10. Oppenheimer
It is impossible to rank this movie, regardless of its content, without taking into consideration the cultural phenomenon that marked its release alongside “Barbie.” Barbenheimer absolutely took over the internet and theaters in July 2023. Millions made a day of it with themed outfits and brunch between showtimes, fully restoring my faith in the movie theater as a physical entity. Now, as for content, I may be partial to Christopher Nolan films in general, but “Oppenheimer” is a masterpiece.
Cinematically shot on 70mm film with almost all special effects being done in real time, switching between color and black and white for narrative and visual effect. Perfect costume and set design coupled with brilliant performances from Cillian Murphy, Florence Pugh, RDJ and the entire ensemble cast. It is a masterclass in how to slowly unfold a story for audiences while keeping them at the edge of their seats. I cried and laughed and left the theater feeling physically sick. The invention of the nuclear bomb is one of the single most consequential events in human history, and its story deserves to be told as such to keep an understanding of its power of destruction – not only physically but also socially, politically and psychologically – alive for future generations. – Tyler Larrabee
9. Saltburn
The unlikely holiday film of the year was writer-director Emerald Fennell’s “Saltburn,” the twisted tale of wealth, lies, lust and good times that inspired TikTok trends, significant reactions and awkward family moments. The shock factor is only a piece of the film’s beauty and brilliance. The slow-burn dynamic only deepens the intensity of this dark, well-paced story that seamlessly delivers its themes of loneliness, obsession, resentment and more. Barry Keoghan cements himself as a leading actor in his best performance to date, while Jacob Elordi, Rosamund Pike and Alison Oliver shine alongside in similar fashion. “Saltburn” is a weird, uncomfortable, suspenseful, funny and thought-provoking film that puts Fennell at the top of her game. – Matt Miller
8. Past Lives
Themes of growth, learning and acceptance intertwine with interpersonal relationships, cultural dynamics and beautiful snapshots of daily life around the framework of an immigrant story in Celine Song’s directorial debut. The film’s semi-autobiographical subject matter is compelling and affecting, and the pacing is patient and fully realized. Visually fulfilling, as well, “Past Lives” raises intriguing questions about the impact of fate and circumstance on our collective existence, but it ultimately celebrates the human condition in spite of its proclivity to proffer missed connections and to occasion heartbreak. – Matt Rankin
7. Theater Camp
The directorial debut from Molly Gordon and Nick Lieberman is this mockumentary comedy film, a feature-length adaptation of the 2020 short film of the same name. “Theater Camp” is a highly improvised, satirical story that follows the chaotic yet devoted staff of a summer theater camp that’s struggling to survive. The Christopher Guest-style approach is lighthearted and joyful yet cutting and self-deprecating without ever losing its intended nature and authenticity. The strong cast of relative newcomers brings a comedy-troupe vibe that is fresh, authentic, awkward and hilarious. – MM
6. Barbie
How can I convince you holdouts to finally watch the most talked-about movie of the summer? This silly, relatable, very pink film written and directed by Greta Gerwig was everything the 7-year-old in me wanted and more.
Margot Robbie is perfect. Ryan Gosling is not only hilarious but also a great singer and dancer, and don’t get me started on the perfectly bubblegum pop soundtrack produced by Mark Ronson. I loved this movie so much that I brought my mom, sister and sister-in-law on my third trip to see it. The heartwarming mother/daughter elements surprised them all, and there were tears as a result. And that America Ferrera monologue! IYKYK. Go see this movie. It’s that good. – Sarrenna Johnson
5. Asteroid City
Wes Anderson has worked his way into a polarizing closet of his own construction. His whimsy and quirk could suffocate others, but the modern day’s showiest storyteller feels comfortable enough to still use it as a tool of communication instead of empty spectacle. Asteroid City, technically a story within a story of young American scientist-to-be’s accepting awards in academic excellence before being met with an otherworldly quandary of the unidentified variety, is so much more than what it seems.
Anchored specifically by the meta-story surrounding the construction of the screenplay at the center of this oyster, the film never really lets on to which movie is “the movie” and leaves the audience wondering not so much the point of the film but rather the power and emotion stories hold over us after the story is done. If you’re confused it’s okay; that’s a desired effect. Using the ridiculous setups and characters of Anderson’s mind, “Asteroid City” sees the filmmaker questioning his own intentions and desires as a filmmaker in the quaintest way imaginable. If you’re left dizzy at the end of the film, at least you get to experience “Dear Alien (Who Art In Heaven),” which sounds like if Marty Robbins was shooting pool with Marvin the Martian. – Andy Vinson
4. The Boy and the Heron
There’s a lot going on in what legendary Japanese animator Hayao Miyazaki has called his final film. He’s said that before, but the reason to believe him this time – apart from him being 83 years old – is that “The Boy and the Heron” feels like a final statement. It plays with motifs and tropes Miyazaki has used in past works like “My Neighbor Totoro” and “Spirited Away:” the intersection of human events with the natural and supernatural worlds, the ways people (and children in particular) process trauma and confusion, the quest for harmony on a planet that tends to push toward the opposite. It’s all here: life and death, war and birth, loss and friendship, carnivorous parakeets, big-nosed old women, little floating souls seeking to be born, a space rock, copious amounts of bird poop. Once the film takes its inevitable turn toward the fantastic, it’s a parade of arresting images and dream logic. Don’t worry about it making linear sense. This is Miyazaki in rumination on the world, with its sadnesses and violence, and what a life in that world can or should be. The film is its own best answer. Miyazaki’s response to the world has been to marvel at its wonders – and to add to them. – Jesse Fox Mayshark
3. Killers of the Flower Moon
It’s rare to find a director who’s surefire success is completely guaranteed these days, but Martin Scorsese has been in rarified air since dropping “Taxi Driver” nearly 40 years ago (and that’s no knock on the early work either). Not only is “Killers of The Flower Moon” one of his most patient and heart wrenching tales yet, but the performances are captivating across the board. You get the standard gold star from DiCaprio, De Niro, and current darling Jesse Plemmons, but it’s the stoic and devastating portrayal from Lily Gladstone that makes the whole thing resonate the entire run time. The horrific saga of the Osage Indians burns slowly into a roar, ending with a blunt reminder of the stakes men have gone to seize power in America from its beginnings through to today.– AV
2. Poor Things
Perhaps the year’s most unique and enthralling film comes with “Poor Things,” a science-fantasy dark-comedy that is unlike anything you’ve seen before. Driven by an incredible, almost certain Oscar-winning performance from Emma Stone, this visually stunning, perfectly acted and gripping tale of Bella Baxter’s self-discovery, sexual liberation and independence is thrilling until the closing credits. Based on the 1992 novel by Alasdair Gray, the film’s breathtaking originality and imagination is unparalleled and brought to life by sharply written dialogue, delivered by an impressive ensemble cast that includes Mark Ruffalo, Willem Dafoe, Ramy Youssef and more. It’s incredibly fantastical yet steeped in relatable realism, allowing this strange world to be incredibly effective in delivering its ever-relevant topics. Joining Bella as she falls in love with herself and the world around her in this wildly creative story is pure cinematic joy and what we love about going to the movies. “Poor Things” is a stellar film in every way and deserving of all the awards this season. – MM
1. The Iron Claw
You may have wondered why the cover this month featured a wrestling ring. The answer is “The Iron Claw.” Well, that and the show “Wrestlers,” which topped our docuseries list, as well. It was quite a year for the sport in fiction, but not in the way you might think. I don’t watch wrestling and haven’t since I was a kid, but between this film and the TV series, I have become fascinated by the lives of these characters outside of the spotlight.
“The Iron Claw,” I’m afraid, is on this list for different reasons than the series; instead of offering hope, this excruciating real-life story shows the other side of the ring. It’s a story in which almost all of the wrestlers are babyfaces (good guys) and familial circumstance is the bad guy, both in and out of the ring.
The Von Erich brothers are unbelievably easy to like, and the bond they share drives the film. This is never more evident than in a scene in which the three eldest brothers sneak out the youngest, who sticks out like a green hat with an orange bill, to attend his first live concert. What differences they may possess, they all share an even stronger adhesive: the desire to please their father. Whether the patriarch leads through respect or fear is another vein that pulses through the film, and by the end, the viewer has a pretty good idea about the verdict.
This is as searing a movie as anything released in 2023, and it perfectly encapsulates a year that saw the behind-the-scenes humanity that exists in professional wrestling take a front-row seat in pop culture. – Rusty Odom
