I have seen 278 films this year. Some of them were exceptional, and some of them were exceptionally terrible, but honestly, most of them were just fine. The number of movies I watch can be overwhelming sometimes, but that makes it even more impressive when a film sticks with me for extended periods of time. In absolutely no order, with no rating, these are the thirteen movies that stuck with me the most for various reasons this year. This does not include rewatches; these are all movies that I watched for the first time this year. I would normally do a recap of the films from this year, as it is halfway over already, but I have not seen that many 2023 releases, and I have talked about a lot of them on this website already.
Appropriately, I am going to start this off with the film 13 Going on 30, a romcom with similarities to Big but enough character and heart to stand on its own, and I think it surpasses its age-leaping predecessor. The film is directed by Gary Winick and follows a thirteen-year-old girl, Jenna, who, after a disappointing birthday party, wishes that she was thirty. Her wish is inexplicably granted, and she wakes up the next morning in New York as a thirty-year-old editor for a fashion magazine. There is absolutely no reason for this movie to be as funny and heartwarming as it is, but it is wonderful in its simplicity. The characters are very engaging, and Jennifer Garner’s performance as an adult inhabited by a tween is hilarious and believable. Over the course of the movie, she realizes that the childhood drama and lifestyle that she desperately wanted to avoid have taken over her life. Her teenage desire to be popular and an adult was misplaced.
Starring alongside Garner are Mark Ruffalo as Jenna’s childhood best friend, whom she has grown apart from as an adult; Judy Greer as a toxic coworker influencing Jenna; and Andy Serkis as Jenna’s editor. The concept would simply not work without the cast; they are all excellent and fit their roles perfectly. Ruffalo is charming and restrained, reminding Jenna of what made them friends in the first place. Greer is enjoyably over-the-top and evil, reminding me of Rachel McAdams from Mean Girls. And Serkis is suitably flamboyant and hilariously stressed throughout the entire movie.
This had a very profound effect on me, and I really related to the film’s themes of childhood ignorant wishes to be older. It captures this theme very well, and Garner’s performance communicates the ignorant, frivolous, and fantastic parts of being a child that everyone has nostalgia for. I would highly recommend this film. Watching it after graduating college and moving to a new place was an extremely cathartic experience; tears were most definitely shed. The DVD I was watching this on was scratched, so I had to watch the ending on YouTube, and I was still deeply affected, showing just how emotionally powerful this movie was.
Another emotionally powerful movie, in quite the opposite fashion, was The Stranger. This was a deeply and horribly uncomfortable movie. Directed by Tom Wright and released on Netflix, it tells the true story of an Australian undercover police investigation into a criminal who kidnapped and murdered a child. Joel Edgerton plays Mark, the investigator in the case, as he forms an uneasy and tense relationship with Henry Teague, played by Sean Harris. The actors were the reason I watched this film; they are two of my favorite performers. Especially Harris in this, whose portrayal of a horrible person was incredibly off-putting, and there was always a level of mistrust between the two characters. It is absolutely a performance-focused film, and the direction is aggressively monotonous and allows the acting to carry the whole thing. The movie is boring, which I feel is an intentional choice. It fosters this festering mistrust between Mark and Henry, but also an odd friendship between the two of them. Mark is always questioning his constant lying and has to remind himself of the true person that Henry is. This is all communicated wordlessly through the performances, as Mark is never allowed a catharsis throughout the whole movie, along with the audience.
The film drags on into horrible tedium, and by the end of it, I was wishing it was over. It manages to be boring but also incessantly anxiety-inducing, every scene goes on for too long. It strung me along throughout the film, only giving me the information that was absolutely necessary until the conclusion. There is some excellent framing and staging with an incredible payoff. I think something dealing with such dark subject matter, especially based on true events, should absolutely be presented like this. It is not a movie that I ever want to watch again, but it has definitely stuck with me since I watched it. I can’t even say I recommend this film, but if you feel up to the challenge, I would absolutely check it out.
Continuing on in a horror vein, although much more light-hearted and customarily enjoyable, is the film Pearl. I talked about this in my 2022 Ranking, but this movie has been a constant in my head since I watched it in January. The last shot of this film is absolutely chilling, and Mia Goth possesses the whole movie. Pearl is a prequel to the film X, both of which are directed and written by Ti West, but Mia Goth helped write this film, and they actually decided to make it during the production of X. It is so cool to see inspiration like this translate so successfully to the finished product because Pearl is amazing.
I enjoyed X, and I thought the commentary on exploitation was fitting, but it was a little more over-the-top and comedic in its presentation. Pearl, on the other hand, was a balance of very real and effectively communicated themes and commentary on ideas of celebrity and femininity, both in the past and how they pertain to our modern world, and effective horror. These themes are explored in X, but Mia Goth brings a much-needed feminine perspective into the writing of this that I found much more enjoyable than the writing in X. Mia Goth is so good in this film and should have gotten award recognition for her portrayal of the murderous Pearl.
As well as her performance, Ti West’s direction is fantastic and suitably stylized in an over-the-top fashion, but one that fits the time really well. His direction of the film’s predecessor was also stylized for the time period, but it is taken to extremes in Pearl that work perfectly. I even wish that the style was taken to greater extremes in this. I really loved this film, and while it is effectively scary, it is also a wonderful character study and period piece. I would definitely recommend this. Even if you do not like horror, this film balances it very well and is not too overwhelming.
In a drastic departure from the previous movies I brought up, but honestly from most movies in general, the film I’m a Cyborg, but That’s Okay is next. This is directed by Park Chan-wook and follows a young woman named Cha Young-goon, played by Lim Soo-jung. She believes she is a cyborg and is consequently admitted to a mental health institution. I have not seen many of Wook’s films—only Thirst and Decision to Leave—but this is my favorite of the three that I have seen so far. It is so absurdist and bizarre in every facet of its existence, and there really are not many things that I can compare it to.
It was not available to rent or stream anywhere, so I did have to find it through other means, but when I have the chance, this is definitely a film I would like to own physically because of its bizarre nature. The movie deals a lot with mental health disorders and has dark undertones, but it is also hilarious and heartfelt. There were a few times the film got too goofy, and some of the more weighty moments became hard to take seriously, but for the most part, the balancing was spot on. I love the character of Young-goon, and her feelings of displacement and otherness were beautifully communicated and relatable. The performance from Soo-jung is incredible, and she is perfect for this oddball character.
The presentation was also wonderful, with frenetic camerawork and very funny visual gags. Jeong Jeong-hun, the cinematographer for this film and many others from Wook, does a great job, and the camerawork complements the exceptional production design. The environment of the mental health institution was vibrant and suitably over-the-top for the subject matter. This was a profoundly moving experience, with some hilarious moments but also powerful characters and themes. I would recommend this to most people. Even if the subject matter is too relatable, or not at all, the humor and visual stylizations make it worth watching. I have been thinking about this film since I saw it, and I am excited to revisit it when I eventually buy it.
Continuing on with the theme of mental illness (I promise I randomized this list, but the transitions have worked quite well), the film The Father is another movie that has stuck with me throughout the first half of the year. Directed and written by first-time film director Florian Zeller, The Father tells the story of an old man, played by Anthony Hopkins, who is struggling with dementia. Alongside him is his daughter, played by Olivia Colman, who is doing all she can to help him, but his constant undermining and refusals of assistance make it difficult. This was an absolutely devastating film to watch and showcases some of the best performances from the year 2020. Anthony Hopkins demonstrates why he has garnered such an exceptional filmography, and Olivia Colman continues to be one of the most impressive actors.
While the performances are exceptional, I think this film’s greatest strength is its presentation and script. Because of the exploration of the titular Father’s dementia, the audience is shown events and interactions from his perspective. People’s faces change, and it is never clear which actor is who. resulting in an omnipresent feeling of unease and sadness. Events repeat themselves in a very confusing way, and the constant reintroduction of characters felt like a very honest portrayal of the illness. I appreciated that the film wasn’t entirely focused on the Father, and the audience was able to see how it affected those around him, especially his daughter. This is an absolutely devastating film to watch and has one of the most heartbreaking endings. If you are up for it, though, I would definitely recommend it. I would, however, not recommend Zeller’s second film, The Son, which was painfully disappointing and bad.
A film that has absolutely no possible cohesive transition is The Satellite Girl and Milk Cow. The film is directed by Chang Hyung-yun and is an animated film that is genuinely one of the most bizarre film experiences I have ever had. I found this film by chance at a dollar store and was immediately intrigued because of its title, and after reading the description, I knew I had to buy it. I had previously never heard of this movie, and I doubt most people have, but it is a film that has been constantly on my mind since I watched it. The film takes place in a world where people with broken hearts become anthropomorphic animals and are hunted down by a man with a plunger who wants to plunge out their livers. As you might imagine, this film follows a man whose heart is broken. He becomes a milk cow and must try to escape the evil plunger man. Somehow, through absurd and unexplained logic, a satellite also takes the form of a woman and is the romantic partner of the milk cow. I do not remember the specifics of the plot that well. Literally every other second of the film, something so insane would happen that it became overwhelming at a certain point.
This film works as well as it does because of how nonchalantly it presents the plot developments, completely relying on the audience to accept them. Along with the absurd liver-plunging villain, there is a talking roll of toilet paper who is the ancient wizard Merlin and is helping the protagonist for some reason. The unpredictable narrative was made better by the horrendous dubbing of the film; there was a Korean version, but I thought it would be more enjoyable with the dub, and I was correct. The confidence in the bonkers storyline is boosted because of the presentation, because this film does have some wonderful animation and themes, although poorly executed. The milk cow character is not very likeable, which is a problem, and his voice actor does not do this any favors. I am including this on this list mostly for fun, but also because I think more people should know about this film. It is bizarre, hilarious, and seemingly lacking in self-awareness, which results in an undeniably memorable and unique piece of film.
Bones and All is the latest film from Suspiria and Call Me By Your Name director Luca Guadignino. It is based on the novel of the same name. It follows a young woman named Maren, played by Taylor Russell, who is abandoned by her father and begins a trek across the United States in a passive search for her mother. The hook of this film, separating it from others of its type, is that she has cannibalistic tendencies that cause her and her father to be constantly on the run. Along her journey, she meets the off-putting Sully, played by Mark Rylance, and Lee, played by Timothy Chalamet, both of whom are cannibals as well. The cannibal framing of the narrative is engaging and thematically rich, clearly alluding to other communities that have historically been and still are, in a lot of ways, seen as intolerable and unnatural. As well as this, the core relationship and dynamic between Lee and Maren are beautiful, and I really fell in love with these characters. Guadagnino’s direction is impeccable and gorgeous, capturing wonderful shots of our leads as well as the natural environment around them. The presentation and cinematography were reminiscent of quintessentially ‘American’ films, creating a unique framing for the narrative.
The film is deeply personal and touching. It is a testament to the scriptwriting that something as unsavory as cannibalism can be justified, and it becomes more of a background plot point that you take for granted as the film progresses. Similarly to The Father, the ending to this film is devastating, but in a more positive and optimistic way. This is a beautiful story about accepting your otherness and finding community. The performances are amazing; specifically, Rylance was off-putting and terrifying. He created a constant sense of discomfort despite being in only a few scenes. I have been dying to rewatch this film, and it is another one that I would love to own physically. If you have the chance to see this, please do. The subject matter is powerful and pertinent, and the method through which the themes are communicated is unique.
The first and, surprisingly, only documentary on this list is the film Wildcat, directed by Melissa Lesh and Trevor Beck Frost. It tells the story of a British war veteran suffering from PTSD, Harry Turner, as he works with PhD student Samantha Zwicker in the Amazon to raise a baby ocelot and eventually release it into the wild. I will say that the description of this movie online did not prepare me for its heavy subject matter. If you intend to watch this, you should be aware of the heavy themes of depression and suicide. This is not a detriment to the film itself, and these hard ideas are presented with a great deal of care and feel personal. More than this, they feel necessary for the story to be told. It was impossible for me not to engage with the raising of an adorable baby ocelot, and the film created in me a powerful sense of anger, frustration, and sadness when things went wrong in its raising and eventual release.
This movie stuck with me because of its ideas of connecting with oneself through the world around you, nature, and animals. Harry’s journey from a troubled and secluded person to one who is able to reconnect with his family and friends was powerful. The honesty with which the story is communicated is commendable, as there are many moments that he or Zwicker decided to film independently of the directors, and these were some of the best in the movie. It also does have baby ocelots, which are inherently adorable, so that boosted the emotional impact of the film overall. This was a very emotionally powerful and honest documentary; it’s Prime on Amazon right now.
Leonor Will Never Die is the next film on my list and perhaps the most uniquely about film. It is directed by Martika Ramirez Escobar and follows an aging film director, Leonor, played by Sheila Francisco. She is struggling with dementia and maintaining a relationship with her remaining son because of it. Through a hilarious sequence of events, a TV falls on her head, and she is transported into one of her unfinished action movies. Movies about movies can be self-serving sometimes and often glorify the film industry in ways I dislike; something like Mank or Labyrinth of Cinema comes to mind. They can be pretentious and inaccessible to a wide, non-film-bro, audience. This is absolutely not that and is about self-discovery and expression through film, as well as loss as a result of it. It does have homages to classic films, specifically action movies of the 70s and 80s, but they work so well, and the presentation in those moments matches the style and time of those. I loved how the editing would repeat different moments, creating an intentionally amateur style. The film is super accessible despite its bizarre concept, and I feel it would appeal to most people. The sense of humor is great; the fourth wall breaks are funny and narratively justified, but the film has genuine emotion as well.
Something that works perfectly about this movie is that it does not overexplain the rules of the narrative or explain them at all. It simply relies on the audience to accept them and move on, something that I wish more movies would do. For instance, there is a ghost in the movie who can interact and communicate with the living world, and it is never presented as odd or out-of-place. This exudes confidence from Escobar as the director, and it is well warranted. The story she presents is hilarious and beautiful, one that I loved for its themes specific to film but would still be appealing and powerful to most people. The ending is also perfect. I would highly recommend this film if you get the chance to see it. Another movie that I would love to own physically.
Unsurprisingly, Spider-Man: Across The Spiderverse is on this list as well. The first Spider-Verse film is one of my favorites of all time, so I was beyond excited to watch this. It did not disappoint. While I think that the first film has a better narrative, I still loved this. The film obviously has impressive animation, but it really cannot be understated how unbelievable this looks. There are literally hundreds of different art styles on screen at once, and they coalesce spectacularly. As well as this, when there is only one art style showcased in various scenes, it still looks gorgeous. There were some specifically beautiful scenes with the character of Gwen, played by Hailee Steinfeld, as she struggles with her identity as a spider-person. She really takes on a more important role in this film, sharing the title of protagonist fairly evenly with Miles Morales, played by Shameik Moore.
It is so cool to see a movie that I enjoy actually doing well at the box office, especially considering how many duds there have been this year. It is also exciting to see animation evolve this way! This is exacerbated by the repetitive animation styles of the last fifteen years from Disney, Pixar, and Dreamworks. I am slightly worried that similar art styles will dilute the market too much with Puss In Boots 2 and the upcoming TMNT movie coming out, but for now it is exciting. It is also troublesome that the animators on this film were overworked to a horrible degree, according to Complex. I wish that this could have been delayed again to allow for better working conditions, and hopefully the next entry in the franchise will adjust accordingly. This was a tremendous theater experience, despite some shoddy audio mixing in my specific theater, and I would highly recommend it. It develops the characters from the first film well, giving them more complicated conflicts and setting up the sequel really well. Another movie that I want to own physically.
Continuing in the vein of animation, Fantastic Mr. Fox is next on my list. This was a movie that had been so unreasonably hyped that I actually bought it on Blu-Ray before watching it, something I try to avoid doing, but this was definitely a worthwhile purchase. This is Wes Anderson’s first feature-length foray into the world of stop-motion animation, and his style translated seamlessly. He, as always, has an all-star cast, even in minor roles, and this brings so much vitality to the characters, which complements the active world and animation. The stop-motion in this is incredible, in both small and large-scale scenes. I think some of the character designs are not able to communicate that much emotion, but the actors performances make up for this. George Clooney specifically captures an unlikeable charisma that works very well for his character; you want him to succeed but also be a better person. The heist at the end of the movie was impressive, and I really appreciated the themes of environmentalism and anti-capitalism.
The movie feels like it could not be translated into a setting without the animals, narratively relying so much on humans impact on them, but the story itself is so human. It is all about community building and self-betterment; Mr. Fox realizes the impact his foolish actions have on his family and friends and is able to solve the problem himself. While the ending is happy, it does feel somber as the animals have to adapt to the horrible world humans have created. I really loved this movie; it is paced perfectly with a runtime of barely eighty minutes, and I wanted to watch it again as soon as it was over. I really liked the character of Ash, played by Jason Schwartzman, and I think there is some underlying queer-coding that is subtle but powerful. Check this film out if you haven’t already.
Moving out of animation, Catherine Called Birdy is written and directed by Lena Dunham and based on a book of the same name. I watched this on a whim, mostly because of Bella Ramsey’s casting as the lead, and I loved it. It is a very compelling story of a teenage girl in the Middle Ages, yet so pertinent to today. The setting was presented very well, with grand halls and production design that believably set the film in its time period. The cinematography and editing were not the most interesting, but the film just left an overwhelmingly positive feeling in me after I watched it, and this has stuck with me since. I loved the music; the soundtrack featured some lyrical pieces that absolutely did not fit the time but matched the character. Specifically, My Boyfriend’s Back felt very true to her character and added a lot. The film follows Catherine as she tries to avoid being married off by her father, and she does so in a variety of humorous ways.
The movie is able to balance such unpleasant subject matter with a commendable sense of humor, as Catherine does everything she can to avoid appealing to any of her suitors. The cast of characters was great, with a lot of minor ones being played by actors I was familiar with. Specifically, Catherine’s father, played by Andrew Scott, was an enjoyable figure who has a wonderful moment of growth at the end of the movie. This was just such an irresistibly charming movie, and it is single-handedly responsible for my watching of The Last of Us TV Show. I would recommend this to anyone; I absolutely loved it!
Finally, the last film on my list is Guardians of the Galaxy Vol. 3. I was not surprised that I liked this film. Guardians 2 is my favorite MCU movie, and James Gunn is one of the only directors who brings any vitality to his contributions to the franchise. I am simply so glad that this was as good as it was because I have been continually disappointed by the last three or four films in the MCU. To have one that is this good is just exciting and a reminder of the potential for the series as a whole. That is not to say that this movie is perfect; in fact, I think there is a lot wrong with it, but so much of it is successful that it comes together pretty well by the end of it. I did not like the ending of the movie, specifically the lack of stakes it created. There was a potential for a touching death, but it simply does not happen, and instead there is an obligatory hint at future entries.
One thing that has been a constant throughout the Guardians films is engaging and unique designs for the world, characters, and technology. This film is no different. I loved the fleshy construction of OrgoCorp, and the costumes were hilarious in their bloated absurdity, but the designs of all the spaceships seemed well thought out and put together. The sense of humor synonymous with the franchise is present here, accentuated by the excellent chemistry between the actors. I specifically liked Nathan Fillion’s character and the humor he provided. This film does prioritize character drama instead of humor, which I liked, and the backstory for Rocket was moving. Seeing him come to terms with his tragic past and his identity made him one of the most emotionally resonant characters in the MCU. It did feel a little manipulative to use cute animals in such a way, as if Gunn REALLY wanted the audience to cry, but it worked for the most part. I loved this movie, and I think even if the MCU continues to disintegrate into mediocrity, at least the Guardians films were consistent the entire time.
Thank you so much for reading, and as always, if you have suggestions for movies or topics please let me know.
The Review Mirror 