I know. I didn’t just forget which year we’re in. We’re about to say goodbye to 2024, and here I am with a list of the very best films, shows, and whatnot from 2023? That’s certainly a choice, right? Look, I’ll be honest. I’ve been pretty busy this year, and I, around summer time, felt like I might as well wait until I had seen the two or three films that I felt I had to watch before publishing my lists for 2023. It kind of makes sense, right? If it’s already late, then I might as well make sure the choices are bulletproof, you know? Anyhow, here we are, and I’m going to be running you through all of my winners in a single post. Some awards have been canned (e.g. poster, trailer), other fresh ones have been added (e.g. stunts). It’ll take some time, but stick with me here. Oh, and look on the bright side, this way the wait between the 2023 and 2024 lists won’t be all that long. Anyway, let’s get to it (and happy holidays!).
- Cameron Monaghan – “Star Wars – Jedi: Survivor”
There’s a reason why certain corners of the Star Wars fandom have been asking for a film or show starring Cameron Monaghan. Okay, sure, partly it’s because they just enjoy the game, but I think a major reason why is because of Monaghan’s dedicated vocal performance. He’s absolutely terrific in the game and his performance helps to get you fully emotionally invested in the storylines.
- Marvel’s Spider-Man 2 – Insomniac Games.
This is a wonderful follow-up that improves upon both the original game and the Miles Morales spin-off in every way with new foes and mechanics. I absolutely loved playing this and learning my nephew how to swing and glide through the city as Spider-Man. I will say that it is odd that you can’t play this game in co-op mode given the focus on two Spider-Men, but, hey, maybe in the next game, right?
- “I’m Just Ken,” – Ryan Gosling – Barbie.
From my review of Barbie:
“Gosling is the film’s primary comic relief, and every joke of his lands — just like his big musical number is both catchy and rooted in character disillusionment. Gosling is note-perfect.”
- Hailee Steinfeld – “Spider-Man: Across the Spider-Verse”
From my review of Spider-Man: Across the Spider-Verse:
“Spider-Man: Across the Spider-Verse is as visually breathtaking as the first film and arguably even more impressive in its inventiveness and attention to detail in animation style and blending of these styles. Every frame of the film is full of love for the medium, the characters, and the universe. Simultaneously, these storytellers have told a story about daring to not stick to the formula at a moment in time when superhero films need this kind of talking-to. Over time, this Empire Strikes Back of the Spider-Verse could very well become my favorite of these films, but the incompleteness of the unmistakenly ‘part one’ ending holds it back slightly for now.”
- Bradley Cooper – “Guardians of the Galaxy, Vol. 3”
From my review of Guardians of the Galaxy, Vol. 3:
“Maria Bakalova and Bradley Cooper’s voice performances are quite good and get both laughs and awws.”
- “Spider-Man: Across the Spider-Verse,” – Sony Pictures Releasing.
From my review of Spider-Man: Across the Spider-Verse:
“Spider-Man: Across the Spider-Verse is as visually breathtaking as the first film and arguably even more impressive in its inventiveness and attention to detail in animation style and blending of these styles. Every frame of the film is full of love for the medium, the characters, and the universe. Simultaneously, these storytellers have told a story about daring to not stick to the formula at a moment in time when superhero films need this kind of talking-to. Over time, this Empire Strikes Back of the Spider-Verse could very well become my favorite of these films, but the incompleteness of the unmistakenly ‘part one’ ending holds it back slightly for now.”
- “Succession: Season Four,” – HBO.
Arguably, no quote better encapsulates the problem with the kids’ mad dash for more power. It’s perfect.
- Kieran Culkin – “Succession”
From my review of the fourth season of Succession:
“Culkin nailed the vulnerability of his character again and again.”
- “Succession: Season Four,” – HBO.
From my review of the fourth season of Succession:
“In that final episode, it hits on all the right notes, and the principal cast rose to the occasion. Macfadyen played the flexibility of his Tom perfectly. Culkin nailed the vulnerability of his character again and again. Snook continued to annihilate with her performance, as she had done throughout the season. Jeremy Strong’s emotional work in the finale — from the smile to the tantrum to the emptiness — was honestly sublime. Just stunning.”
- “Poker Face: Season One,” – Peacock.
From my review of Poker Face: Season One:
“Lyonne is phenomenal and immensely watchable as the raspy-voiced drunken vagabond on-the-run version of Columbo”
- Pedro Pascal – “The Last of Us”
It was difficult to choose this year in this category. You see, the thing is, I could have easily gone for yet another Succession award winner here, but since Strong has won this category before, and since I wanted to recognize The Last of Us in more than one category, I opted for Pascal here. Pascal took on a part that so many people, myself included, have a special relationship with and special expectations for, and it wasn’t an easy task. Still, he delivered his performances beautifully as he captured the tone and internal shatteredness of his character. A terrific lead performance.
- “Succession: Season Four,” – HBO.
From my review of the fourth season of Succession:
“In what is sure to end up as one of the best and most unforgettable episodes of television ever made (titled ‘Connor’s Wedding’), […]. In a series that is all about seizing control of both the narrative and the family company, no one has any control here. The episode has been lauded for a multitude of reasons such as the writing or the way they shot a 28-page scene as a 30-minute long take by hiding camera magazines around the set and always having a camera running, but the thing that always gets me about it is how authentic the performances are.
It was a jaw-dropping episode that subverted expectations and genuinely floored me with its raw work from especially Jeremy Strong, Sarah Snook, and Kieran Culkin. For as loathsome or stupid as you may think some of their characters can be, the authenticity of the performances makes your heart break for them. In their performances, we see that — through the startled breakdowns of the characters — they struggle to say what needs to be said to a father that has been emotionally abusive to them.”
- “The Last of Us: Season One,” – HBO.
From my review of episode nine of the first season of The Last of Us:
“The season finale thus — like the entire season — completely lives up to that first game, which I think is a masterpiece. I am so impressed. A video game has never been adapted this well. A true masterwork of a season and a really strong season finale that hits hard and true on all the proper themes to which the show is deeply connected. “
- “Succession: Season Four,” – HBO.
From my review of the fourth season of Succession:
“With the spectacular final season of Succession, Jesse Armstrong reinvented the show early on and gave us an incredible fight for the promise of the show’s title. Armstrong closed the book on it when it reached a natural conclusion, and the cast and crew delivered. A tragic masterpiece. Bravo to all involved.”
- The Barbenheimer Phenomenon.
From my review of Barbie:
“The simultaneous release of two films from modern auteurs Greta Gerwig and Christopher Nolan couldn’t just be counterprogramming. Rather, the internet decided that it had to be a meme (Barbenheimer, it’s been dubbed). Theater owners all over the world ought to be rejoicing at the internet’s impromptu online public support for a double billing of two films that in most ways couldn’t be farther apart. Moviegoing audiences are also in luck, because it just so happens that both films are terrific.”
- Carol Burnett – Comedian, Actress, Singer.
It doesn’t get much more legendary in show business than Carol Burnett. She is not only a 7x Emmy and Golden Globe award winner, but she has also won both a Tony Award, Grammy Award, and, wouldn’t you know it, a Presidential Medal of Freedom. She has won multiple lifetime achievement awards so nothing I could possibly say to praise her here would actually be new or groundbreaking. But I will say that, as a fan of the Gilligan-universe, it was such a nice treat to see her in Better Call Saul in its final season.
- “Oppenheimer,” – Universal Pictures.
From my review of Oppenheimer:
“Sometimes the exact moment a film has cut to the credits and the lights turn on in the theater, you are rendered speechless. This is the kind of haunting masterwork that succeeds in transporting you into the headspace of its main character, which means that it gradually fills you with existential dread.”
- “Killers of the Flower Moon,” – Paramount Pictures / Apple Original Films.
From my review of Killers of the Flower Moon:
“During the film’s coda, Scorsese doesn’t just do an on-screen text explanation of what happened to these individuals in the following years, instead, he shows us how the story was passed on through radio dramas meant to entertain white audiences and obituaries purposefully ignoring the injustices, and an appearance is made that puts a spotlight to the fact that he is telling someone else’s story and that his act of telling it mustn’t be misconstrued as mere entertainment. That is a level of self-awareness and self-reflection that is honestly impressive at this point in the career of a filmmaker who made his first feature in 1967.”
- Lily Gladstone – “Killers of the Flower Moon”
From my review of Killers of the Flower Moon:
“Despite being paired with two living screen legends like DiCaprio and De Niro, Lily Gladstone is the performer who completely steals the show. Gladstone plays her character with intelligence and an intensity (that is sometimes quietly delivered) that radiates off the screen. She captures the complex blend of pain, anger, and distrust that comes with knowing what’s happening around her but being unable to do anything about it. At one point, she cries out a pained, primal scream that moved me to tears.”
- “How to Have Sex,” – Dir. Molly Manning Walker – Mubi.
Molly Manning Walker’s How to Have Sex is a remarkable feature debut. It’s working with ideas and coming-of-age themes that aren’t exactly fresh, as it follows these young adults hoping to have a good time in the Greek islands and possibly lose their virginity in the process, but it’s the modernity and rawness of it that makes it stands out. It is essentially Skins meets Spring Breakers, but, arguably, even more uncomfortable, raw, honest, and bruising. The film is concerned with the female experience in the post-#metoo age and how it is to come of age at this moment in time, but also modern sex and party culture, as well as the different sides to teen friendships, including peer pressure. It is, frankly, a frightening and devastating watch, as we see how this young woman is caught in the middle of a terrible situation in her formative teenage years. It is powered by assured direction from the first-time feature filmmaker, but also a central performance from Mia McKenna-Bruce that is astoundingly good. It is a tough watch, but it is a really well made film from a gifted filmmaker.
- “Dungeons & Dragons: Honor Among Thieves,” – Paramount Pictures.
From my review of Dungeons & Dragons: Honor Among Thieves:
“The very charming Dungeons and Dragons: Honor Among Thieves is another hit from Game Night directors John Francis Daley and Jonathan Goldstein, who have a lot of fun with the material all the while showing a lot of affection for it. It is definitely more a fantasy-genre take on Guardians of the Galaxy than a D&D take on Lord of the Rings, but, nevertheless, it is a genuinely entertaining potential franchise starter that should be a bonafide hit with audiences everywhere.”
- Bradley Cooper – “Guardians of the Galaxy, Vol. 3”
From my review of Guardians of the Galaxy, Vol. 3:
“Maria Bakalova and Bradley Cooper’s voice performances are quite good and get both laughs and awws.”
- “The Creator,” – 20th Century Studios.
From my review of The Creator:
“In the film, the visuals give off a texture and a lived-in quality that is off-the-charts good. Visually, it is very Neill Blomkamp’s District 9 meets Joseph Kosinski’s Oblivion with a sprinkling of Edwards’ Rogue One.”
- “Poor Things,” – 20th Century Studios.
From my review of Poor Things:
“The production design is marvelous, but so, too, are the costumes. Holly Waddington’s varied costumes tell a story all of their own as they showcase Bella’s development and response to the world around her. There are puffy and colorful clothes and, at other points, dark and form-fitting attire that complement her developing speech patterns. “
- “Poor Things,” – 20th Century Studios.
From my review of Poor Things:
“The production design is marvelous, but so, too, are the costumes. Holly Waddington’s varied costumes tell a story all of their own as they showcase Bella’s development and response to the world around her. There are puffy and colorful clothes and, at other points, dark and form-fitting attire that complement her developing speech patterns. “
- “Oppenheimer,” – Universal Pictures.
From my review of Oppenheimer:
“Oppenheimer is, with its three stories to track, thus very much a Nolan film. Edited by Jennifer Lame, the film deftly cuts back and forth from various perspectives and time periods (to the best of my recollection, we never see a year written on-screen to keep us on track). It is a dense film with a lot of characters (and so many recognizable actors that it would be difficult to touch on all of their performances) and some concepts that can be difficult to wrap your head around. But the film isn’t all that interested in talking down to its audience. It is a demanding but powerful film that addresses its audience with an expectation that they are keeping track. But it is well worth the effort of “watching closely,” for all three hours of its runtime. “
- “Killers of the Flower Moon,” – Paramount Pictures / Apple Original Films.
From my review of Killers of the Flower Moon:
“I want to especially highlight Robertson’s timeless compositions that feel both bluesy and uniquely appropriate for this story about Native Americans. As such, it adds to the authenticity of Scorsese’s film, and the blend of musical and rhythmic styles feels ideal for the kind of clash-of-cultures story that this is. Robertson’s score has these moments when it feels like it’s strumming along like a heartbeat or a wave, and it makes it feel like something is on its way.”
- “The Killer,” – Netflix.
From my review of The Killer:
“The soundtrack is almost exclusively built around The Smiths, almost as if the band was used as temporary music that someone never bothered to swap out. And, frankly, some of the needle drops are somewhat on the nose. It may seem like Fincher is playing a game, but I never found myself thinking ‘this joke isn’t funny anymore,’ rather I quite enjoyed it for what it may inform us about the character. The tracks work as a kind of window into the soul of a man who protects himself by repeating his code over and over again, but what becomes fascinating is that he drowns out the inner voice through a work mixtape solely devoted to the tunes of Morrissey, Johnny Marr, Andy Rourke, and Mike Joyce. The iconic 1980s British indie rock group has made its name with songs that can be defined by longing, loneliness, depression, dark comedy, and macabre lines. While it makes sense for a hitman with a mantra to be fascinated by a band who has crafted lyrics such as “you should be bludgeoned in your bed,” their songs also raise questions about whether he truly abides by his code, given that the titular contract killer’s first attempted murder in the film is paired with the iconic “How Soon is Now?” Now, that is an incredibly cool usage of the song (Fincher has a way of fusing popular songs with instantly iconic imagery) whose sound is a feat for the ears, but its chorus also, notably, includes the line “I am human and I need to be loved, just like everybody else does,” which is a sentiment that seems intentionally antithetical to the kind of persona that Fassbender’s character likes to be known for. Perhaps this is an early sign of a chink in his armor — an internal conflict just waiting to rip him apart.”
- “John Wick: Chapter 4,” – Lionsgate.
From my review of John Wick: Chapter 4:
“In general, the gun-fu extravaganza is overwhelming and features impeccable stunt work that ought to finally make the Academy give the green light for a stunt category at the Oscars. It’s all so good. Again, it really feels like a greatest-hits kind of film.”
- “Oppenheimer,” – Universal Pictures.
From my review of Oppenheimer:
“The Trinity Test itself is also a sight to behold. The film makes use of actual explosives and forced perspective to envelop you in the chaos that you cannot take your eyes off. Of course, this film — shot by DP Hoyte van Hoytema — is a gorgeously made film with state-of-the-art visual artistry. Christopher Nolan’s films are almost always technical achievements, and this one is no different. “
- “Killers of the Flower Moon,” – Paramount Pictures / Apple Original Films.
From my review of Killers of the Flower Moon:
“Killers of the Flower Moon is yet another masterpiece from America’s finest filmmaker. This neo-western is a piece of historical filmmaking that is fully aware of the sickness of 20th-century America and the film’s place in the immortalization of this very real American tragedy. With Killers of the Flower Moon, Martin Scorsese asks us to interrogate our understanding of American history and those who are allowed to tell it with a film that is as sharply made, reflective, and concerned with morality as the ones he made his name with to begin with.”
- “Anatomy of a Fall,” – Neon.
From my review of Anatomy of a Fall:
“Justine Triet’s expertly written Anatomy of a Fall works with language to great effect as it showcases what language means to relationships, systems of power, and legal processes. Here is a film that is uniquely interested in intercultural communication and the pitfalls of engaging in intercultural encounters. It is a story that stresses authorial intentionality and interpretation thereof, but also how best to present oneself in France as a German, and through it all language is the key aspect — language as a barrier, an affront, a middle ground, and as a means to plead your case no matter what the system prefers. “
- Robert Downey, Jr. – “Oppenheimer”
From my review of Oppenheimer:
“Robert Downey, Jr., from a certain point of view, plays the Salieri to Oppenheimer’s Mozart. This is a return to high-profile adult-oriented cinema for Downey (this is coming from a Marvel fan, I should stress), and this will stand out as one of his best performances, as his pent-up frustrations are communicated extremely well by the immensely electric star.”
- “The Holdovers,” – Focus Features.
From my review of The Holdovers:
“Dominic Sessa, in his first film role, is a wonderful surprise here, as he captures an energy befitting the kind of film this is, Da’Vine Joy Randolph delivers subtle but quietly moving work here as the grief-stricken woman who sometimes acts as the conscience of the film’s lead, Paul Giamatti, who offers both explosive, stern, satirical, and affectingly soft work through this arguably career-best performance. The dialogue and character-writing is so exceptionally done that you will probably recognize these characters from your own life (we’ve all encountered hard-ass but well-meaning teachers like that), and you’ll probably see yourself in them as well — these are written in such a way that they always feel like fully-formed human beings. This is arguably the crowd-pleasing family film of 2023, and I feel confident in saying that this will be cherished for years to come.”
- “Teenage Mutant Ninja Turtles: Mutant Mayhem,” – Paramount Pictures.
From my review of Teenage Mutant Ninja Turtles: Mutant Mayhem:
“The infectious energy and incredibly charming character writing and voice work, when paired with its exciting and modern style and a nostalgic soundtrack, make for an utter delight through and through.”
- “Spider-Man: Across the Spider-Verse,” – Sony Pictures Releasing.
From my review of Spider-Man: Across the Spider-Verse:
“Spider-Man: Across the Spider-Verse is as visually breathtaking as the first film and arguably even more impressive in its inventiveness and attention to detail in animation style and blending of these styles. Every frame of the film is full of love for the medium, the characters, and the universe. Simultaneously, these storytellers have told a story about daring to not stick to the formula at a moment in time when superhero films need this kind of talking-to. Over time, this Empire Strikes Back of the Spider-Verse could very well become my favorite of these films, but the incompleteness of the unmistakenly ‘part one’ ending holds it back slightly for now.”
- “20 Days in Mariupol,” – PBS Distribution.
From my review of 20 Days in Mariupol:
“I doubt that you will see a 2023 film that is tougher to watch than 20 Days in Mariupol, but for as tough as it is to watch, it is equally essential as it puts you in the headspace of being on the ground, it puts the realities of the invasion right up to your face, and it is a perfect example of the importance of great eyewitness journalism in a time of distress, propaganda, and loss of life. Haunting. For me, this is easily the best documentary filmmaking of its release year.”
- “Spider-Man: Across the Spider-Verse,” – Sony Pictures Releasing.
From my review of Spider-Man: Across the Spider-Verse:
“Spider-Man: Across the Spider-Verse is as visually breathtaking as the first film and arguably even more impressive in its inventiveness and attention to detail in animation style and blending of these styles. Every frame of the film is full of love for the medium, the characters, and the universe. Simultaneously, these storytellers have told a story about daring to not stick to the formula at a moment in time when superhero films need this kind of talking-to. Over time, this Empire Strikes Back of the Spider-Verse could very well become my favorite of these films, but the incompleteness of the unmistakenly ‘part one’ ending holds it back slightly for now.”
- “Bastarden,” – Nordisk Film.
From my review of Bastarden:
“Nikolaj Arcel’s Bastarden (or The Promised Land) is a gorgeous-looking film that is never dull. It represents a sharp and entertaining return to form for Arcel after his less-than-ideal time in Hollywood, but it is also somewhat of an achievement in Danish cinema, as this film about climbing the social ladder (and being faced with your own humanity along the way) is a skilfully-made Danish spin on the Western genre. Though, as a Western, it feels more distinctly Danish than the more traditional Danish western The Salvation, from director Kristian Levring, which took place in America but was shot in South Africa (and which also starred in Mads Mikkelsen).”
- “The Zone of Interest,” – A24.
From my review of The Zone of Interest:
“A call to engagement and involvement. A test of humanity. It’s a reminder to take the astonishment and horror that this film brings to you and use it to speak up before your soul perishes in the thoughtlessness of politically orchestrated but unjust perceived normalcy. Because if you don’t, then how have we ever really learned from this? Don’t allow yourself to be numb to the cruelties of the world. Don’t let it be normal. Or history will judge you accordingly. “
- Cillian Murphy – “Oppenheimer”
From my review of Oppenheimer:
“A frequent collaborator of Nolan’s, Murphy has been thrust into the most high-profile role of his career and he doesn’t disappoint. Cillian Murphy disappears into the role, and his intense eyes drill their way into your soul. I believe it is one of the best lead performances that a Christopher Nolan film has ever had.”
- Emma Stone – “Poor Things”
From my review of Poor Things:
“This performance showcases incredible bravery, as the Hollywood-friendly leading lady disrobes and puts herself in some very awkward and risky scenes. Stone never flinches. In what is undoubtedly the best performance of her career, Emma Stone is intelligent, daring, and completely in control. She masters every aspect of her instantly iconic and lovably shameless character. From the quirky dance moves and the childish first impressions to the confident and heady scenes later in the picture, there are no false moves. “
- “Oppenheimer,” – Universal Pictures.
A lot of people will remember two performances from this film, i.e. those delivered by Cillian Murphy and Robert Downey, Jr., but, it must be said, that so many incredible performers appeared in this film. From Emily Blunt and Florence Pugh to Casey Affleck and Rami Malek, it was, honestly, a little bit incredible how the film had so many hidden or underreported appearances hidden up its sleeves. What do they have in common? Well, they’re all good in the film, and I say this despite the fact that Kenneth Branagh’s Danish accent missed the mark.
- Sandra Hüller — Anatomy of a Fall; The Zone of Interest.
Apologies to all of the Sisi & Ich fans out there. Admittedly, I have not had the opportunity to watch that third 2023 film that Hüller appeared in. I did, however, watch her two major films from 2023, and those performances were more than enough to convince me that this award could only go to her. She’s an amazing actress, who shows different sides to herself as a performer in these two roles that are challenging for very different reasons.
- “Oppenheimer,” – Dir. Christopher Nolan – Universal Pictures.
From my review of Oppenheimer:
“But this is also one of the sharpest directed films of Christopher Nolan’s career. At every step of the way, he knows exactly what he is doing, and, though some things happen off-screen, he never sugarcoats anything. Oppenheimer is a shattering three-hour American epic of the highest order that is both an intimate portrait of the forever altered headspace of a paradoxical physicist and a damning depiction of mid-20th century American history.”
- “Oppenheimer,” – Dir. Christopher Nolan – Universal Pictures.
From my review of Oppenheimer:
“One of the best films of Nolan’s career, it both emphasizes the toxicity at the core of the Red Scare and speaks to how the nuclear anxiety of the 20th century still resonates to this day. Some genies cannot be returned to the bottles from which they came. J. Robert Oppenheimer knew that and so does Christopher Nolan’s outrageously ambitious and bold biopic. Nolan smartly steers clear of hagiography by focusing on naivete, guilt, consequences, and the disturbing but clear-eyed self-reproach inherent in the quote that Oppenheimer is often partly remembered for.”
- George Lucas – Director, Screenwriter, Producer, Philanthropist.
Yes, Mr. Lucas only has six feature director credits to his name, but his influence on Hollywood is much larger than that. It’s, honestly, almost immeasurable. The creator of Star Wars and one of the fathers of Indiana Jones has indeed stepped into the background since Disney acquired Lucasfilm and all of its internal properties from him, but George Lucas’ name is forever a part of the history of Hollywood and such a significant part of the cultural upbringing of generations of people around the world. His status as a legend of cinema and entertainment as a whole is unquestionable, and so many of us are forever indebted to him for having had a hand in creating so many moments in cinematic history that mean so much more than words could possibly express.
Thanks for reading along once again. I realize that it’s weird that it’s coming out at this time (and will be followed by two 2023 lists), and I hope to lessen that waiting period in the future, but, this time around, it just got away from me. Oooh, also, in the first days of the new year you can absolutely expect the tv awards and tv top 10 list for 2024. It’s at the top of my to-do list! See you then!
– Article, list, and selections by Jeffrey Rex Bertelsen.
I'm Jeffrey Rex 