Against all odds, 2023 was an excellent year for film. Over the last several years, the Covid-19 pandemic negatively impacted an already struggling movie industry. The rise of streaming, the cost of movie tickets, and the lack of variety on the marque has shifted the way audiences choose to engage with media. Niche offerings that cater to individual interests: the abundance of “prestige television” and short form video content on social media are now the dominant way the public consumes entertainment. Disney, which dominated the cultural landscape during the 2010s, saw a painful year of box office bombs with Indiana Jones, The Marvels, and their centennial celebration film Wish. The situation for the company and the industry at large grew even more dire when both the Writer’s Guild and SAG-AFTRA went on strike this summer over fair pay, streaming residuals, and the impending threat of artificial intelligence. Both strikes were resolved but on uneasy ground, signaling further disruptions to an industry that has developed a bad habit of scrapping fully finished films when they think the tax write off will be more profitable than the release. 

Yet two films this year were able to break through the noise and prove there’s still room for major monoculture events in our heavily splintered society. Barbie and Oppenheimer or “Barbenheimer” was an organic social media campaign born from a meme acknowledging the inherent humor in such a tonally opposite double feature. It boosted both of these films to the must see event of the summer. Whole theaters were sold out of tickets for weeks, creating even more demand. I left work early on that Monday to see Oppenheimer in IMAX at 4:30 pm and to my surprise the theater was completely full. A three hour long biopic, that’s primarily dramatic scenes of scientists talking, went on to make almost $1 billion! On the other side of the coin, I saw Barbie opening night with my friends, knowing I would laugh and leaving surprised by how much I cried. I would go on to see Barbie two more times in theaters (the only movie I saw more than once in theaters this year) and each time the theater was full of people in their best pink looks. Barbie went on to become the highest grossing film of 2023, the first non-sequel to hold that title in a decade!

There’s been so many powerful films released by both esteemed auteurs and up and coming directors alike this year. The awards season will be some of the most competitive races in recent memory. With so many deserving performances and films, this list was a challenge to put together. I was fortunate enough to have seen 74 films released this year, most of them in theaters barring a few streaming exclusives. Here are my 15 favorites of 2023:

15. Elemental dir. Peter Sohn

“I would pray… to be good enough to fill my father’s shoes someday because this place is his dream. But I never once asked what I wanted to do. I think that’s because deep down, I knew it didn’t matter. Because the only way to repay a sacrifice so big is by sacrificing your life too.”

Elemental features my favorite relationship of the year by far. I don’t care that they are animated or that they are anthropomorphic elements of nature, this is one of the most human and genuine love stories to come from Disney in years. The film follows an immigrant family finding their place in a new country and touches on issues of discrimination, assimilation, sacrifice, and the expectations placed upon children who grow up with more opportunities than their parents. This sleeper hit debuted with lackluster box office numbers due to a marketing campaign that was a bit reductive in its messaging, but through positive word of mouth, Elemental persevered grossing nearly $500 million worldwide. Still, the movie provided more evidence of the cracks in Disney’s usually impervious armor. With its delayed success at the box office and becoming the most watched Disney+ premiere of 2023, Elemental will surely outlast the negativity shrouding the Mouse this year.

14. American Fiction dir. Cord Jefferson

“People want to love you, Monk. You should let them love all of you.”

American Fiction is a biting satire that takes direct aim at the “anti-racist” corporate culture which serves only to absolve white people of their guilt and does little to uplift black voices. This film is primarily focused on the publishing and entertainment industry, but its critiques can easily be applied to any business or organization where well-meaning white people in charge squirm under the pressure to keep up with the changing cultural landscape. Beyond the laugh-out-loud takedown of the state of today’s racial politics, lies a tragic and touching family drama about letting love into your life. Jeffrey Wright gives a career defining performance as Monk, a bitter and cynical writer struggling to reconcile with his identity and make peace with his family. American Fiction excels in holding up a mirror to a country that’s having a bit of an identity crisis of its own, with plenty of laughs, and a few tears along the way. 

13. Theater Camp dir. Molly Gordon & Nick Lieberman 

“Camp isn’t home, but is it kind of? Kind of it is, I think it kind of is.” 

Theater Camp is my pick for most underrated film of the year. In the mockumentary style of Best in Show and Drop Dead Gorgeous, this movie is filled to the brim with brilliant comedic performances, skewering “theater people” with a sharp, mostly improvised, script. Gordon and company give so much heart into this project, I hope they continue producing comedies together, whether it’s theater related or not. The entire ensemble cast, particularly the young campers, bring so much energy and heart to this film it easily has joined the ranks as one of my favorite comedies of all time. 

12. Skinamarink dir. Kyle Edward Ball

“Can we watch something happy now?”

This surprising analog horror film rocked the internet early this year. Its word of mouth as being “the scariest movie of all time” subsequent virality, and inevitable backlash as boring and empty makes it one of the most divisive films on the list (joining comfortably next to Beau is Afraid). It is difficult to recommend to a general audience. It’s shot from unconventional angles, it’s grainy and dark, and is primarily an experience first, a narrative second. For those reasons, this horror movie won’t be for everyone. But if you can buy into that experience you are in for a white knuckle nightmare through the recesses of your childhood memories. No other movie has captured the liminal sensation and primal fear of waking up in the middle of the night with the tv still flickering and you swear you see something lurking just beyond the shadows. Skinamarink has earned its place in the horror canon, I’m looking forward to what Ball has in store for his second feature film. 

11. Anatomy of a Fall dir. Justine Triet

“You’re not a victim. Not at all. Your generosity conceals something dirtier and meaner. You’re incapable of facing your ambitions and resent me for it. But I’m not the one to put you where you are. I’ve nothing to do with it!”

Anatomy of a Fall had me on edge the second that godawful steel drum cover of 50 Cent’s “P.I.M.P.” started playing. A thriller unlike anything I’ve seen before, where the question of “did she do it?” is sort of secondary to the more interesting questions, if she did do it “how?” and “why?” Sandra Huller skillfully toys with these audience questions throughout the film, constantly shifting between exonerating and incriminating herself. Milo Machado Graner is my choice for most underrated performance of the year as Daniel, the blind son and sole witness to his father’s death. The Supporting Actor field is crowded this year, but it would be a shame if Graner was snubbed of a nomination for his captivating work in this film. This French courtroom drama is tense and rife with concern for how easily we all could be implicated if judged solely by our worst moments. 

10. Asteroid City dir. Wes Anderson

“Doesn’t matter. Just keep telling the story.”

Asteroid City has been surprisingly divisive amongst casual and diehard Anderson fans alike. The most common criticism I see lobbed at it is the accusation that it’s substanceless and shallow, even for a director who places such a heavy importance on aesthetics. I couldn’t disagree more. I’m not easily charmed by Anderson’s whimsy, but this one absolutely got me. To say this film is substanceless is to deny how well it tackles themes of overcoming grief, the futile nature of making art in a rapidly advancing society, and perhaps most timely how quickly we compartmentalize mass trauma in order to move on with our lives. It’s also just a nice bonus to take in that lovely pastel desert while you’re mulling over your own existence. 

9. Barbie dir. Greta Gerwig

“Humans only have one ending. Ideas live forever.”

Barbie needs no introduction, you’ve seen it, I’ve seen it, we’ve all seen it. I went into this film as a Greta Gerwig and Margot Robbie (And Ryan Gosling) fan. My previous experience with Barbie was limited to playing the roles of Ken and Skipper in the supporting cast of my sister’s toy productions when we were kids. However, I was completely charmed by Barbie, seeing it more times in theaters than any other film on this list. The practical set pieces and eye candy palette of pink was such a breath of fresh air after years of CGI-filled blockbusters dominating the box office. Most of the soundtrack made it to my Spotify tops songs of the year, Dance the Night and Speed Drive cracked the top ten. Gosling delivered one of the best comedic performances of the year, one that will be remembered for decades to come. For a movie that so easily could’ve been entirely corporate and soulless, there was such heart in every aspect of the film’s creation. 

8. May December dir. Todd Haynes

“Insecure people are very dangerous, aren’t they? I’m secure. Make sure to put that in there.”

May December is a fascinating and disturbing case study of our culture’s current obsession with true crime narratives and salacious limited series, passing themselves off as serious art. It points the finger at all of us for how we are complicit in the harm imposed on victims and their families for little more than the desire for gossip. What’s surprising is how humorous this film is, never shying away from mocking the narcissism both of the lead actresses possess. Julianne Moore and Natalie Portman give remarkable and twisted performances, but Charles Melton is without a doubt the breakout star of this film. Melton delivers a tender and sympathetic portrayal of a misunderstood victim, one of the very bests of the year.

7. The Iron Claw dir. Sean Durkin

“I used to be a brother and I’m not a brother anymore.”

The Iron Claw is possibly the most emotionally wrought film I watched this year, which as someone unfamiliar with the real life Von Erichs, completely blindsided me. The first half takes you through the over-the-top world of professional wrestling just to smack you back down to reality with tragedy after tragedy. Zac Efron gives an emotionally vulnerable lead performance and Jeremy Allen White is well on his way to becoming a movie star. The chemistry on screen between the brothers is some of the most authentic acting I’ve seen from an ensemble this year.

6. Oppenheimer dir. Christopher Nolan

“You don’t get to commit sin, and then ask all of us to feel sorry for you when there are consequences.”

I went into Oppenheimer as a reluctant, part-time Christopher Nolan hater, and left nearly converted. Nolan is an expert in visual storytelling, unmatched by other directors in his caliber, I’ve never denied that. But I often find his scripts completely falling apart from the tiniest bit of scrutiny, filled with incoherent messages and characters without clear motivations. However Oppenheimer blew up everything I thought I knew about Nolan. This is his tightest script to date, which is an impressive feat for a three hour long biopic, completely exploring the psychology and governmental pressure that motivated the most consequential man of the 20th century, maybe of all time. Cillian Murphy and Nolan expertly create a sympathetic and fully human performance without ever letting the real Oppenheimer off the hook for the world he left behind for us. I will never forget the shock and awe I experienced watching the Trinity Test in IMAX or the cold chill that ran down my spine witnessing hundreds of ICBMs launch setting the world ablaze. Two movie moments I will remember for the rest of my life. 

5. Poor Things dir. Yorgos Lanthimos

“We must experience everything, not just the good, but degradation. Horror. Sadness. Then we can know the world. And when we know the world, the world is ours. This makes us whole.”

Emma Stone is an absolute force of nature in Poor Things, giving the most fully realized performance of the year. Her transformation from bumbling toddler to self actualized woman of the world feels so natural and is a testament to Stone’s commitment as an actor. The world Lanthimos creates here is vibrant, fantastical, expansive, and completely bizarre standing out amongst the sea of serious biopics and family dramas. Poor Things is an outlandish sex comedy, but a truly gorgeous one to look at. 

4. Killers of the Flower Moon dir. Martin Scorsese

“Can you find the wolves in this picture?”

Martin Scorsese gave us a masterpiece with this sweeping Western epic about cruelty, greed, and our country’s original sins. Killers of the Flower Moon is an unflinching indictment of America’s history of racist violence and genocide, exposing how this history is neatly repackaged in the retellings of our origin story. No other living director has the exacting vision Scorsese possesses, it is a joy to witness someone with such skill and passion for his craft. We are truly lucky that Scorcese is continuing to make some of his best work after decades in the industry. All three lead performances are worthy of praise, but no one more so than Lily Gladstone. Her understated and devastating portrayal of a woman witnessing the covert destruction of her people is one of my favorite performances of the entire year. Gladstone has an electric onscreen presence which makes it so easy to fall in love with her character Mollie. I truly hope her talent is recognized this awards season and she continues to star in big budget productions like this. Killers of the Flower Moon’s epilogue is my choice for most impactful scenes of the year. Tears filled my eyes as Scorsese read the real Mollie Burkhart’s obituary during a dramatic radio play, holding himself accountable to his own complicity in repackaging violent tragedies for entertainment. Scorsese’s examination of his own legacy and participation in the culture of American violence elevates this film beyond a simple retelling of historical events.

3. Past Lives dir. Celine Song

“You dream in a language that I can’t understand. It’s like there’s this whole place inside of you where I can’t go.”

Past Lives is a quiet and moving story about love and destiny that completely destroyed me when I first watched it. I’ve never seen a romance film tackle the complicated realities of falling in love with so much respect for the characters on screen. Their insecurities, fears, and desires are all fully on display without judgment. This is one of my favorite scripts of the year, full of thoughtful lines about the nature of fate and the belief in soulmates. I cannot wait to see what Celine Song has for us next if this is what she delivered for her debut.

2. The Holdovers dir.  Alexander Payne

“You know Mr. Kountze, for most people life is like a henhouse ladder. Shitty and short. You were born lucky.”

The Holdovers earned its spot on my list minutes into watching the film. From the “vintage” 1970s production logos to the winter in New England setting, this movie was an easy sell for me. It also helps that it stars Giamatti, an actor with supreme comedic timing and the range to portray a grumpy, pedantic (and smelly) boarding school teacher with an ever-changing lazy eye as empathetically as he does. Despite having no acting credits prior, Dominic Sessa gives an impressive performance, going toe to toe opposite veteran Giamatti. I’m looking forward to seeing what he does next. Finally, Da’Vine Joy Randolph is unbelievably moving in her role as Mary Lamb. She gives a heartbreaking performance, personifying grief in its entirety. Randolph is my top choice for Best Supporting Actress this year, and it’s not really close. I will be watching The Holdovers for many Christmases to come. 

1. Beau is Afraid dir. Ari Aster

“I am so sorry… for what your daddy passed down to you. But I wanted a child, the greatest gift of my life.”

Beau is Afraid is Ari Aster’s third feature and most divisive film to date. Its surrealist horror/comedy edge will be off putting to many as this movie grabs the audience in a tense grip from the start and doesn’t relinquish until long after the credits roll, an exhausting experience at three hours long. It’s every single worst nightmare I’ve ever had and I could not take my eyes off the screen. I love this movie. It’s rare for a director to get complete creative control over their projects and I’m so grateful for the trust A24 placed in Aster. He took full advantage of that freedom by creating his most honest and vulnerable film to date. As an anxiety sufferer myself, no other film has managed to not only capture that specific feeling in its characters, but induce it in the audience as well. Joaquin Phoenix carries the balance of sympathetic and just plain old pathetic so expertly throughout Beau is Afraid, guiding the audience through this existential odyssey. It’s stressful, it’s gross, it’s painful, and it’s the perfect movie to define the high-strung year of 2023.

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Here are some more incredible films that didn’t quite make the cut this year, but still worth your attention!

Honorable Mentions: Bottoms, Priscilla, Dream Scenario, Shortcomings, Are You There God? It’s Me, Margaret., Monster, Maestro, Godzilla Minus One, The Boy and the Heron, Dicks: The Musical

Happy New Year to All!