Good day to you. My name is Luis A. Mendez. I’m a film critic based in Central Florida, and these are my PERSONAL top 20 favorites from the year 2022 in film. If a favorite of yours from the year is missing from this list, chances are I probably liked it, I just happened to have liked at least 20 films a little more.
I’ve shared my top picks for this year a few times already, but with the year quickly coming to a close, I wanted to take a step back and really lock in my thoughts on what I consider the best films of each year in the 2020s so far. That meant doing some re-watches, going through every single Letterboxd log from each year, and seeing whether my original grades still held up or needed adjusting for any one movie. I also put together a new version of my personal awards ballot for this year in film, which I published quietly, without sending it to the readers’ inboxes, so I wouldn’t flood anyone’s email with too much “Best of” movie talk from just one year.
2022 is widely regarded, by myself included, as the year cinema truly came back to life in the 2020s following the bleak 2020 and the divisive 2021. In my view, it stands as one of the greatest years for film and seems to have ushered in a new era of Oscar seasons defined by both international reach and cultural mainstream appeal. It was a year that offered nearly every kind of movie one could hope for, including several big, crowd-pleasing blockbusters that weren’t driven by the same old superhero sub-genre. As of this writing, I consider it not only the best year for film from the 2020s so far, but also a strong contender for my favorite movie year of my adult life. A clear theme of ambitious, genre-driven filmmaking dominated my favorites from this year.
I should note that some passages here are rewritten almost exactly as I originally wrote them in my original year-end list for 2022. Now without further adieu here are my choices:
20. All Quiet On The Western Front
When 2022 originally came to an end, this German adaptation of the iconic anti-war novel, directed by Edward Berger, just missed my year-end list. In the years since, however, my admiration for the film, which surged late in the season and ultimately finished as a Best Picture Oscar runner-up, has only grown to the point that its now within my top twenty of its year. While it strays from the source material in certain story beats, and while the 1930 American-produced adaptation that actually won Best Picture executes some things better, this version remains an absolute gut punch. It uses astonishing technical prowess to confront the viewer with the ugly, brutal reality of war. This is not an easy film to watch. You witness a group of friends slowly die as the war drags on, all building toward a finale that is genuinely haunting. This is not an entertaining film; it’s a bleak, punishing experience; but it is an extraordinary cinematic achievement, and one with something urgent to say.
19. Bardo
Alejandro González Inarritu’s Bardo is perhaps his most ambitious, and most divisive, project to date. This nearly three-hour Mexican film is a staggering showcase of cinematography, production design, and surreal imagery, featuring moments like a baby being forced back into his mother’s womb, the protagonist conversing with his dead father, and bodies stacked in the street as Cortés stands over them as Mexico’s conqueror. This movie is not for everyone. At my critics screening, we literally had more than one walkout. And yet I was taken aback by how deeply it resonated with me, and I don’t think it’s a coincidence that many of the most enthusiastic responses for it have come from within the Hispanic community. This is Inarritu’s 8½, a deeply personal work exploring imposter syndrome, the fractured dual identities of those of us who weren’t born here, and the weight of grief and loss. It also features an astonishing club dance sequence that stands among my favorite scenes in film from this year.
18. Nope
When the 2022 movie season came to a close, I was left thinking of Nope as an entertaining and ambitious project from Jordan Peele that narrowly missed my original year-end list. In the years since, personal issues with the execution of the Gordy subplot aside, I’ve come to genuinely respect and love the film. It’s a movie that perfectly blends Peele’s trademark mix of humor and horror with eccentric characters and a deep appreciation for cinema, ultimately ending up a mixture between Jaws and Close Encounters Of The Third Kind. What unfolds is a fascinating sci-fi horror that steadily builds tension and discovery, revealing a UFO not as a spacecraft but as a living alien creature; one the protagonists must ultimately confront in an epic, climactic showdown. Some of the best visuals and musical composition of the year only elevate the experience of watching this. This stands, for me, as the best horror film of the year.
17. The Woman King
When images of Viola Davis in character for The Woman King first emerged, some assumed we were headed for an Oscar-baity period drama. What we got instead was a full-throttle period action epic, powered by an almost entirely female ensemble that makes the male heroes of similar films look like posers. The film gives its warriors plenty of room to shine in brutal, exhilarating fight sequences; but it’s the character work in the quieter moments that gives the story real weight. At its core, this is a film about sisterhood, one that somehow channels the spirit of traditionally male-led action epics like a Seven Samurai or a Gladiator, without ever feeling derivative. Over its two-plus-hour runtime, you go from being intimidated by these mighty warriors to feeling like you’re standing alongside them. Even the dudes will be rooting for these women to kick ass.
16. The Northman
The Northman is Robert Eggers’s third, and perhaps his most accessible, film to date. This Viking tale of betrayal, revenge, and love is steeped in myth and lore, from the brutal code of its warriors to a glimpse at the gates of Valhalla itself. At the same time, it tells its story in a raw, unflinching manner that never pulls its punches. This Hamlet-like saga delivers ferocious fight sequences, eerie and supernatural atmosphere, a surprisingly tender romance, and a major twist that propels the story into its final act. It all builds toward a jaw-dropping confrontation atop a raging volcano, a climactic spectacle you have to see to believe.
15. Guillermo del Toro’s Pinocchio
We somehow ended up with several adaptations of Pinocchio in the same year, and only Guillermo del Toro managed to make his feel truly essential. Using stop-motion animation, del Toro’s reimagining of the fable weaves together themes of religion, fascism, grief, and death, resulting in a version that feels both deeply personal and thematically rich. It’s the first adaptation I’ve seen that can genuinely go toe-to-toe with Disney’s iconic 1940 animated film; and it even took home the Oscar for Best Animated Feature. In fact, this film’s cricket, Sebastian J. Cricket, puts old Jiminy to shame, thanks in large part to Ewan McGregor’s wonderfully spirited voice over performance.
14. Marcell The Shell With Shoes On
The best animated film of 2022, in my book, wasn’t a Disney release or a Netflix-backed project, but a small A24 gem about a one-eyed shell named Marcel and his grandmother, Connie. Shot as a pseudo-documentary, the film follows a recently divorced filmmaker who begins interviewing Marcel and Connie (voiced by the one and only Isabella Rossellini) about their lives, gradually evolving into a touching search for family. It even features an unexpected cameo from 60 Minutes’ own Leslie Stahl. Along the way, the film explores grief, loss, and the courage it takes to embrace change. Without ever resorting to childish, bottom-of-the-barrel humor, Marcel’s gentle antics bring an easy smile, while Connie serves as the emotional core of the story. By the end, you’ll almost certainly find yourself shedding a tear. The wild thing is this film was actually put together by real-life ex married couple Dean Fleischer Camp and Jenny Slate (who voices Marcel), bringing some truth to Dean’s portrayal of himself in the film.
13. Elvis
Every year brings more than a few cradle-to-grave biopics that stick to the same tired rise-and-fall formula, like an old-school episode of VH1’s Behind the Music. But if anyone can inject real personality into that template, it’s the eccentric and colorful director, Baz Luhrmann. With Elvis, he delivers a fast-paced, kinetically frenzied spectacle that’s part musical, part drama. Told largely through the eyes of Colonel Tom Parker, played by an intentionally over-the-top Tom Hanks in a fat suit, the Best Picture nominated film chronicles Elvis’s career through comic-book panels, blazing on-screen text, wall-to-wall hits from the King of Rock and Roll mixed with modern reinterpretations, and what is, in my book, the year’s best male lead performance from Austin Butler in the title role. This isn’t so much a traditional biopic as it is a colorful musical roller coaster through the life of one of America’s great musical icons. While it runs a bit long, it ultimately wins you over with the same kind of originality and swagger that once had audiences losing their minds at the mere shake of Presley’s hips.
12. The Fabelmans
We now enter my expanded Best Picture ballot with Steven Spielberg’s auto-fictional The Fabelmans; a Best Picture nominated film that beautifully captures the childlike wonder and excitement of discovering film for the first time. It builds on that sense of awe by delivering one great scene after another as its protagonist steadily grows more confident and skilled as a young filmmaker. And while I’m not typically drawn to divorce-driven dramas, the family conflict here never feels overly melodramatic. Instead, it meaningfully serves the story, shaping Sammy Fabelman and helping define him as an artist in the making. Don’t mistake that seriousness for a lack of charm, though; this is very much a crowd-pleaser, filled with warmth, humor, and grace. This is Spielberg pouring his own personal history onto the screen, and it stands as one of the stronger entries in his already legendary filmography.
11. Women Talking
In lesser hands, an adaptation of a book about women discovering that the men in their religious community have been sexually assaulting them could easily become a story that beats you over the head with themes bordering on “all men are evil” and “all religion is useless.” But Sarah Polley’s brilliant script and direction make Women Talking a Best Picture nominated film with so many layers to its central conversations that I found myself floored by just how much ground it covers in under two hours. Every potential reality tied to the aftermath and trauma these women face is touched on. Women question their faith; women are emboldened in their faith. Justifiable rage at and fear of the men is explored, even as the women stop to think about their own sons. Minds change as the conversation and debate evolve. There is even a single male character who offers glimpses of hope, both for what a good man can be and for what a positive, compassionate religiosity can look like. And somehow, there are moments of comedic relief that never feel out of place or disrespectful to the material. By the time the credits rolled, I was deeply moved by the hope the film manages to find, even with such dark subject matter. What Polley pulls off with this adaptation should genuinely be taught in screenwriting classes.
10. The Banshees Of Inisherin
A Best Picture nominated film about one man abruptly deciding to end his friendship with another in 1920s Ireland sounds, on the surface, like it might not have much to say. But The Banshees of Inisherin takes that deceptively simple premise and lets its impact ripple outward across the small, fictional village of Inisherin, as our protagonist struggles to understand why his best friend suddenly no longer wants to be his drinking buddy. When we do learn why, the film opens up larger questions about legacy and the limited time we have on this planet to make it count. It’s a subtle, dark comedy that steadily ratchets up tension and conflict over its runtime, escalating from the quiet cruelty of ignoring someone to threats of self-dismemberment, with people and animals caught in the crossfire of the two men’s feud. With each rewatch, I’ve found more to value in this Irish tragedy that director and writer Martin McDonagh has crafted, and in time it may well come to be regarded as a true classic.
09. TAR
You know you’ve constructed an incredible script, and your lead actress has delivered a career-best performance, when people leave the theater Googling to see whether this fictional story about the fall of a respected, powerful music composer is actually true. Todd Field’s Best Picture nominated TAR pulls us into its world through a series of unforgettable sequences - an extended interview scenes that made me want to keep listening to Lydia talk about music, an exceptional one-shot classroom lesson that slowly goes off the rails, and pointed conversations that reveal the machinations and politics of life inside a world-class orchestra. In some ways, the film can be viewed as a kind of female counterpart to There Will Be Blood. As Lydia’s carefully constructed world begins to spiral, everything builds toward a final scene that quite literally made me gasp out loud on my first viewing. For my money, this is the best work yet from Field’s short but deeply impactful directorial filmography.
08. Living
A British spin on Kurosawa’s 1952 classic Ikiru sounds like blasphemy to classic cinema. But thanks to one of the year’s best performances from Bill Nighy, beautiful cinematography, and what I found to be improved pacing compared to the original, Living somehow pulls it off. While the 1952 film will always remain unmatched, this version works as a graceful companion piece, highlighting just how universal our determination to make something meaningful out of life truly is.
07. Glass Onion
I’ve never been too keen on Rian Johnson’s previous directorial efforts or twisty screenplays, and I was originally in the minority in not being wowed by his 2019 twist on the “whodunit”, Knives Out. But with a fresh story, a new set of characters and suspects, and with Detective Benoit Blanc firmly positioned as the protagonist this time around, Johnson finally crafts a comedic mystery that had me laughing throughout and constantly going back and forth on who the killer might be. Hell, the person who bites the dust isn’t even who I assumed it would be. About halfway through the film, a major twist lands that makes you re-evaluate everyone, and the mystery itself, in a whole new light. Unlike Johnson’s previous efforts, this twist actually feels motivated by the story rather than existing purely for the sake of being twisty. Glass Onion was, without question, my biggest pleasant surprise from 2022.
06. Top Gun: Maverick
We now enter the portion of the countdown that includes my absolute favorites of the year. Top Gun: Maverick was, for my money, the undisputed film of the year when it comes to cultural relevance. This summer action blockbuster is a well-written follow-up to the 1986 classic, proving that even an action sequel can surpass its original when the script focuses on character drama every bit as much as it does spectacle. Tom Cruise fully embodies the titular role more than thirty years later, and we see long-running relationship arcs come full circle; including a reunion with his former rival Iceman, played by the now late Val Kilmer, that’s guaranteed to hit you in the feels, as well as an arc involving Miles Teller as the son of Maverick’s late friend Goose. Meanwhile, we’re right there with Maverick and his cadets as they prepare for an extraordinarily dangerous mission, getting to know each of them well enough that when the climax finally arrives, we’re on the edge of our seats, fully aware of the plan and all the ways it could go wrong. Balancing comedy, romance, emotional payoff, and white-knuckle thrills, the gamble to sit on this sequel for two years paid off handsomely, with the film ultimately ending up a Best Picture contender.
05. Avatar: The Way Of Water
Thirteen years after James Cameron’s Avatar shattered box-office records and came oh so close to winning the Best Picture Oscar, Cameron gambled big once again by delivering the first in a planned series of sequels set in the world of Pandora. Like its predecessor, the film is a jaw-dropping visual spectacle that outclasses even the biggest superhero movies, and Cameron’s command of high-concept sci-fi is once again on full display. Story-wise, he meaningfully expands the lore of the first film, introducing the oceans of Pandora in much the same way he showcased its forests and floating mountains in the original. Anchored by strong themes of familial bonds and seeded with mysteries meant to unfold in future installments, the Best Picture nominated film also made me genuinely care about its new characters; especially a whale-like creature that forms a bond with the new protagonist, evoking the kaiju movies that first made me fall in love with cinema. The standout highlight of this sequel, though, may be its nearly hour-long climactic sequence aboard a sinking ship (cue the Titanic jokes), which ranks among the very best action set pieces of a year packed with great ones.
04. RRR
India has one of the richest and most expansive cinematic histories in the world, and yet relatively few of its films break through as true global sensations. More often, European films dominate critical prestige while Japanese or Korean films capture intense fandom. In 2022, though, an Indian film caught fire through word of mouth and exploded into a culturally relevant, three-hour spectacle that continues to win over everyone who discovers it. RRR is, at its core, a story about the friendship between two men, while also taking a bold stand against colonialism, slavery, and oppression. And somehow, it delivers all of that through some of the most bombastic, unhinged action sequences I’ve ever seen on screen, alongside electrifying dance numbers that led to its Oscar win for Best Song. If you want to know what a true blockbuster action epic should look like, put this film on.
03. Babylon
Director Damien Chazelle’s epic period film about the transition from silent cinema to talkies feels like a wild marriage of Boogie Nights, The Wolf of Wall Street, and Singin’ In The Rain. It depicts Hollywood’s debauchery without a second’s hesitation, goes for huge laughs at the expense of its characters’ tragedies, and builds to a fourth-wall-breaking finale that might be the ballsiest thing I’ve ever seen a director attempt. Chazelle takes enormous swings in this three-hour period epic, which spans years in its timeline, and as a result there’s plenty of mess alongside the undeniable brilliance. It’s easily the auteur’s most divisive film, and even with all its faults, I loved it. Having seen it multiple times now, it may honestly be my personal favorite of Chazelle’s films, even if, on a purely objective level, it’s also his sloppiest. There are moments that have me shaking in my seat with laughter and others that had me perched on the edge of it, fearing for the characters’ safety. It’s not a movie that earned the universal praise of his earlier work, but I had an absolute blast on the ride Babylon takes me on whenever I put it on.
02. The Batman
As someone who ranks Batman as his second-favorite fictional character of all time, only behind Godzilla, I was thrilled to see director Matt Reeves deliver a three-hour detective mystery epic that brings the vigilante back to his roots and the gothic noir genre. The character writing here is superb, and the film never rushes its story; yet with each rewatch, the runtime feels shorter and shorter. With stunning cinematography, a score that lodges itself in your head, and performances that include an unrecognizable Colin Farrell as the Penguin, this almost feels like the epitome of what a superhero movie can and should be in an era dominated by the MCU formula. Years after The Batman first hit theaters, it’s become a comfort film for me and rivals The Dark Knight as my all-time favorite Batman movie. That I came to adore it so deeply says a lot about the placeholder at the top of my list, given that this still isn’t my favorite film of the year.
01. Everything Everywhere All At Once
I’ve previously written at length about why I think the Best Picture winning Everything Everywhere All At Once is the next big movie that will be cited as the film that made future filmmakers want to make movies. Its an audacious, surrealist, hilarious, tragic, emotional, and romantic family drama disguised as a multi-verse jumping sci-fi adventure. Giving us everything from amazing fight choreography, beautiful costume and set designs, talking raccoons, sex toys used as weapons, and a line about taxes that has melted hearts. Featuring Michelle Yeoh in what may be her magnum opus performance, the comeback of Ke Huy Quan who somehow takes over the movie at times, and a breakthrough role from Stephanie Hsu that gives us one of the best movie villains I’ve seen in this era of film. For my money this is a future mainstream classic that both people off the street and film students will be talking about in the decades to come. This brilliant, crazy movie is my pick for the best film of 2022.
Good list. I really need to go watch The Batman because for some reason I never connected with Pattinson's version of the character.