Will Sorg – Movies Guy
Crimes of The Future: David Cronenberg’s newest film is a criminally underseen film that questions humankind’s relationship to our environment and provides horrifying commentary on what our society may collapse into if we continue to damage the earth. It is not something I would recommend to most people, but if you like body horror, no one does it better than Cronenberg. It’s disturbing, it’s weird, and it’s fantastic.
The Fabelmans: Based heavily on the family drama of Steven Spielberg, The Fabelmans is a movie that evokes the full range of human emotions. It is a sometimes sad movie about a boy growing up and discovering the turmoil of his family, but it is also that same boy’s journey of discovering his immense passion and talent for filmmaking. Few autobiographical films are as wonderful as this one.
The Northman: Pure adrenaline mixed with artful historical detail adds up to create a top-notch adaption of the Norse myth that inspired Hamlet. The Northman is a twisty revenge tale that takes its time and is better for it. Its quieter moments give the build-up of violence and action a context that makes them more satisfying. It has some of the best action of the year and some truly underrated performances.
EO: The movie that should’ve won Best International Feature at the Oscars, EO is a journey through the perspective of a donkey as he travels through the world. It is a truly remarkable animal rights piece that never feels manipulative and is remarkably engrossing despite having such a simplistic plot. It is a masterclass in visual storytelling and a truly unique experience.
The Banshees of Inisherin: This film is very simplistic. However, Martin Macdonagh’s writing and directing elevates the whole story. The small island village he sets the story in has such a fleshed-out cast of characters who each come with their own personal history and personality quirks. Colin Farrell and Brendan Gleeson give spectacular performances and Kerry Condon steals the show constantly with her fantastic presence.
TÁR: Cate Blanchett’s role as the fictitious celebrity orchestra conductor/composer Lydia Tár is easily the best acting performance of this year. It is bolstered by Todd Field’s immaculate direction along with a stellar screenplay and perfect sound design. TÁR is a contemplative character study that not everyone will have the patience for. However, those that do will find it to be an intensely rewarding experience as Lydia Tár’s past and present begins to unravel.
Nope: I already praised this film for hundreds of words in my Weekly review on it, but I truly believe that it deserves every ounce of praise that it gets from anywhere. When people talk about the best horror films of the 2020s, this film will undoubtedly be mentioned often. It is very nearly a perfect film and I am so excited for whatever Jordan Peele will make next.
Decision to Leave: Director Chan-Wook Park is one of my favorite directors of all time. Decision to Leave just made me love his work even more. A Neo-Noir that leans more towards Hitchcock than any contemporary Noir films, Decision to Leave is visual perfection. Each scene is so meticulously planned and executed with so many things going on that it’s almost impossible to take it all in. The plot is clever and unpredictable and I am ecstatic to eventually rewatch this film.
Babylon: Perhaps the most misunderstood film of this year. Babylon is one big glorious mess and I like it that way. The 3-hour epic about the 1920s-30s film industry swings for the fences at every turn and I can’t get enough of it. I love it all, from the pulse-pounding masterpiece of a score that seamlessly integrates with the film to the unflinchingly decadent style that permeates every aspect of the film. This ensemble-driven behemoth will either become a beloved cult classic in a decade, or it’ll be lost to time. I don’t care because either way, I get to enjoy every minute of it.
Everything Everywhere All At Once: The surprise low-budget indie hit that became an Academy Award sweeping giant. Accolades aside, Everything Everywhere All At Once is important. It is important as a piece of representation as an Asian American, queer story. It is important as a film that saw massive success despite not being tied to a massive franchise or intellectual property. It is important because it is a film that allows itself to be genuine. Yes, it’s very weird and yes, it’s very silly. However, it embraces that weirdness while never sacrificing the heart that it keeps at its center. It is a film that showcases real human emotion. This film doesn’t shy away from the fact that people, especially families, genuinely hurt each other all the time and that it’s not really okay. It allows the audience to take those strong emotions in while also affirming that there can still always be a chance for happiness, for healing. For me, that means everything.