The Best Movies of 2022
Courtesy A24/Focus Features/Marvel Studios/Orion Pictures
With all the jokes that compared 2022 to “2020 too,” it felt like not much had changed since the clock struck midnight on January 1 (this year or last). But luckily, as we’ve seen the past 12 months, that wasn’t exactly the case for films. This year’s new releases felt fresh and exciting, from revived franchises to clever indies, and marked a gradual return to big-screen blockbusters in the Covid era.
Here, we’ve rounded up some of our favorite new movies from 2022, a list that spans from heartwarming parent-child narratives to adrenaline-pumping thrillers and biting satires. We can’t wait to see what the next year will bring.
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Perhaps the most beloved movie of the year so far is this sci-fi-action-comedy, which stars Michelle Yeoh as an exhausted woman thrust into a mission to save the multiverse, when all she really wants to do is file her taxes and keep her house in order. Directing duo The Daniels (Daniel Kwan and Daniel Scheinert) turn an out-of-this world romp into a gutting story about family and intergenerational conflicts, all with maximalist style and laugh-out-loud humor. (With the kind of ridiculous bits that shouldn’t land but absolutely do.) Yeoh is a revelation in the role, accompanied by a dynamic cast: Stephanie Hsu proves she’s a talent to watch, Ke Huy Quan makes a beautiful return to the screen, James Hong reminds us he’s still a legend, and Jamie Lee Curtis brings her many characters to life with ease. With an ambitious premise and many cinematic references, Everything Everywhere feels larger than life, but at the same time, very close to home.—Erica Gonzales, Senior Culture Editor
A riddle wrapped in an enigma of a story, Tár pokes holes in the fragile nature of reality and puts us face to face with unbearable weight of true genius. There’s been much talk about Tár being a “MeToo story”—and there is a MeToo plotline, if you can call it that—but that’s a red herring. It’s really a ghost story: about how we’re haunted by our own ambitions, dreams deferred, and the human cost of making it to the very top echelons of human achievement. A truly remarkable film unlike anything I’ve seen before.—Katherine Krueger, Features Editor
It was always going to be hard for director Rian Johnson to top the first Knives Out film—nor could the costumes ever hope to compete with Chris Evans’ sweater. But Glass Onion: A Knives Out Mystery managed to remix everything that worked in the first film, complete with a delightful murder case, campy performances from a stacked cast, and the kind of gorgeous set design that makes you want to book your next vacation to wherever Johnson films next. Glass Onion might not feature the most mind-boggling mystery ever put to film, but it is really fun—something it feels far too few films truly accomplish in this era of blockbusters. Here’s to hoping we see more of Benoit Blanc soon.—Lauren Puckett-Pope, Associate Editor
I’ll watch any movie with Viola Davis in it (even if it’s Suicide Squad), so this one was no exception. This historical epic follows an all-female warrior tribe in West Africa as they fight against a foreign power. Not only are the action sequences amazing, but the supporting cast is also a lovely surprise. Lashana Lynch, in particular, deserves all the praise.—Juliana Ukiomogbe, Assistant Editor
The first rule of Barbarian is: You do not talk about Barbarian. Well…sort of. According to audience reviews on Rotten Tomatoes, the less you know about it, the better. And prepare to have your mind blown. This smart, hilarious, and highly bizarre horror-mystery is one of the best and most original I’ve seen in years. Consider this the official launch of my campaign to get Justin Long an Oscar for Best Supporting Actor.—Claire Stern, Digital Deputy Editor
Where do I begin with Aftersun? I went into this film thinking, “Cute! Paul Mescal plays a young dad,” and left fully dissociating in the streets of Manhattan once I was able to pull myself out of the theater. Charlotte Wells’ debut feature follows a woman’s recollections of her last vacation with her father (Mescal). Looking back at the VHS recordings she took as a girl on the cusp of teenagedom (a charming Frankie Corio), she revisits the awkwardness of coming of age while also seeing her father’s struggle with depression in a new light. In between the warm scenes of Mescal and Corio on holiday, Wells skillfully uses rave dance sequences to depict the fleeting memories her protagonist Sophie is desperately trying to grasp. The last scene will leave you with chills.—EG
Let me just say, give Angela Bassett her things. Her performance as Queen Ramonda was some of the best acting I’ve ever seen in an MCU movie. In fact, women really show out in this Black Panther sequel. Letitia Wright takes on an impossible role and handles it brilliantly, and Dominique Thorne as Ironheart was a beautiful, and hilarious, addition. And bonus points to the film for giving us two new Rihanna songs.—JU
Park Chan-wook’s latest is both an exhilarating murder mystery-cop procedural and a noir-inspired romance. It’s stylistic and seductive, mostly thanks to its gorgeous cinematography, but also for the chemistry between its leading duo: Park Hae-il as detective Hae-jun and Tang Wei as Seo-rae, a mysterious widow and Chinese immigrant to Korea. Tang is so captivating as the layered Seo-rae, that she had me (and Hae-jun) hanging on every second of prolonged eye contact and every single word, even if she was using a translation app to say it.—EG
There’s saccharine sentimentality, and then there’s Steven Spielberg. The famous director is unmatched in his ability to make what might otherwise feel too mushy gushy and turn it into some of the most genuinely affecting cinema ever put on screen. His latest, The Fabelmans, is no different—a semi-autobiographical account of his youth in his parents’ tumultuous but loving household, it features some of Spielberg’s finest work to date.—LPP
Never has a donkey had so much pathos. Banshees takes place on an Irish isle, where the Irish Civil War is literally within view but at a geographic remove. On the island, another neighbor-versus-neighbor conflict seemingly materializes overnight: Colm (Brendan Gleeson) up and decides he no longer wants to be friends with Pádraic (Colin Farrell), which sets in motion increasingly gruesome events. The reasons why are murky and almost beside the point; this is a film about the loneliness inherent in all human relationships and the immense weight of shared history and ties to your home. Kerry Condon, as Pádraic’s sister Siobhán, mystified by the tribalism of the island’s men and her admittedly “dull” brother, delivers a tour de force, heart-wrenching performance.—KK
In a summer where clever, small scale films were in short supply, Honk for Jesus was a true gem. Sterling K. Brown shed his This Is Us nice guy persona to play a flashy pastor with a penchant for Prada who sees participation in a documentary as a way to rehab his reputation after a scandal he’d really like to put behind him. Regina Hall’s performance as a beleaguered wife torn between loyalty and dignity gave a heartbreaking layer to the biting satire.—Adrienne Gaffney, Associate Editor
Ruben Östlund’s Palme d’Or-winning Triangle of Sadness starts out innocently enough, centering a beautiful influencer couple dryly debating the point of their relationship. Later, we see them on a gifted yacht trip, interacting with uber-rich oligarchs and weapons manufacturers and their bejeweled spouses. Satire drips from every line of dialogue, offering a clear critique of class hierarchy and hypocrisy as well as an interrogation of romantic and transactional love. So it’s not entirely a surprise when, during a particularly opulent meal, the boat begins to lurch, and the vomit starts to spew. Hardcore Swedish punk soundtracks an epic gross-out sequence, which also includes a surge of overflowing toilets. I’m not the first to draw parallels between the film and seasons 1 and 2 of The White Lotus (see: wealth disparity, relationship drama, excrement). But Triangle of Sadness, which gets its title from the lines between one’s eyebrows and also points to the three parts of the film (the third depicts what happens a desert island where the surviving passengers end up following a pirate attack), lacks the subtlety of the former. Thankfully, it makes up for that with copious slapstick laughs. It might feel like a gut-punch, but one you’re oddly grateful for having received.—Melissa Giannini, Features Director
I wish every pop star was like Selena Gomez. She’s refreshingly honest and unapologetically herself, even when it’s not flattering—and her Apple TV+ documentary, which follows her six-year journey to the peak of her career, is the perfect example of these descriptors. Justin Bieber, I have words.—CS
This was my first Sarah Polley film and it did not disappoint. Based on a novel of the same name by Miriam Toews, the story is about a group of women in a remote religious colony who must decide whether to stay or flee after being repeatedly assaulted by the colony’s men. I went into this film completely blind, which was a great idea. It completely surprised me and left me thinking about gender and power in a much more nuanced and complicated way. The book is now on my ever-growing TBR list.—JU
In select theaters December 23, and everywhere January 20.
Anna Diop stars as Aisha, a woman who emigrated from Senegal and gets a job nannying the daughter of a wealthy couple in NYC. The new gig should help her support the son she left back home and eventually bring him to the States, but as his arrival looms, Aisha starts seeing unsettling visions in her employer’s home and in her daily life, including spirits from West African folklore. Nanny is director Nikyatu Jusu’s haunting debut feature, which earned her the Grand Jury Prize at Sundance this year and teed up her next gig: helming the Night of the Living Dead sequel. She’s one to watch in the thriller/horror space—and in film overall.—EG
Pete Davidson may prompt you to watch, but Rachel Sennott effortlessly steals every single scene in this satirical horror movie and English language debut from Dutch director Halina Reijn. With laugh-out-loud one-liners like “I am an ally!” and “Your parents are upper…middle…class,” the 27-year-old actress whom we first fell hard for in Shiva Baby very much proves her staying power, right up until the sly twist ending.—CS
When new friends Drea (Camila Mendes) and Eleanor (Maya Hawke, who looks so much like her mom Uma Thurman that it’s trippy) are wronged by revenge porn and rumors, they team up to get revenge. But this is no ordinary revenge narrative; the twists will keep you guessing, and there’s plenty of fun and social commentary along the way. And, like all teen rom-coms should, there’s a makeover scene.—Kayla Webley Adler, Deputy Editor
This star-studded action comedy is directed by David Leitch from a screenplay by Zak Olkewicz, with Brad Pitt as its lead. However, it’s the supporting actors really round out this film. It’s a great opportunity to see the acting range of Atlanta star Brian Tyree Henry, and I love how the movie plays on luck, fate, and destiny. The co-lead actor, who only physically appears at the end of the movie, is a lovely surprise.—Danielle James, Digital Beauty Director
Joachim Trier’s The Worst Person in the World is a layered portrait of a woman in Oslo figuring out love, purpose, and herself. Spanning four years, two boyfriends, and 12 artful chapters, the Oscar-nominated Norwegian film captures the brutal yet beautiful mess of coming of age—even if that’s in your late 20s and 30s. Star Renate Reinsve shines as protagonist Julie, but Anders Danielsen Lie is a scene stealer as Julie’s ex-boyfriend Aksel too.—EG
Nearly 12 years after the stop-motion YouTube video “Marcel the Shell With Shoes On” went viral, the internet’s favorite talking shell has landed where he rightfully belongs—on the big screen. A24’s feature-length film brings together the original duo from YouTube—Dean Fleischer-Camp as director and Jenny Slate as the voice of Marcel—for a so-adorable-you’ll-squeal-in-your-seat adventure as Marcel attempts to locate his family and copes with the consequences, and marvels, of viral fame. An animated feast for the eyes, the film is even more incredible when you consider it took seven years to complete.—Madison Feller, Senior Writer/Editor
What’s a bad miracle? This question is at the center of Jordan Peele’s summer blockbuster, which tackles the ways we deal with spectacle—how we capture it, get inundated with it, become desensitized to it, capitalize on it—and the trauma that lingers in its wake. Daniel Kaluuya and Keke Palmer make an amazing duo as siblings OJ and Emerald, who train horses for Hollywood films, and whose family ranch is terrorized by an ominous presence in the sky. Steven Yeun is a compelling addition as Ricky, the owner of a nearby theme park with a backstory that will haunt you for days.—EG
I don’t usually frequent Apple TV+, but when I heard that the streamer was doing a documentary on Sidney Poitier, I immediately ran to watch. What a man! Everyone from Denzel Washington and Halle Berry to Lenny Kravitz and Oprah makes an appearance to celebrate his extraordinary talent. And since this was filmed before his passing earlier this year, we also get to hear Sidney’s story straight from him in an array of sit-down interviews.—JU
Céline Sciamma bends time and genre in Petite Maman, the director’s tender French fantasy drama that explores the relationship between mother and child. The audience follows a young girl named Nelly who, while grieving her maternal grandmother, wanders into the woods and meets (spoiler alert) her own mother, Marion, as a child. The two become fast friends as the film shifts between past and present, eventually allowing the pair to share their true identities with one another. Magical and mysterious, it’s the rare 72-minute (!) movie that leaves you both satiated and wanting more.—MF
Jeremy Pope is one of the most impressive young actors working today and while he’s been nominated for two Tonys and an Emmy, The Inspection is his first starring movie role. Director Elegance Bratton’s film is based on Bratton’s own experience joining the Marines as a young gay man and it illustrates his complicated experience—as a soldier he dealt with brutal bigotry but also found a sense of family in the military, after he was rejected by his own.—AG
Meilin Lee is a confident yet adorably awkward 13-year-old girl, torn between pleasing her strict mother (voiced by Sandra Oh) and geeking out over her favorite boy band 4*Town (a fictional quintet singing pop songs written for the film by Billie Eilish and Finneas). Adding to Mei’s pubescent angst is the discovery of an inconvenient inheritance—whenever she gets too excited, she turns into a giant red panda. Domee Shi, Pixar’s first solo female director, spins an enchanting coming-of-age tale about the bonds that carry us through, complete with heaps of nostalgia (a Tamagotchi plays a pivotal role).—MG
Long before Kristen Stewart gasps that “surgery is the new sex,” I was hooked into this near-future merging of the art world with human biology run amok (it is David Cronenberg, after all). Viggo Mortensen stars as a performance artist whose body is capable of spontaneously sprouting never-before-documented organs which his partner, played by Léa Seydoux, then surgically removes them for an audience. It’s a clinically cold film about humanity, and whether, as we continue to radically transform our earth, we’re becoming less human as a result.—KK
In our world of growing AI and smart home tech, this introspective sci-fi drama resonates a little deeper. From filmmaker Kogonada (Columbus), After Yang is set in the near future, where robots are purchased as domestic helpers and babysitters. When his daughter’s android, Yang (Justin H. Min), breaks down, Jake (Colin Farrell) seeks out a fix. What ensues is an exploration of identity and humanity with the director’s soft but moving style. Jodie-Turner Smith, Haley Lu Richardson, Sarita Choudhury, and Malea Emma Tjandrawidjaja also star. Watch out for an incredible opening dance sequence, and a cover by Mitski.—EG
I’ve noticed this film missing from quite a few critics’ Best of 2022 lists, and it’s a shame: Nicholas Cage has never been better than in this self-parody of his latent career. He puts on a hysterical performance as a hyperbolic version of himself, and Pedro Pascal’s turn as a Nic Cage superfan might be one of my favorite casting choices of the year.—LPP
Emma Thompson stars as Nancy Stokes, a 55-year-old widow who’s never had good sex. Her solution? Book a hotel room and hire a prostitute who goes by the name of Leo Grande (Daryl McCormack). In what appears as a run-of-the-mill romantic comedy ends up being a tender and heartfelt story about human connection, sex work, and the transformative power of vulnerability.—JU
It turns out the Jane Austen adaptation we’d fall in love with this summer wasn’t a certain Netflix film, but this modern, queer retelling of Pride & Prejudice. Joel Kim Booster wrote and stars in the cult-favorite rom-com, where his character Noah tries to set up his BFF Howie (Bowen Yang) during a trip to Fire Island with their best friends. Things seem to be going well until an encounter with a stuffy vacationer (Conrad Ricamora as a fantastic Mr. Darcy analog, Will) throws Noah off. Fans of “Lucky” by Britney Spears, that rainfall scene in the 2005 Pride & Prejudice film, Margaret Cho, and Alice Munro’s short stories will surely enjoy. Don’t worry, Alison Bechdel also approves.—EG
Steven Soderbergh, the director behind Ocean’s Eleven and Contagion, is back with another crime thriller. When an agoraphobic tech worker (Zoë Kravitz) overhears a crime being committed while listening to a data stream, she takes matters into her own hands and attempts to uncover the mystery. Come for Zoë’s blue bob, but stay for the engaging and adventurous storyline.—JU
Hands down the most epic film you’ll see all year, RRR (Rise, Roar, Revolt) is a three-hour action drama that will leave you shouting at the screen over and over again—and yes, you should try to watch it in a theater. One of the most expensive Indian movies ever made, this Telugu-language film tells a fictional story about two real-life revolutionaries, Alluri Sitarama Raju and Komaram Bheem, fighting against the British Raj in the 1920s. Come for the wild action sequences, but stay for the thrilling dance scene that’s caused some audiences to literally party in the middle of the movie theater.—MF
Celebrated director Mamoru Hosoda (Mirai, Summer Wars) teams up with Studio Chizu once again to put a fantastical spin on the metaverse. BELLE follows Suzu, an introverted high school student who escapes to the virtual world “U” where she reigns as a singing superstar named Belle. But her digital world gets shaken up when a mysterious beast crashes one of her performances, sparking an epic chase. This visual spectacle is sure to push the limits of your imagination.—EG
Set three decades after the events of Top Gun, this long-awaited follow-up sees Tom Cruise reprising his role as pilot Pete “Maverick” Mitchell, this time training a slew of TOPGUN students for an extra-dangerous specialized mission. Sequels are hard, especially if their predecessors are iconic, but Maverick surprisingly sticks the landing. Sure, it has corny nostalgic callbacks aplenty, and it’s still soaked with total Dude Energy, but it plays with suspense and adrenaline well to create a thrilling ride nonetheless. Plus, the technical aspects are a feat of their own. Cruise and his new recruits all flew in real courses, in real jets, helmed by real pilots—those are no simulators. Jennifer Connelly, Miles Teller, Jon Hamm, Glen Powell, Jay Ellis, Monica Barbaro, Danny Ramirez, and Lewis Pullman round out the cast.—EG
We were down a few players in the latest Downton installment, which saw Hollywood arrive at the Crawleys’ door, but I remain forever faithful to my #1 franchise.—AG
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