The MontyVerse

In 2023, I watched a lot of movies.  Big budget blockbusters, low budget indies, and everything in between.  I love movies.  They can transport you away to far off lands and show you sights you’d never be able to imagine, or maybe they show you something from your own backyard.  Maybe it’s something we’ve never experienced, maybe we’ve seen it a thousand times before.  Movies have the power to divide us as much as they have the power to bring us together.

I’ve watched a lot of movies.  So many, in fact, that to attempt to narrow down a list of “The Top Films of 2023” to a mere 10, or even 25, feels like it wouldn’t do justice to the sheer number of titles that left a large impression on me.  There have been some seriously great films released this past year.  Unlike in recent years like 2022 or 2019, it wasn’t immediately clear how strong a year in film we experienced.  2023 instead went and snuck up on me, quietly becoming one of the best years in film we’ve had in recent memory.

My list is no doubt going to be different from your own, and that’s by design: I’m not you.  Is this a Best of the Year list, or a Favorites of the Year?  Does it even matter?  Those concepts blend together for me in ways that make it hard to separate, so this list is somewhere in between.  Even limiting this list to 50 feels like I have to omit numerous titles I’d want to give credit to for providing a great amount of entertainment and thought to my viewing experiences, but at some point a line must be drawn.  If there is a film you love that somehow didn’t make it onto this list, just assume I’m sorry.  These kinds of lists mostly serve as recommendations for titles you may have missed or haven’t heard of, so hopefully there’s something here that interests you.

As with anyone doing these lists, there are some titles that I just did not get around to seeing, whether through timing or a lack of immediate access.  These titles include (but are not limited to) Robot Dreams, The First Slam Dunk, The Taste of Things, Perfect Days, Fallen Leaves, Afire, When Evil Lurks, The Unknown Country and Skinamarink.  When I see these and other titles, and if I feel they would rank high enough for me for the year, I may go ahead and add an update.  I mostly tried to base this off of Oscar eligibility, so many of these titles I’ve missed I’d still count towards 2023 despite their planned early 2024 wide releases.  For now, though, let’s get into it.  

50. Dicks: The Musical (dir. Larry Charles)

A movie that feels like it exists almost exclusively to be controversial, and has already proved to be divisive amongst those who have seen it.  Yet for me, what I saw was a movie musical that has absolutely no shame in being as outrageous as possible, never passing up a moment to go for a laugh no matter how bizarre or off-putting.  It’s definitely not for everyone, but it’s definitely up my alley.  Nathan Lane and the Sewer Boys alone is reason enough to check it out.

49. Linoleum (dir. Colin West)

A small indie starring Jim Gaffigan in a role that proves he’s more than the Hot Pocket stand up comedian.  It’s far more emotional and layered than anticipated, and may just leave you with a few tears by the end.

48. Dream Scenario (dir. Kristoffer Borgli)

Nicolas Cage continues to prove that he has always been one of the best actors working today, in a film that feels closer to Charlie Kaufman than anything he’s done in the last 20 years.  The themes of the film get a little muddled in the third act, but it finishes strong and Cage is so good here that it more than makes up for its minor stumbles.

47. Evil Dead Rise (dir. Lee Cronin)

Lee Cronin’s twisted entry in Sam Raimi & Bruce Campbell’s iconic horror franchise may just make you sick from how gorey it gets, but his dark and demented approach to the world of Evil Dead is a welcome one for any longtime fan.  A young girl sat behind me at my screening and screamed throughout, yet when it was over I heard her say how awesome it was.  Maybe the kids will be alright after all.

46. Suzume (dir. Makoto Shinkai)

Another world-bending, emotional effort from Makoto Shinkai, complete with stunning animation and a hot guy that gets turned into a chair.  What more could you want?

45. How To Blow Up A Pipeline (dir. Daniel Goldhaber)

A radical film that says, in no uncertain terms, that the domestic terrorists are right. Thrilling, bold and even essential viewing.

44. Still: A Michael J. Fox Movie (dir. Davis Guggenheim)

Inventive in its construct, blending clips of Fox when he was younger into the narrative of the documentary into a seamless and somewhat surreal memoir.  Unlike many projects where a famous person is heavily involved, Fox has no problem with Davis Guggenheim’s “warts & all” tactics, which makes for a richer viewing experience.

43. Bruiser (dir. Miles Warren)

An underseen gem sent straight to Hulu, Miles Warren’s directorial debut hits hard at toxic masculinity and how that can affect the relationship between a son and his father.Jalyn Hall, Trevante Rhodes and Shamier Anderson are all excellent.

42. Origin (dir. Ava DuVernay)

Incredibly impactful work, blending the concepts and research of the book it’s based on with the life of the author, leading to a format closer to a longform video essay than a straightforward narrative.  I’m not sure if that structure totally works here, and maybe a documentary is more suited for how it wants to convey its information, but as it stands it’s a very flawed yet undeniably fascinating work that’s very difficult to ignore.  Aunjanue Ellis-Taylor and Niecy Nash-Betts are great.

41. Air (dir. Ben Affleck)

Ben Affleck’s directorial return to form; a legitimately entertaining and well-acted film about a bunch of guys that are just really good at their jobs. Brought to you by Nike®.

40. The Artifice Girl (dir. Franklin Ritch)

Taking some inspiration from Ex Machina while still keeping its no-budget indie core alive, this is a very strong debut for Franklin Ritch, not only as a director but also as a writer and actor.  It’s clear this is an intelligent filmmaker with a lot of ideas, and it’ll be exciting to see what he does next.

39. The Roundup: No Way Out (dir. Lee Sang-yong)

I’m a simple man. I see Ma Dong-seok punch gangsters, I like it. This is the third film in his Crime City series and he’s promised 8 installments.  I will be seated for all of them.

38. Shin Ultraman (dir. Shinji Higuchi)

From the minds behind Shin Godzilla comes another update to a silly Japanese franchise.  Inventive effects, fun humor and exciting action sequences keeps this one weird and entertaining the whole way through.

37. Creed III (dir. Michael B. Jordan)

The Rocky franchise may be the best ongoing American film franchise we’ve got, and Michael B. Jordan’s anime-inspired directorial debut shows that even after nearly 50 years, it’s far from out of gas.  Great performances, strong storytelling and impressive directorial flair show why this was one of the best sports films of the last few years    

36. Rye Lane (dir. Raine Allen-Miller)

Charming and deeply romantic, this little romcom that was somewhat buried on Hulu should have been a breakout hit.

35. Are You There, God? It’s Me, Margaret. (dir. Kelly Fremon Craig)

Kelly Fremon Craig’s first film in 7 years proves that The Edge of Seventeen was no fluke.  She takes complicated themes, fun dialogue and deeply sympathetic performances and makes it look easy.  Rachel McAdams is wonderful, and rarely are child actors as good as Abby Ryder Fortson here.

34. All Of Us Strangers (dir. Andrew Haigh)

A ghost story that lingers with you like a childhood memory you can’t forget, with some of the best performances of the year. I’m not quite as on board with how the film ends as some others, but the film that precedes the late-film twist is undeniably bittersweet and effective.

33. The Caine Mutiny Court-Martial (dir. William Friedkin)

The final film from one of cinema’s great legends William Friedkin, buried onto Showtime & Paramount+ with little fanfare.  But don’t take a studio mishandling a great film’s release as a sign of its quality, as Friedkin has left us with a fantastic courtroom drama that takes its time to find the truth in a sea of uncertainty.

32. Monster (dir. Hirokazu Kore-eda)

A deeply human drama from Hirokazu Kore-eda that captures how difficult it can be not only to be for those tasked with keeping children safe, but how difficult it can be to be a child growing up.  The Rashomon-inspired storytelling device gives way to an honesty that many films today seem to lack.  A small miracle.

31. Nimona (dir. Troy Quane, Nick Bruno)

Wildly inventive animation and wonderful voice performances give way to an unabashedly queer family film that does a strong job showcasing the benefits of acceptance in an increasingly repressed world.  It’s chaotic and obnoxious, but always in a way that services its themes well.

30. A Haunting In Venice (dir. Kenneth Branagh)

The best Poirot film yet from Michael Green & Kenneth Branagh, and by far the most entertaining film in this murder mystery series.  Branagh’s direction wears its Orson Welles influence on its sleeve, making for one of the best looking films of the year.

29. Teenage Mutant Ninja Turtles: Mutant Mayhem (dir. Jeff Rowe)

To me, this is the best TMNT by a country mile.  It has incredible animation, electrically choreographed fight sequences (Splinter, voiced by Jackie Chan, fights like Jackie Chan!), charm for days and voice actors that actually make the titular Turtles feel like actual teenagers.  It’s some of the most fun from any film you’d see all year.

28. Talk To Me (dir. Michael Philippou, Danny Philippou)

A24 is known for distributing horror films that take familiar concepts and turn them on their heads, and Talk To Me is no different.  Terrifying and exciting in equal measure, the Philippou Brothers (known on Youtube as RackaRacka) burst onto the scene with this expertly crafted possession tale.  

27. The Promised Land (dir. Nikolaj Arcel)

Considering his last film was 2017’s ill-advised The Dark Tower, I was floored by the scope and craft Nikolaj Arcel was able to display here.  Mads Mikkelsen is predictably great, but it’s Simon Bennebjerg who steals the show as one of cinema’s greatest Haters to come along in a long time.

26. Shin Kamen Rider (dir. Hideaki Anno)

Hideki Anno is one of the most interesting creative minds working today.  On top of reinventing Japanese icons with Shin Godzilla and Shin Ultraman, he was behind the entirety of the Neon Genesis Evangelion franchise.  With Shin Kamen Rider, I was blown away by what essentially feels like the most faithful version of a live action anime.

25. American Fiction (dir. Cord Jefferson)

This film has one of the best performances of the year in Jeffrey Wright, a man who isn’t always in good projects but is always good in every project.  Cord Jefferson’s searing debut is so smart and so funny, it’s bound to start conversations.

24. Society of the Snow (dir. J. A. Bayona)

Harrowing is a word that gets tossed around a lot when a film is intense, but it’s hard to think of another word to describe J.A. Bayona’s survival drama.  With a large cast of almost entirely unknowns, Bayona is able to craft a seriously intense, gorgeously photographed tale of survival and power of the will to live.  It’s Bayona’s best film.

23. They Cloned Tyrone (dir. Juel Taylor)

One of the funniest films of the year, buried thanks to the Netflix algorithm.  Jamie Foxx yet again proves why he’s considered one of the most charismatic actors we have working today.

22. Concrete Utopia (dir. Um Tae-hwa)

When a massive earthquake destroys South Korea, survivors are forced to band together in their apartment building and try and stay alive as they rebuild their community.  It’s a thrilling, emotional rollercoaster that features some of the best work of Lee Byung-hun’s (I Saw The Devil) career.

21. Saltburn (dir. Emerald Fennell)

It’s been memed to death at this point, but Emerald Fennell’s divisive Eat The Rich fable is some of the most fun you can have watching a demented weirdo systematically take down the wealthy.  If nothing else, the final scene proves how “gifted” Barry Keoghan really is.

20. Dungeons & Dragons: Honor Among Thieves (dir. John Francis Daley, Jonathan Goldstein)

Blockbusters nowadays feel like a dime a dozen, studio products coming off an assembly line with very little care put into the screenplay.  Jonathan Goldstein & John Francis Daley have made one of the most enjoyable big budget blockbusters in years here.  Even Jarnathan agrees.

19. Beau Is Afraid (dir. Ari Aster)

I totally get if this movie is not for you.  I don’t even know if it’s for me.  What I can say is that it’s filled with so much striking imagery and bizarre ideas that it’s impossible to ignore Ari Aster.  I just hope he actually has a good relationship with his mother.

18. Mission: Impossible – Dead Reckoning Part One (dir. Christopher McQuarrie)

It’s another incredible installment in one of the best action franchises of all time.  In McQuarrie & Cruise we trust.  Bring on Part Two.

17. Asteroid City (dir. Wes Anderson)

One of the most interesting entries in Wes Anderson’s oeuvre, with probably the best work of Jason Schwartzman’s career (in the best year of his career, natch).  It doesn’t matter if you don’t understand the stories you’re telling, what matters is that stories keep being told.

16. May December (dir. Todd Haynes)

Is it a comedy?  A dark drama?  Is it camp?  Is it a searing portrait of the vanity of actors and the shallow ways they mine the trauma of others for the sake of art?  Did they really need more hot dogs?  Does it even matter?

15. The Boy and the Heron (dir. Hayao Miyazaki)

Miyazaki has come out of retirement so many times now only to produce masterpiece after masterpiece that it’s hard to imagine a world where he isn’t creating art anymore.  This is yet another example showing the world that he’s one of the best to ever do it.

14. Anatomy of a Fall (dir. Justine Triet)

What is truth, and what is the truth you’re comfortable living with?  One of the best courtroom dramas in years.  50 Cent would be proud.

13. Bottoms (dir. Emma Seligman)

Emma Seligman is so perfectly locked in here, with some of the most outrageous comedy I’ve ever seen, and nearly every joke hits.  Marshawn Lynch is such a surprise here, delivering one of the funniest performances of the year.

12. Blackberry (dir. Matt Johnson)

Matt Johnson’s semi-docudrama approach to what is really a comedy brings an electrifying touch to what could have been another basic film about the celebration of a product.  Give Glenn Howerton an Oscar nomination just for the Waterloo line alone.

11. The Holdovers (dir. Alexander Payne)

Like a warm hug, Alexander Payne’s bittersweet holiday comedy slowly wraps its arms around you until you can’t help but feel cozy.  It’s melancholy, yet not so sad that it feels difficult to revisit.  A minor miracle of a film.

10. The Iron Claw (dir. Sean Durkin)

A Shakespearean tragedy about a family that just can’t catch a break.  Zac Efron is stellar here, and hopefully that means he will be taken more seriously moving forward.  A devastating picture. You can check out my full thoughts here.

9. The Zone of Interest (dir. Jonathan Glazer)

Sometimes it’s easy to find the words to express how impactful a great film can be on you, but it’s incredibly difficult for Glazer’s masterwork here.  If I try to think about it too much, my stomach starts to churn and my mind goes blank, and all I can think of is the sound design.  It’s one of the most grotesque, terrifying depictions of the banality of evil put to film in years; maybe ever.

8. Godzilla Minus One (dir. Takashi Yamazaki)

If Godzilla never showed up, I would have been just as invested in the human drama playing out on screen.  Thankfully he does show up, which makes it even better.  It’s the best Godzilla film ever made. You can check out my full thoughts here.

7. Spider-Man: Across The Spider-Verse (dir. Joaquim Dos Santos, Justin K. Thompson, Kemp Powers)

Someone needs to study this film to learn exactly what it takes to make one of the greatest animated films of all time and somehow follow that up with a film that’s even better.  One of the best Part One films out there, expertly telling a complete story within its runtime while also satisfyingly setting up the pieces for what could be a truly spectacular Part Two.

6. Past Lives (dir. Celine Song)

Tender and romantic without ever feeling mawkish or cloying, this outstanding directorial debut by Song is the best debut of the year.  It’s heartbreaking, but sometimes you need your heart broken every once in a while.

5. Oppenheimer (dir. Christopher Nolan)

Christopher Nolan’s masterpiece.  The best score of the year.  The best ending of the year. You can check out my full thoughts here.

4. Barbie (dir. Greta Gerwig)

On top of the various ways in which this film is impeccably written and ingenious conveys its ideas (down to the very idea of casting Margot Robbie), it’s also just a legitimately great comedy.  Enough has been said about Ryan Gosling, but he really is working in prime Melissa McCarthy-in-Bridesmaids/Kevin Kline-in-A Fish Called Wanda territory here. From top to bottom, it’s not just good- it’s SUBLIME!

3. Killers of the Flower Moon (dir. Martin Scorsese)

Even in his 80s, Martin Scorsese is making films more confrontational and masterfully constructed than great filmmakers half his age.  Lily Gladstone is a force of nature.  I could’ve watched another hour of it.

2. Poor Things (dir. Yorgos Lanthimos)

Rarely do films shock me nowadays, and when they do they feel like they’re more concerned with initial shock rather than what the resulting aftermath may provide.  Yorgos Lanthimos and Emma Stone have created a shocking, hysterical feminist portrait where every choice feels like the correct one.  From the production design to the journey Stone’s Bella goes on to the deeply intelligent ideas confronted in Tony McNamara’s screenplay, everything feels perfectly calibrated to create an impact that lasts far beyond when the credits roll.

1. John Wick: Chapter 4 (dir. Chad Stahelski)

Sitting in an IMAX theater on opening night, the darkness consuming us all as we waited for the film to begin, only for the whole theater to shake as Keanu Reeves’ fist connected with a training pole was a euphoric experience for me.  For the next three hours, I felt like I was levitating.  This massive epic caught my breath and I could hardly breathe for the next three hours as it pummeled me into the ground with one all-timer action sequence after another.  Some may feel that there is such a thing as “too much of a good thing”, but to me this was exactly the amount that I needed.  No film viewing experience has entertained me the way Chad Stahelski’s action nirvana masterpiece did, so when it came time to rank for the year, the answer to me was obvious.  Nothing else comes close for me.