Though it was a hard and tumultuous time in Hollywood, 2023 actually proved to be an incredible year for films. Almost every major director working today released a new film. From Martin Scorsese to Michael Mann, Christopher Nolan to David Fincher and beyond; there was an influx of first timers and newcomers that really brought their A game. Admittedly this was one of the hardest years to pick a top 10-15. Some of that is because I saw almost 365 new films in a single year, a feat I wouldn’t recommend to any cinephile. But there was just simply more good than bad to choose from this year, and the contenders were vast and incredibly difficult to boil down to the best of the best. As it was, my “shortlist” was comprised of 65 films which was then whittled down to about 25 after eliminating unreleased, animated, and documentary films. Even 25 is still a lot to choose from to get down to the top 10, so for the first time in 3 years I’ve extended my best of list to 15 with honorable mentions.
As with all of these lists, it is purely subjective. These are simply the films that I enjoyed the most. There is no right answer, no one list to rule them all, and it’s perfectly fine to disagree with every single ranking or film that got included. And of course, I can only include films I’ve actually seen, so you won’t see things like “The Color Purple,” “All of Us Strangers,” or “All Dirt Roads Taste of Salt” as I didn’t get a chance to see them before the year’s end. As stated, I have removed animated features and documentaries so you won’t see “Spider-Man: Across the Spider-Verse” or “Still: A Michael J. Fox Movie” on this list. It’s not that they weren’t incredible films and legit contenders, but I opted to rank them in their own respective categories to help free up some space in the very crowded best of the year list. I also eliminated any film that did not have a US theatrical release or is available to stream. Having seen so many films and participating in two different film festivals, I’ve seen a lot of films that I adored but no one else can really see until next year. The point of this list (in my humble opinion) is to highlight films that everyone has a chance to see.
Honorable Mentions
Truthfully, any of these films could’ve been their own version of a top 15 and I wouldn’t even be mad about it. There were legitimately too many great films to choose from, and at some point you just have to make your list and stick with it. Films that just barely made the cut include “Moon Garden,” a criminally underrated steampunk industrial style nightmare that demonstrates the power of practical effects and a wild imagination. Surprises like “No One Will Save You,” “The Burial,” “They Cloned Tyrone,” “Scrapper,” and “Fallen Leaves” are all Honorable Mention makers, some truly great films that deserve some love and ones I would highly recommend. Also making the Honorable Mention list are some films that made our top Mid Year Best Of 2023 list, which includes “How to Blow Up a Pipeline,” “Theater Camp,” “Air,” “Rye Lane” and “You Hurt My Feelings.” Also included are “Anatomy of a Fall” (a film I dropped from the top 15 at the very last minute) and “The Killer,” a small Fincher Netflix film that I really enjoyed.
I know this is really gonna grind some gears, but I’m including “The Holdovers,”The Zone of Interest,” “The Taste of Things,” “Barbie,” “Killers of the Flower Moon“ and yes, “Oppenheimer.” I know, I know, those last three are the best films of the year for a lot of people and will all probably dominate the Oscars in March, and I did love them all a lot. They were all three some of the highest ratings I could give for films and making the honorable mentions list is not an indictment of their quality. Hell, from a craft perspective they are legitimately better than most of the films that beat them. There were just too many incredible films that i saw that I felt deserved higher rankings, and I went with feelings and vibes over Oscar predictions. What’s the point of Best of the Year lists if they all exist in an echo chamber and have the same top 5? I wanted to highlight some lesser championed bangers that really moved me this year rather than just copy and paste from everyone else’s list. These great films still crack the top 30 out of 365, so it’s not really as bad as you think.
So, without further adieu, let’s take a look at the best 15 films of 2023!
15. “Dicks: The Musical”
Yeah, we’re starting out with an all vibes pick for our 15th slot. I know “Dicks: The Musical” was made for 10 people and I would only recommend it to two of them. But the crassness and ridiculousness and pure insanity of irreverence worked for me. This is a wild film, and you’d be totally right to find it grating and abrasive and downright offensive for even the most staunch of “I don’t get a offended” people. This is without a doubt, all vibes for me. much like “Theater Camp,” this one tapped into the musical theater kid in me and I found myself laughing hysterically more than I ever thought “Dicks: The Musical” was capable of doing. Also, Nathan Lane spitting chewed up deli meat into the mouths of the poorly rendered puppet Sewer Boys is an image I will never ever forget and I loved every second of this very weird movie.
14. “Sanctuary”
This film managed to carry over from the mid year list, and Margaret Qualley is probably the reason. “Sanctuary” is a romcom thriller for sickos, and yet another vibes pick that I just totally dug. Because this one was for me, I’ve probably watched it 3 or 4 times this year. I just love Qualley here, and her weird chemistry with Christopher Abbott is just so fun and palpable. I’m a sucker for a good two hander and single setting films, and “Sanctuary’s” sharp wit and clever banter paired with its oozing sexuality is enough to make it crack to the top 15. Honestly, for all the twitter banter of “we don’t need sex in movies,” there’s a lot of sex driven films that made the list this year. I don’t know what it says about me and my taste in film, but “Sanctuary” is probably the tamest of sexually charged films that make the list. Highly recommend this one if you got a few kinks and a little boldness in exploration. It’s worth the journey. Full review here.
13. “Fair Play “
Speaking of sex, “Fair Play” is strangely a perfect double feature with “Sanctuary.” They certainly differ in how the portray toxicity in relationships, and “Fair Play” has a bit more on its mind when it comes to gender roles, power dynamics, and toxic relationships. I loved this screenplay, and found both leads to be captivating and thrilling and yes, sexy as hell. Chloe Domont is one of those newcomers that exploded onto the scene with “Fair Play,” and this was another film I’ve watched more than once this year. Phoebe Dynevor is a bonafide star, and this is a truly breakout role for her. She’s so good here, and the twisty, thrilling games that get played in this couple as they navigate both their relationship and the cut throat world of financing makes “Fair Play” a riveting movie going experience. Also “Fair Play” helped me forgive Alden Ehrenreich for “Solo,” so it gets an extra boost for that. Full review here.
12. “Passages”
I promise we’ll leave the sex driven lineup soon, but “Passages” was a sleeper hit for me this year. A small Sundance film that features one of the most narcissistic and destructive human beings imaginable, this tragic love triangle story has stuck with me all year. The trio includes two of my favorite performers in Ben Whishaw and Adèle Exarchopoulos (please check out this woman’s filmography she is incredible in nearly everything and I can’t get enough of her) and a breakout for Franz Rogowski (who’s not new by any means but really does some incredible work here) who are all tragic characters in their own right. “Passages” definitely features some of the most graphic sex scenes of the year, but none of them exist without purpose. “Passages” is a sharp look at manipulative people and the destruction they leave in their wake, and though it is not an easy film to watch it is certainly one I highly recommend.
11. “A Thousand and One”
Another holdover from our Mid year list, “A Thousand and One” absolutely wrecked me. Yet another Sundance feature, the film features a criminally underrated, powerhouse performance from Teyana Taylor and a beautifully crafted script and confident direction from A.V. Rockwell. “A Thousand and One” uses the ever changing city of New York over two decades as a near character in this wonderful story about a mother and son against the world. I adored this film, truly one of the best films of the year no one is talking about enough. “A Thousand and One” has so many unique elements incorporated into a rather simple story, and I haven’t stopped thinking about this one since I saw it in January. Do yourself a favor and watch “A Thousand and One.” Full review here.
10. “Godzilla Minus One”
I seriously cannot believe that “Godzilla Minus One” not only cracked my best of list, but managed to crack the top ten. I am nor have I ever been a kaiju fan, and I find most of the Godzilla films insufferable and exhausting. But “Godzilla Minus One” shattered every preconceived notion of the genre, and solidified itself as one of the first monster movies to win me over completely. This is a monster masterpiece, a film with a lot more on its mind than any before it and one that does away with all the stupidity often shoved into these kinds of things. “Godzilla Minus One” is an absolute banger, one of the few films of the year that actually made me sit up in my seat in excitement and stirred me emotionally. I actually cared about the human characters, something none of the other films have made me do. Believe the hype: “Godzilla Minus One” absolutely rules. Full review here.
9. “American Fiction”
Probably one of the funniest films of the year, “American Fiction” had me in tears from laughter. I love a good satire, even one that wears its inspiration on its sleeve and sometimes feeds into its own critiques. “American Fiction” combines both emotional family drama with outrageous hilarity, and I just loved everything about this one. Jefferey Wright has never been better, and the supporting cast are all at the top of their game here. Cord Jefferson brings his incredible talents to this first feature and truly brings “American Fiction” to life. Simply put, this is a terrific film that I hope more people get to see! Full review here.
8. “Monster”
A very late addition to the top of the list, “Monster” is yet another sleeper that took me completely by surprise. A film about perspective, misunderstandings, and self denial, this heartbreaking film moved me deeply. I don’t know how this one has been so under the radar, particularly with the influx of incredible international features, but “Monster” deserves to be talked about much more. Told from three different perspectives that each add a different puzzle piece in search for the truth, “Monster” is a rare film that gives us as many answers as it does questions and though it feels conclusive still shrouds itself in internal mystery. This is a wonderful film, but fair warning it is SAD. “Monster” overtook a lot of films for this spot, but it is one that deserves to be so high and one I really hope gets a wider release so more people can see it for themselves.
7. “Dream Scenario”
A list wouldn’t be complete with Nick Cage, and boy does “Dream Scenario” give me Cage in spades. This was number 1 on my list of anticipated TIFF films, and it did not disappoint at all. “Dream Scenario” is perfectly A24 and pure absurdity, and takes turns so unexpected I don’t know that it is truly for everyone. But I love what Cage is doing here, and the commentary on celebrity and influencer culture may not be subtle but damn did it work for me in everyone way. I don’t think you’ll see another film as weird as “Dream Scenario,” and admittedly this probably more of a vibes pick than an actual best of contender. But everything about this worked for me, even its bizarre ending and somewhat surface exploration of its themes. If for nothing else, “Dream Scenario” includes one of the best fart jokes of the decades, and for that it cracks the top 10 this year. Full review here.
6. “The Teacher’s Lounge”
Talk about a surprise. “The Teacher’s Lounge” wasn’t even on my TIFF schedule at all, but it happened to be one of the first films I got a chance to see early and holy shit did it knock me out. A tense, taut thriller that makes a big deal out of a small crime and takes us through a plethora of power dynamics within the walls of a school. “The Teacher’s Lounge” doesn’t quite stick the landing for me, but it is an unforgettable experience and one of those rare films that also made me sit up and sit forward because I was so enthralled with what was happening. I haven’t stopped thinking about “The Teacher’s Lounge,” and I didn’t think it would rank this high on my list. But after careful consideration, I found the “The Teacher’s Lounge” to truly be one of the best films of the year. It is definitely a hard one to find as its theatrical release is incredibly small, but if you can I highly recommend checking this one out.
5. “Are You There God? It’s Me, Margaret“
I thought a lot about how high to put this one. At one point, “Are You There God? It’s Me, Margaret?” was only in the honorable mentions. But the more I thought about this wonderful film, the more joyous and strongly I felt about it. This is just such a wonderful adaption made with a tender and earnest heart and a sort of throwback to the kind of coming of age stories we don’t see all that often, at least not like this. With so many heavy films this year, “Are You There God” is a breath of fresh air that both tugs and warms the heartstrings. I can’t recommend this film enough. This is how you adapt the seemingly unadaptable, and “Are You There God? It’s Me, Margaret” is a beautiful piece of cinema that will leave you with big smile and a desire to go hug your mom. Full review here.
4. “Priscilla”
Full disclosure, I hated last year’s “Elvis,” and I don’t really care about him or his music all that much. I didn’t grow up in an Elvis loving household, so I don’t really have any kind of legacy or mythos I desperately want to protect. Perhaps that’s why “Priscilla” moved me so much, shifting the perspective from the man to the girl trapped in luxury, groomed to be a woman in his own image and robbed of her self. This is Sofia Coppola’s best film in years, and “Priscilla” is film she was born to bring to life. Cailee Spaeny is wonder of quiet emotion, and believable as both a 14 year old girl and a grown woman finally strong enough to take her life back. “Priscilla” is a quiet but deeply resonate look at a life taken and the trappings of getting what we want when we’re far too young to even understand what is happening to us and around us. I loved this film and everything it had to say, and I would say that especially if you don’t care about Elvis himself, “Priscilla” is the better film to watch. Full review here.
3. “Poor Things”
You either love or hate Lanthimos’ films. There’s no middle ground for his work, and while “Poor Things” indulges every single one of his filmmaking and storytelling indulgences, it is strangely his most accessible film to date. It seems whenever he works with Emma Stone, it brings out the best in both of them. “Poor Things” is as weird as any film on the list and any film you’ll see this year, powered by fish eyed lens cinematography and lots and lots of sex. But it is also a triumphant journey of a woman’s discovery of self and identity, a sort of hard R “Barbie” with a again, a lot more furious jumping. “Poor Things” is also hilarious, with a supporting cast that all understand the assignment and doing some of their absolute best work. It does overstay its welcome slightly in the third act, but “Poor Things” lived up to the hype and it is a film that firmly stakes its place in the best of the year. Oh, and any film that adds “furious jumping” to my vernacular is a winner in my book. Full review here.
2. “Past Lives”
I really didn’t think I would find a film better than “Past Lives,” and even as I write this I don’t know that I actually have. This has been the best film of the year all year long for me, and if I thought about it for long enough could probably reclaim its spot on any given day. “Past Lives” moved me to tears; the confident direction of Celine Song with her deeply personal and powerful script is simply something you rarely see done this well, and from a first timer to boot. The lead trio are just completely dialed in to everything this film is doing, and “Past Lives” is a near perfect storm of mastery and emotion. I think it’s safe to say you just won’t find a better film than this one, and despite having an incredibly early debut has maintained its dominance of being one of the most unforgettable and special films of the entire year.
1. “May December“
I truthfully did not think “May December” would end up taking the number one spot for 2023. On the subject matter alone it’s a film that frankly shouldn’t work at all. But “May December” really shook me in ways I can’t describe, and it is the film I’ve written the most and thought the most about since watching it. The layers upon layers hidden under the melodrama and sometimes tongue in cheek humor are vast and have bounced around in my brain rent free. Of course, “May December” doesn’t work without its incredible cast, with Julianne Moore and Natalie Portman as two manipulative women constantly trying to outsmart the other and giving their best performances in years. But it’s Charles Melton who brings it all home. The CW kid who could, he reaches into your soul and shatters your heart into a million pieces. “May December” is a controversial film with a controversial subject matter, one that in less capable hands would crumble. The tight rope “May December” walks between camp and purpose is expertly traversed, and this for me is the best film of year. Full review here.
