The first full year without cinemas being forced to close due to the pandemic has been graced with a wide variety of different movie experiences. It is a variety reflected in our top twenty films of the year, a voting process that took two titles in particular right down to the wire.
Last year’s winner, Dune, won by a comfortable margin and its place at the top of the charts was never in doubt. In 2022 however, two films chopped and changed at the top before our writers eventually decided on a winner. Two equally epic pieces of cinema, albeit for very different reasons. A flurry of late votes for the film that eventually climbed to third on our list almost made it a three-way fight for top honours, but in the end the final result—while tight—was decisive.
How did we do it? Each writer voted for their top ten movies, which were then scored accordingly. The variety of films on display this year is even more impressive than last; while 78 different films received votes last year, in 2022 this climbed to 87. The esteemed final 20 include any films which received a UK cinema, streaming, or festival release between December 2021 and November 2022. What this means is that some films which missed out last year’s list find themselves in the top twenty this year—take a bow, The Tragedy of Macbeth.
There are some surprising omissions from the top twenty. Since we go back as far as December, the most glaring omission is Spider-Man: No Way Home, which set the world alight upon its release but the fire has now died down enough for it to miss out on the final list. Losing out also are Darren Aronofsky’s The Whale and Park Chan-wook’s Decision to Leave, (both of which featured at the BFI London Film Festival) while Glass Onion: A Knives Out Mystery flirted with the 20th and final spot for weeks before just not quite getting over the line. Other notable absentees include the acclaimed Predator reboot Prey, the adorable Marcel the Shell With Shoes On, and the stunning sci-fi anime Belle.
The twenty films we have chosen reflect both the widening demographic of our writers and the amazing year of cinema we have had, where everyone has been able to find something befitting of their tastes. Revel in what a sensational year of cinema it has been as you introduce yourself to our own personal picks.
#20: Nightmare Alley
Directed by Guillermo del Toro
In the most recent adaptation of Nightmare Alley—first a 1946 novel, then a 1947 film—Guillermo del Toro astutely deconstructs the twin myths of American individualism and American exceptionalism, and the casual cruelties of both. He does this through the descent of Stanton Carlisle (Bradley Cooper). Stan is a suave everyman despite the baggage he carries from a newly-devised opening, both charming in his deceptions and bland enough to blend with the crowd. The supporting characters find humanity where others see only the salaciousness of their occupation.
The production design is the true standout, and each segment has its own colour palette and richly textured materials. American realism, art deco, and gothic thriller are represented as the film barrels towards its inevitable climax; there is no catharsis, only lurid complicity. Nightmare Alley is 150-minutes of impeccable, painstaking design and characterisation, and the journey into darkness is worth every second.
Read our review here
Words by Carmen Paddock
#19: Moonage Daydream
Directed by Brett Morgen
One of the unique cinematic experiences of the year, Moonage Dream is a kaleidoscopic, eye-popping, collage of archive footage, live performance, and experimental video art all revolving around one legendary figure: David Bowie. As the film is authorised by the Bowie Estate, Morgen was given the freedom to use his back catalogue and work involving the titular man, and he seizes his opportunity with both hands..
Moonage Daydream treats you with moments of splendour, particularly in a montage of supernovas intertwined with Bowie strutting on stage synced up to ‘Sound and Vision’. It is a mind-melting ode to one of music’s most revered artists, his loss still felt six years after his tragic passing. At the film’s conclusion, Bowie laments about spending the precious time we get on Earth wisely during our finite lives; Moonage Daydream shows us how he used his.
Watch the trailer here
Words by Theo Smith
#18: Cyrano
Directed by Joe Wright
One of the quieter films of the year, Cyrano is an adaptation of the classic Edmond Rostand play about the sword-wielding wordsmith. While the play is often adapted as a straight drama, Wright instead chooses to translate it into a musical, emphasising the poetry and lyricism at the heart of the original text. As is often the case with a Joe Wright period piece, the theatricality of this film is a highlight.
With Peter Dinklage playing the titular hero, Wright modernises the classic play and the genre of the period drama at once, and makes convincing romantic leads of both Dinklage and Kelvin Harrison Jr. Rostand’s play is enthralling and romantic, and in adapting the play into a musical Wright has made a passionate film about the power of the written word. From the choreographed dance sequences to the melodious flow of dialogue, Cyrano makes theatre of the silver screen.
Watch the trailer here
Words by Nadira Begum
#17: The Tragedy of Macbeth
Directed by Joel Coen
Shakespeare’s tale of ambition and bloodshed has taken many forms over the years, but The Tragedy of Macbeth, starring Denzel Washington and Frances McDormand, provides audiences with a distinct and unique version of the infamous play. Relatively stripped back and boxed—as if contained within a stage itself—Coen opts for a stark and bleak vision, made up of sharp angles and ominous shadows. The result is a startlingly distinctive new Shakespeare adaptation, one that deserves to be heard above the milieu of others.
This is classic expressionist cinema, built upon Stefan Dechant’s intimidating sets and cinematographer Bruno Delbonnel’s black-and-white images. With its sparse but beautiful background set, Washington and McDormand are in rhythmic form in a film that beats with the familiar words of the Bard. In the hands of an extremely talented cast and crew, this retelling of Shakespeare’s 400-year-old story is as eerily beautiful as it is viscerally powerful.
Read our review here
Words by Jeremy Arblaster
#16: Licorice Pizza
Directed by Paul Thomas Anderson
A film about the lives of the young in 1970s California sounds like an all too familiar concept. But what makes Paul Thomas Anderson’s film special is that this isn’t its premise. What Gary (Cooper Hoffman) and Alana (Alana Haim) get up to—taking advantage of the thriving capitalist environment of the time by starting random businesses for fun—connects us more to a celebration of bright-eyed, bushy-tailed adolescence, rather than acting as a rose-tinted window to a bygone era.
Smoothly self-aware cinematography, playful acting… these aren’t depictions of what was, but what still is. We remember this time as separate from our reality, as if we didn’t create it to begin with. Anderson’s confident, optimistic and spiritual approach to the inner-child in all of us bridges the gap between the ‘70s and now, showing us that it isn’t flares or rock music that made the era groovy. It was us.
Read our review here
Words by Oisín McGilloway
#15: Triangle of Sadness
Directed by Ruben Östlund
Triangle of Sadness takes on a number of things; dating in the modern world, vanity and narcissism, class, and gender roles. So it might surprise you to learn that Ruben Östlund’s latest film is absurdly funny. This black comedy received outstanding reviews across the globe and even earned itself the Palme d’Or. Told in three parts, the film follows models Carl and Yaya as they enjoy a luxury cruise before it ultimately sinks and leaves them stranded on an island. There are superb performances from the late Charlbi Dean (Yaya) and Woody Harrison, but Harris Dickinson (Carl) cements himself as one to look out for.
Sleek and stylish, Triangle of Sadness is also utterly relentless. You’ll never find yourself able to look away, no matter how ridiculous the physical comedy may be. Make no mistake, it’s bizarre, but that’s what makes this bold and brilliant satire one to remember.
Read our review here
Words by Libby Briggs
#14: See How They Run
Directed by Tom George
See How They Run is an amusing and aesthetically pleasing romp serving as a love letter to Agatha Christie. Saoirse Ronan in particular turns her hand especially well to a more comedic role, bringing not just humour but heart as well. The cinematography is a charming blend of something Wes Anderson-esque and something reminiscent of classic theatre. Every detail is precisely focused on, every character and costume given the spotlight—the cast of characters are varied, amusing and endlessly compelling.
The script emulates any classic murder mystery with its skillful foreshadowing—the clues are laid out like breadcrumbs for the audience to follow. Where many murder mysteries fall into the trap of trying too hard to be clever to the point of making themselves stupid, this film tries just enough. Twists, turns and parallels are not boringly predictable, but satisfyingly so.
Read our review here
Words by Casey Langton
#13: Turning Red
Directed by Domee Shi
Released on Disney+ in March 2022, Turning Red is the first Pixar film to be directed solely by a woman. Turning Red follows young teen Mei Lee (Rosalie Chiang) as she navigates the tensions between her familial relations and her adolescent independence. Alongside these challenges, Mei is faced with a shocking revelation that traces back through her bloodline: experiencing strong emotions will result in her transforming into a giant red panda.
Although the concept may seem fairly peculiar, even by Pixar’s standards, Turning Red manages to capture the angst, worries, and excitement that can accompany early adolescence. When touching on the deeply emotional idea of generational expectations, Turning Red is able to retain a balance between hard-hitting moments and playful Pixar-isms. Shi’s film is a fun film. It colourfully captures the emotionally turbulent experiences of boyband loving teens who are navigating the complicated world around them.
Read our Film Editor’s review here
Words by Jess Parker
#12: The Duke
Directed by Roger Mitchell
Roger Mitchell’s penultimate film The Duke is based on the almost unbelievable true story of Kempton Bunton, who stole a Goya painting from the National Gallery. Bunton was a fierce campaigner for free TV licences for the elderly and stole the painting to demand £140,000 for charity.
On the face of it, The Duke is a heist caper combined with a courtroom drama and it does these elements very well, with Jim Broadbent’s testimony a highlight of the film. However, underneath is an incredibly nuanced depiction of family life and the lasting impact of grief. The performances from Broadbent and Dame Helen Mirren as the central couple are fantastic and elevate the film beyond a simple underdog story. The supporting cast are also very strong, with standouts including Fionn Whitehead and Matthew Goode. Overall the film is funny and heartwarming with a timely message about looking out for each other.
Watch the trailer here
Words by Cerys Gardner
#11: Entergalactic
Directed by Fletcher Moules
Whether Entergalactic is film or TV is up for debate (Netflix calls it an “event”), but by the time you have watched Kid Cudi’s album tie-in special you will be too blown away to care. The hit nobody saw coming, Entergalactic is the stunningly animated love story of artist Jabari (Cudi) and his new neighbour Meadow (Jessica Williams). It meshes the exciting animation of Spider-Man: Into the Spider-Verse with the quiet contemplation of I Lost My Body, complete with immersive chemistry and wonderful, cheeky humour.
Moules’ film is remarkable not only for one of the most exciting depictions of New York ever put to screen, but for the way it cherishes Black expressive and romantic freedom. It is a life-affirming, joyful film that charms its way into your heart and refuses to leave. Losing yourself in the magic of Entergalactic is more than just easy; it is a privilege.
Read our Film Editor’s review here
Words by James Hanton
#10: Aftersun
Directed by Charlotte Wells
Aftersun has slowly generated critical buzz and excitement alike, and it’s easy to see why in this quietly astute but emotionally resonating drama. It stars Normal People’s Paul Mescal as recently divorced father Calum who takes his young daughter Sophie (newcomer Frankie Corio) on holiday in Turkey. But within this deceptively simple premise evoking summer nostalgia in its ‘90s setting is an autumnal reflection on childhood memories, our subconscious, and how the naïve innocence of childhood masks our own parents’ struggles.
It is the achingly sad afterthought at the end of these long reflections which Wells sharply articulates through carefully crafted performances from Corio and Mescal, not to mention the elliptical editing by Blair McClendon which helps the film find a devastating emotional tug. This is not just an impressively confident opening statement from Wells, but one of the finest films to be released this year.
Read our review here
Words by Theo Smith
#9: Bones and All
Directed by Luca Guadagnino
Bones and All will shock you in more ways than one; firstly with its intense, fleshy gore, but also with its remarkably moving central romance. Taylor Russell and Timothée Chalamet star as Maren and Lee, two lonesome youngsters struggling to find a place in a barren Reaganite America. Both cannibals, they find solace and some sense of normality with one another. In 2017, Guadagnino brought us the wonderful Call Me by Your Name, a sun-kissed Italian-set romance also starring Chalamet. The love and lust are still here in Bones and All, but with the addition of frightful violence, dusty American vistas, and startling supporting turns from actors such as Mark Rylance.
Bones and All is a remarkable film, blending political and societal commentaries with elements of road movies, romance and horror. The end result is a gruesome concoction that will leave you both fully satisfied and sick to your stomach.
Read our review here
Words by William Stottor
#8: The Northman
Directed by Robert Eggers
After terrorising Anya Taylor-Joy with a goat and locking Robert Pattinson in a monochromatic lighthouse with Willem Dafoe, ‘Viking revenge movie’ probably wasn’t on many people’s Robert Eggers bingo cards for 2022. But the transition from indie darling to historical epic has proved painless—which is more than can be said for the action. Breathlessly paced and brutal from start to finish, Eggers’ trademark historical rigour forms the bedrock for a thoughtful parody of male violence and the perils of prophecy, with just a touch of flatulence thrown in for good measure.
Alexander Skarsgård leads a cast as embedded in 10th century Iceland as the mountains themselves, and Jarin Blaschke’s cinematography paints Nordic landscapes in such vivid detail that flying warrior women and 8-foot skeleton guardians seem like the most natural things in the world. After a few years asleep at the helm, the historical epic is back with a vengeance.
Read our review here
Words by James Harvey
#7: The Batman
Directed by Matt Reeves
From the first announcement of this film, anticipation and apprehension began to build for this return of Batman to the screen. With Covid delaying production, it wasn’t until March 2022 that we got to see Reeves’ vision realised. It was definitely worth the wait. Feeling more cinematic than a superhero film has in years, Reeves’ The Batman felt like a brand new direction for DC’s Extended Universe. Greig Fraser’s energetic and epic cinematography, paired with an eerie score from Michael Giaccino, set the perfect tone for this superhero thriller. The narrative fully leans into a Fincher-esque mystery, aided by the choice of The Riddler (masterfully played by Paul Dano) as the central villain.
Ultimately, the film would not work as well without Robert Pattinson’s performance as the caped crusader. Pattinson says so much with his eyes, beyond the dialogue written for him. The film is relentlessly dark, but Pattinson’s Batman somehow simultaneously feels like the most hopeful iteration of the character in years.
Read our review here
Words by Rehana Nurmahi
#6: Nope
Directed by Jordan Peele
In Jordan Peele’s third feature, nothing is quite as it first appears. With double meanings aplenty, Peele’s tale of horse wrangling siblings (Daniel Kaluuya and Keke Palmer) trying to document the strange occurrences in the skies above their ranch evades easy categorisation altogether. Nope is a slippery satire of suitably ambitious scale. Examinations of trauma, exploitation, surveillance culture, and the erasure of Black legacy in Hollywood all manifest in this horror inflected sci-fi-western that works precisely because it never scrimps on the visceral delights of a summer blockbuster.
Cinematographer Hoyte Van Hoytema brings grandiose to Peele’s conceptual carnival, while the genre-hopping soundscape from composer Michael Abels and sound designer Johnnie Burn makes the film increasingly difficult to define. With knowing nods to the likes of Jaws and Akira—and a nightmare-inducing sequence on the set of a children’s sitcom—Nope gets a big, bloody yep.
Read our review here
Words by George Nash
#5: Elvis
Directed by Baz Luhrmann
Luhrmann’s first feature since 2013 delivers the bombastic maximalism expected from the director. Cuts and zooms fly thick and fast as Colonel Tom Parker (Tom Hanks) directly appeals to viewers as a jury, explaining his abuse and restriction of Elvis Presley (Austin Butler) as necessities, while the exuberance and vibrance of the picture around him testify loudly to the contrary.
Butler’s soulful performance transcends Luhrmann’s showmanship. The power comes not from physical resemblance but full-body inhabitation of The King. The drawl, moves, and domestic withdrawal giving way to unfiltered stage abandon paints a picture of a talented soul isolated in his own American rock iconography. Elvis treads similar ground to other biopics with its structure and tropes, but Luhrmann’s panache and Butler’s heart elevate it beyond its genre. What emerges from the sparkle is a saddening portrait of an artist and young man who is used, abused, and lost.
Read our review here
Words by Carmen Paddock
#4: The Worst Person in the World
Directed by Joachim Trier
The third film in Trier’s “Oslo Trilogy,” The Worst Person in the World is a welcome addition to the coming-of-age genre and a subversive romantic comedy. Too often these films centre around the teen years; there are only a handful which focus on twenty-somethings trying to figure out life. And the title is a bit of a misnomer. None of the characters in the film are really the worst person in the world.
Every performance is outstanding. Renate Reinsve, who plays the main character Julie, fully deserves her Cannes Film Festival Award for Best Actress. Her performance is beguiling to watch. Special mention should also be made to Kasper Tuxen’s cinematography. He has an incredible talent for using 35mm film to capture breathtaking scenes, the most magnificently ambitious of which is the freeze-frame chapter in the middle. You won’t be disappointed by this film’s breathless beauty and wonder.
Read our Deputy Film Editor’s review here
Words by Jordan Connell
#3: The Banshees of Inisherin
Directed by Martin McDonagh
McDonagh’s late arrival, The Banshees of Inisherin, features comedic and moving performances from Colin Farrell and Brendan Gleeson, set against the backdrop of a rural Irish island. It became a number-one hit in Ireland and even earned itself a Best Original Screenplay award in Venice.
Pádraic, a kind-hearted farmer, and Colm, a wistful fiddle player, have had a lifetime of friendship, but one unexpected day brings it to an end. The story, told like that of an old folk tale, follows the lonely farmer as he attempts to rekindle his friendship. Some beautiful shots of the Irish landscape courtesy of Ben Davis only add to the melancholy feel throughout the film. There are touching performances all round, but Barry Keoghan steals the show as troubled local boy, Dominic. Despite the loudness of his character, he quietly encompasses the tragedy behind this otherwise hilarious and unforgettable film.
Read our review here
Words by Libby Briggs
#2: Top Gun: Maverick
Directed by Joseph Kosinski
Thirty-six years after Tom Cruise’s career-defining performance as the untamable pilot ‘Maverick,’ film and aviation fans may have been somewhat hesitant about yet another nostalgic reboot. But they need fear not; Top Gun: Maverick is stratospheric. In Kosinski’s sequel to Tony Scott’s Top Gun, Maverick returns to his old base to teach a new group of recruits how to be the best of the best in the skies. Miles Teller performs as Rooster, the son of Maverick’s late co-pilot Goose, ready to refine his skills and serve justice to his father’s legacy.
The film pays homage to the iconic original film, revitalising the daring spirit which initially captivated fans. Though it is hard to contend with the cultural dominance of the original blockbuster, Top Gun: Maverick is a cinematic journey that delivers drama and camaraderie, setting the sky and beyond as its limits.
Read our Deputy Film Editor’s review here
Words by Alanya Smith
#1: Everything Everywhere All at Once
Directed by Daniel Kwan & Daniel Scheinert (AKA Daniels)
A multiverse, sci-fi, taxes, marriage problems, martial arts, hot dogs, and a healthy dose of existentialism. One film this year encapsulated all these concepts and created something beyond remarkable. With its focus on Chinese-American laundromat owner Evelyn (Michelle Yeoh) delving into ludicrous unique parallel universes, Everything Everywhere All at Once delivers a particularly wild yet poignant experience.
The directors have examined absurdism before in Swiss Army Man, featuring Daniel Radcliffe as a farting corpse learning about life. However, it is this film where their distinctive formula is perfected to such a remarkable extent. As you begin to lose track of just how awe-inspiringly bizarre the narrative plot points become, while every moment of the film strikes you with heartfelt tenderness and sincerity. Everything Everywhere All at Once delivers on an exceptionally hilarious but significantly intimate poetic narrative, helping it stand head and shoulders above the rest in 2022.
Read our review here
Words by Ethan Soffe
Honourable mentions (some of the films that received votes but missed out on the top 20):
- The Woman King
- The Fence
- RRR
- Benediction
- This Much I Know To Be True
- You Won’t Be Alone
- Thirteen Lives
- Enys Men
- Phantom of the Open
- Pleasure
Introductory words by James Hanton
Support The Indiependent
We’re trying to raise £200 a month to help cover our operational costs. This includes our ‘Writer of the Month’ awards, where we recognise the amazing work produced by our contributor team. If you’ve enjoyed reading our site, we’d really appreciate it if you could donate to The Indiependent. Whether you can give £1 or £10, you’d be making a huge difference to our small team.