Speculating about Cinema and the top 10 films for 2022
by Rodolfo C. Rivas
As far back as I can remember, I always wanted to be a cinephile. I am, of course, paraphrasing the opening line of Martin Scorsese’s “Goodfellas” (1990). I have earlier memories, but since 1994 my life has been broadly defined and influenced by film. A few years ago, I started preparing my top ten list for the year, and this is my latest. The idea is to keep a record and see if my selections stand the test of time. In some instances, they have; in others, they haven’t. But who we were and the context in which we saw the film can change.
Nevertheless, I love this exercise because it allows me to reflect on what I watched in any given year. It is useful when asked if I have watched any good films lately and if I can make any recommendations. The following list is not in any particular order, and that is not a cop-out; it is just that all these films offer different things. What all of them have in common is that they are all of exceptional quality, and I find myself thinking and talking about them long after I watch them.
I have been unable to watch a few films yet, and I cannot wait to do so. Had I watched them, I am sure this list would look differently. Some of these include the three films by González Iñárritu, Spielberg, and Chazelle, which all deal with cinema and/or the film industry. These are “Bardo: False Chronicle of a Handful of Truths”(2022), “The Fabelmans” (2022), and “Babylon” (2022). I am also looking forward to “Everything Everywhere All at Once” (2022) Dirs. Dan Kwan & Daniel Scheinert and “Aftersun” (2022) and Dir. Charlotte Wells.
Here is my list.
Bones and All (2022) Dir. Luca Guadagnino
Few films have the power to affect the viewer physically, and this one wears it as a badge of honor. Guadagnino crafts the story beyond what could easily be a one-trick pony is proof that he should be in the conversation for the best filmmakers actively working, with the likes of Nolan, Villeneuve, Tarantino, Aster, and Eggers, to name a few. Chalamet is as good as you expect, and Taylor Russell’s star-making performance puts everyone on notice. I would never imagine that a story of this sort could have so much heart and even be an epic love story. It is not for the faint of heart, but no one said great films should be easy.
Tár (2022) Dir. Todd Field
Tár reminded me of Kubrick. It reminded me of Paul Thomas Anderson and J.D. Salinger. It also reminded me that Todd Field is an excellent filmmaker and should direct more often. Regardless of the influences, this is a unique film with a tour de force performance by Cate Blanchet that feels lived in and as authentic as it can be without being a documentary. Although I cannot see how anyone could not appreciate this film, I am sure a few will find it boring and perhaps even grating. Even if it were for the performance alone, it would be worth watching the 158 minutes of it, but luckily it is much more than that — a superb character study by a sophisticated filmmaker that leaves no stone unturned.
Moonage Daydream (2022) Dir. Brett Morgen
David Bowie was an icon, a true artist, and unconventional even by rock-star standards. He was also just curious, trying to make the world a better place. He was all of this and more. The best way to reflect this is through an often hypnotic sensory experience that paints a picture as close as anyone could do of the iconoclast that was Bowie. Even if you don’t like his music, which I don’t know why you wouldn’t, and even if you do not know much about him, you will leave the theater feeling inspired by a man who lived a life well lived and did it all with an impeccable sense of style every step of the way. Even if Brett Morgen had not earned the qualifier of visionary before this film, you could not say he is not after this.
The Northman (2022) Dir. Robert Eggers
If you talk to filmmakers, many of them would agree that Robert Eggers is a filmmaker’s filmmaker. So far, he has made no misstep, and he’s swung for the fences every single turn, but this is him at his most ambitious and also with his most straightforward and closer to what his version of a Hollywood film would be. The film is epic, raw, and filled with memorable images that will be talked about by those passionate about film for years to come. I see how this film could kickstart a life-long passion for film, and only a handful of those exist in my book.
She Said (2022) Dir. Maria Schrader
“She Said” is a powerful film that could very well be this generation’s “All the President’s Men” (1976). It shows an authentic but also an equally romanticized version of what journalism is or could be, although, unfortunately, it may never be just as it was in the depiction of these events, even though it happened just a few years ago. I remember reading the piece in the New York Times at the time, but I would have never imagined how it started a movement and changed the world. The movie’s strength relies on the relationship between the characters inspired by the real journalists Jodi Kantor and Megan Twohey, played solidly by Zoe Kazan and Carey Mulligan, respectively. In addition, Maria Schrader borrows some techniques from documentary filmmaking, which enhance the story and pack a punch that will stay with the viewer long after the credits roll. Finally, although the story focuses on the crimes by Harvey Weinstein, the film points to the crimes of our culture, which have been committed endlessly and continue to be committed daily by many men worldwide.
Decision to Leave (2022) Dir. Park Chan-wook
Park Chan-wook is one of the best filmmakers currently working, and any new film he makes, I am there for it. His latest film seems like a version of one of Hitchcock’s best, “Vertigo” (1958). Still, although there are some similarities, the protagonist, Park-Hae-il, is considered the “Korean James Stewart,” as well as some general plot points. “Decision to Leave” is an entirely different film, in which Park Chan-wook filtered Hitchcock’s masterpiece through his subconsciousness and added personal experiences as well as his desire to cover new ground as a filmmaker. The result is a subtle slow-burn story anchored by two great performances, the other being Tan Wei, of “Lust, Caution” (2007) fame. The chemistry between the stars is palpable when they share the screen and even when they don’t. You may have to watch this one a couple of times to get all the details packed in the story and the frame. It delivers an ending that is bound to be a classic and could very well be talked about in 64 years, just as we still talk about “Vertigo”.
Top Gun: Maverick (2022) Dir. Joseph Kosinski
Tom Cruise is the last movie star and one of the few who can claim to be a film auteur without being a Director. His influence in cinema will be felt long after he is gone, and his fingerprints are everywhere across the projects he chooses. He does all this within the confines of the Hollywood blockbuster. This may sound like an oxymoron, but a blockbuster has specific rules, and Tom Cruise plays within those rules, stretching them without breaking them all the time. That is why he is the best at it. A Top Gun film without Tony Scott could be blasphemous for many. I resisted it for a long time, but the movie made me a believer. This is the most fun you will have at the film theater, with some jaw-dropping awe-inspiring action scenes ever recorded and with just the right amount of nostalgia to tie everything together. This one has to be seen in the theater to be fully appreciated.
X (2022) Dir. Ti West
Tobe Hooper’s “The Texas Chain Saw Massacre” (1974) is a landmark in horror filmmaking, but also the broader history of film. It sparked many imitators, but few have managed to touch what Hooper achieved back then. Likewise, it would be absurd to claim that Ti West’s “X” reaches the levels of the grandaddy slasher “The Texas Chain Saw Massacre”, but it seems to be in the same wheelhouse. Ti West uses some of the same visual vocabulary as Hooper but brings something new and fun to the party. Although “X” 48 years later, it feels like it could have played back-to-back in a grindhouse theater next to Hooper’s classic.
Barbarian (2022) Dir. Zach Cregger
I had heard great things about “Barbarian”, which naturally piqued my interest, but at the same time made me approach it cautiously because, in my experience, it is rare for a film to match the hype. However, in this instance, it surpassed my expectations, and I could have never anticipated the journey I would go on with this film. It is almost like five films together, and on paper, it should not have worked; oh, but it does! It is a wild ride, and I hope I haven’t ruined it for you. Watch it if you dare.
Hustle (2022) Dir. Jeremiah Zagar
This film was made for me. I love basketball, and I love movies. This film has both. Adam Sandler is not new to giving great performances, and yet, somehow, we always seem to forget what he is capable of. In this one, he delivers a solid, nuanced performance paired with Queen Latifah, one of the most authentic portrayals of a marriage still going strong after many years. You wish you could watch a movie just about those two. But you are here for the basketball, and it does deliver. Juancho Hernangomez is great as Bo Cruz. In the beginning, Bo doesn’t know diddley, but after ups and downs, he gets to where he needs to be. Anthony Edwards is swag personified, playing an alternate version of himself. He is currently doing great in the NBA, but if that doesn’t work out, he could have a promising career in film.
Other notable mentions include Emily the Criminal (2022) Dir. John Patton Ford; The Batman (2022) Dir. Matt Reeves; The Sea Beast (2022) Dir. Chris Williams; Prey (2022) Dir. Dan Trachtenberg; Causeway (2022) Dir. Lila Neugebauer; “The Unbearable Weight of Massive Talent” (2022) Dir. Tom Gormican (every year there must be a Nicolas Cage film!); “Nope” (2022) Dir. Jordan Peele; “The Banshees of Inisherin” (2022) Dir. Martin McDonagh; “Fucking Bornholm” (2022) Dir. Anna Kazejak; “The Menu” (2022) Dir. Mark Mylod "Guillermo del Toro's Pinocchio" Dirs. Guillermo del Toro & Mark Gustafson and Kimi (2022) Dir. Steven Soderbergh.
