’m wrong). Still, for what it is worth, in a year truly copious with stellar films, this one stands on top.
Steve – OPPENHEIMER
As someone who likes most, but definitely not all of Christopher Nolan’s films, I approach every new film of his with equal parts anticipation and trepidation. The fact that I didn’t get to experience his latest film “Oppenheimer” until weeks after its release meant that I weathered to storm of hype, backlash, and backlash to the backlash before ever laying eyes on it myself. However, nothing could have prepared me for the utter masterpiece that unfolded over three of the fastest hours I’ve ever spent in a cinema. In many ways, “Oppenheimer” feels like the film Nolan’s entire career has been moving toward, the ultimate tale of an obsessive man who is, at his core, a decent person thrust into indecent circumstances. As masterfully played by a never better Cillian Murphy, J. Robert Oppenheimer is a man haunted—in a Scrooge-esque manner—by ghosts of his past, present, and future, frozen in time by every decision he’s ever made, all of which are being weaponized against him. Nolan’s film moves with alacrity through five decades of American history with an incredible supporting cast filled with ringer after ringer—notable standouts include Emily Blunt as his wife Kitty, Florence Pugh as his mistress Jean, and Robert Downey, Jr. as the villainous Senator Lewis Strauss. It is as close to a thesis statement on his own belief system as a filmmaker as Nolan has ever gotten and it is a towering achievement in every sense, not just great entertainment, but also a brutal reminder that humanity is doomed to repeat its mistakes ad nauseam because it refuses to learn anything from them. Chilling, exhilarating, and masterfully crafted, “Oppenheimer” is nothing short of the best film of 2023.
David – PAST LIVES
Each of the central three characters in “Past Lives” is wrestling with different things, yet one of them connects all three. Their reunion is the kind that feels based in reality, because it is. Watching “Past Lives” in a sold-out screening at the Music Box Theater in Chicago wound up being one of the most moving viewing experiences of the year. I didn’t expect writer/director Celine Song’s somewhat autobiographical story (and impressive directorial debut) to resonate with me on such a personal level, but sometimes that’s how it works out. No other film in 2023 matched that feeling for me. I knew it’d be my number one pick that night and that feeling never changed. It takes sitting with the film long after viewing to take in what it’s about and acknowledge how truly great Song and her actors (Greta Lee, Teo Yoo, and John Magaro – all phenomenal!) tell the story with such refreshing care, respect, and tenderness. That being said, what it’s about depends on the viewer and that’s great art.
