Skip to main content

Best of 2023 - End of Year Report

Oh, Hi Mark. And goodbye to 2023 - a good year for film, not so good in other fields of human endeavour. My film count was a bit down on last year - I saw 90 in total, including 82 new viewings and 59 trips to the cinema (just under half at the Luna in Leederville). Anyway, here are my favourite 10 films that I saw in 2023, with a podcast at the bottom of the words.

[Click on the titles for links to full reviews]


10. Cairo Conspiracy (2022)

A terrifically tense religio-political thriller about a first year university student dealing with events above his station in Cairo. Stellar performances in this rare glimpse into Egyptian culture.



9. Guardians of the Galaxy Vol. 3 (2023)

James Gunn polishes off his Guardians trilogy with aplomb, centring the dramatic story on Rocket while allowing the rest of the crew to bring the chuckles and action stylings. Nobody quite hits the nails with the musical beats like Gunn.


8. Talk to Me (2022)

Best Aussie film of the year is also probably the creepiest. The Phillipou brothers, straight out of Adelaide, give us a way into the demon world via a mangy old porcelain hand. Sophie Wilde is fantastic as the focus of the story, grieving her mum and possibly finding some answers to her questions via the hand. Having the courage of its convictions adds value to the finale of the film, too.



7. Citizen Sleuth (2023)

I saw this at the 2023 Revelation Film Festival and it was my pick of the roster. It's a doco about a young woman called Emily Nestor who ran a true crime podcast that 'investigated' a road death in her area. It's part thriller, part expose on current fads, part exploration of self (that of Nestor, specifically). It really gives you something to chew over.



6. Final Cut (2022)

Great stuff, this. It started out as the worst film possible - terrible acting, poor timing, awful 'comedy', until you realise what's afoot. Romain Duris is on top form as the director of a low-budget zombie film, who runs into all manner of trouble during filming. The set-up, and eventual pay-off are cleverly worked and the climax is just reward for sitting through the brave intro section. Top farce work from actual director, Michel Hazanavicius.



5. The Old Oak (2023)

Ken Loach reckons he's done after this film and if so, he can't have served us a much better exemplar of his style. This film sees a bunch of Syrian refugees pitching up in the grim north; Durham, to be precise. Some of the locals aren't fook'n aven it man, and this attitude sets local barman, TJ, against the rest. A lovely plea for understanding and sense in a shitty world.



4. Aftersun (2022)

This is a fine two-hander about a young dad and his near-teenaged daughter trying to connect on a holiday in Turkey. Debutant director, Charlotte Wells strikes a rich vein in the relationship between Paul Mescal and Frankie Corio - they're brilliant together. An unsettling undercurrent runs through the film that keeps us guessing and wondering about what happened after(sun). Amazing filmmaking.



3. The Boy and the Heron (2023)

Not far off the very best from the guvnor of Ghibli Animation, Hayao Miyazaki. It involves a young boy who moves to the countryside during WW2 following the death of his mother. Once there, odd things start to happen, mostly stemming from the malevolent heron of the title. This fantasy-infused delight is kind of like a wrap-up of his career and it'll be a shame if he does hang up his quill (yeah, he probably doesn't use a quill).


2. Babylon (2022)

Damien Chazelle's vibrantly messed up ode to Hollywood's golden era just spanks along from the get-go. The opening party sequence is worth the ticket alone, but the filming on location stuff that follows is even better. Brad Pitt and Margot Robbie bring the wattage but the real star is Chazelle himself. He moves the pieces around the board with a confident exuberance that belies his inexperience (this is his FOURTH feature, for fuck's sake).



1. Saltburn (2023)

A late dash to the finishing line for this filthy, icky satire on privilege and desiring it. The disgustingly eccentric Catton family have, and Oliver Quick have not. But he want. Debauchery and skullduggery ensue at the Saltburn manor over a hot summer. The cast, the dialogue, the cinematography, the music - all superb. Emerald Fennel has delivered a modern classic.



Some more highlights from films I saw in 2023 are laid out below:


Best kids' films: Wonka, The Amazing Maurice, Spider-Man: Across the Spider-Verse.

Feelgood films: Tenor, Indiana Jones and the Dial of Destiny, WonkaThe Crime is Mine.

Feelbad films (but still good): Living, Godland, Prison 77, All the Beauty and the Bloodshed, The Blue Caftan.

Weirdest films: Sick of Myself, Eo, Freaks.

Best shits and giggles: Cocaine Bear, Renfield, Palm Springs.

Best scenes: The diner scene in The Innocent, the hallway brawl in Guardians of the Galaxy Vol 3, the train sequence in Mission Impossible: Dead Reckoning Part One, the Battle of Austerlitz in Napoleon.

Best performances: Bill Nighy in Living; Noémi Merlant in The Innocent; Fares Fares in Cairo Conspiracy; Sophie Wilde in Talk to Me; Cillian Murphy and Emily Blunt in Oppenheimer; Richard E. Grant and Rosamund Pike in Saltburn; Nicolas Cage in Dream Scenario; Sandra Hüller in Anatomy of a Fall; Paul Mescal and Frankie Corio in Aftersun.

Best songs: 'In the Meantime' (Spacehog) in Guardians of the Galaxy Vol 3; 'Syntynyt Suruun ja Puettu Pettymyksin' (Maustetytöt) in Fallen Leaves; 'Under Pressure' (Queen and David Bowie) in Aftersun; 'Destroy Everything You Touch' (Ladytron) and 'Murder on the Dancefloor' (Sophie Ellis-Bextor) in Saltburn.


[Now, I'm not going to do a 'Worst of 2023' because I really only saw one terrible film last year. The rest were just blurgh (Slumberland, Operation Fortune, etc.) or run-of-the-mill blockbusters (Black Adam, Ant-man 3, Avatar 2, Ghostbusters: Afterlife, etc.). The most egregious of the lot, though, was Ari Aster's interminable neurosis toss, Beau is Afraid. Well, Shady was almost afraid but the overriding emotion was more anger than fear. Awful fucking shite.]


Comments

Popular posts from this blog

Spider-Man: Brand New Day

Well, well, well. This thing has done some business. It's currently SIXTH in all time worldwide receipts, with Titanic in its sights. But, of course, it's problematic to rely on public opinion as a judge of quality. Or maybe that's just me. Because I found this new Spider-Man film to be just slightly above average. They are quite a few positives to take from it. Tom Holland has a winning presence, the omnipotent Zendaya is his equal (they have some nice moments together), and the cameos are fun - Mark Ruffalo's Hulk, Florence Pugh's Yelena Belova, and John Bernthal's Punisher big screen debut. Aside from the performances, the city of New York is almost another character, and it's portrayed lovingly here. The jumpy, swingy scenes feel more realistic than previous films, and there's a dark edge to the story as well, to do with change and maturity. The first grown-up Spider-Man? On that note, I read his situation as a late arrival at puberty. Bear with me...

Coyote vs. Acme

While there have been loads of Looney Tunes feature films, this is the fourth to mix live action with the animated favourites. There are two  Space Jam films, but if you can remember 2003's Looney Tunes: Back in Action , you're doing better than me. This new hybrid, directed by Dave Green, stars Will Forte and John Cena as opposing lawyers in a case brought against Acme by Wile E. Coyote.  Oddly, this film is actually based on an article for the New Yorker magazine, written by Ian Frazier, about the downtrodden desert dog and his annoyance with Acme Corporation and their faulty products. I realise that some younger crew will have no idea of the content of the Looney Tunes Road Runner cartoons, so to sum it up: "Road Runner, the Coyote's after you. Road Runner, if he catches you, you're through." Yep, it's a classic, constant chase, and as this film posits, maybe the chase is the point. Logically, and in nature, the coyote would probably eat the bird, if i...

The Odyssey

Christopher Nolan is one of the few active directors who can entice punters to the cinema (along with Denis Villeneuve), and they've come out in droves for his latest, a retelling of Homer's The Odyssey . Matt Damon stars as Odysseus, the king of Ithaca who is co-opted to join his overlord, Agamemnon, in his attack on Troy. After near 10 years of siege, culminating in the Trojan Horse event, the silly bastard then decides to take the scenic route home, and gets plumb lost.  What follows is a technically brilliant rendering of mythical nonsense made to feel real. Odysseus's mini-fleet of three ships and maybe 100 (?) men run into several hardships, notably the Cyclops; a small army of huge men called the Laestrygonians; the sorceress, Circe; and some salacious sea nymphs. These set pieces are fantastic, especially the Cyclops (played by TARS voice from Interstellar , Bill Irwin), and Circe's cottage, where she has a way with greedy menfolk. Samantha Morton is almost best...

The Last Resort

This preview for the Nordic Film Festival is a proper drama for grown-ups, directed and co-written by Maria Sødahl, that poses some curly questions. It's about a middle class Danish couple on holiday with their young daughters in the Canary Islands. Interestingly, the Danish title is Paradis , which carries a bit more irony than its English title. Mikkel (Esben Smed) and Louise (Danica Curcic) are a typically 'normal' couple from northern Europe, enjoying their island holiday when they run down a bloke while driving at night. He turns out to be Ahmed (Aziz Çapkurt), a refugee from Afghanistan, and his leg is pretty munted. Trying to do the right thing, they take him to hospital and leave him with some cash, and crucially, their resort room and phone numbers. This minor act of kindness, and no little guilt, sets in motion a slow building series of events that fucks with the couple's holiday, and relationship in a wider sense. The resurfacing of Ahmed is clearly signpost...

Revelation Film Festival 2026 - Wrap up

So that's Rev for another year. I made it to eight films and it was far from a stellar collection, but I think I made the wrong choice to start with - Bulk , when I could have waited an hour and watched Rosebush Pruning , which looked better in hindsight. Anyhoo, live and learn, I guess. Here are the films I saw in viewing order: Bulk    ★ Boy, this was hard to get through. More pleased with itself than it had any right to be. Sam Riley and Alexandra Maria Lara are together again (after the vastly superior Control ) with Noah Taylor wafting around too. Writer/director Ben Wheatley has had a roller-coaster of a career so far, but this must be one of the nadirs. There are elements of Team America: World Police , Eraserhead and model work reminiscent of Ray Harryhausen, but the overripe dialogue, annoying performances, and sheer boredom all serve to give this a whiff of a pretentious student film (past experience verified). Avoid. Penny Lane is Dead    ★ ★ ★ There is ...

The Good Boy

This English/Polish co-production is not to be confused with Good Boy , a dog-based horror film, even though in most regions the definite article is removed - it seems only Australia and the UK have it as The Good Boy . To muddy the waters more, in some areas, including the US, Brazil and the Netherlands, it's called Heel , something you might say to a dog. Anyway, I'll call it THE Good Boy because that's how it's being sold here. It's directed by a Polish guy called Jan Komasa, who's done some features in Poland, and written by first time writer Bartek Bartosik, alongside slightly more established Naqqash Khalid. They've concocted a genre pic that flirts with horror, winks at black comedy and straight up propositions psychological dependency drama. At the beginning of the film, young scally Tommy (Anson Boon) is a hateable twat, acting 'the big I am' on a night out, drug-fucked and aggro with everyone, until he sets off on his own for more action. ...

The Kidnapping of a President

This film, screening at the Nordic Film Festival , is a slightly slapstick telling of the attempted coup in Finland in 1930, where ex-President Kaarlo Ståhlberg and his wife were kidnapped and driven across the country by the right wing fascist Lapua Movement. It's tied together by a best on ground performance from the Finnish Glenn McGrath, Jussi Vatanen (it's astonishing how much this guy looks like Pidge - scroll to the bottom and decide yourself). He plays Eero Kuussaari, a colonel desperate for respect and promotion. This frustration and feeling of inferiority drives him to drunkenly order a young crew of right-wing activists to kidnap Stahlberg (Pertti Sveholm) from his country home. They don't bargain on Mrs. Stahlberg (Riitta Havukainen) insisting on joining them.  Director Samuli Valkama has made a clever little historical comedy drama with current reverberations, considering Finland's place as a potential bulwark to Russia in Europe. The events of this film ta...

Supergirl

This new superhero flick from the DCU is an incel's nightmare. Following on from James Gunn's Superman of last year, Craig Gillespie takes the director's reins for this spin-off, Supergirl . Quick deviation - partway through, there's a clever aside about how Kara gets the 'girl' label, while her cousin Kal-El can use 'man'. Starting as it means to go on. Before we actually see the lead, we open with the motivating event of a family slaughter by the face-studded Krem of the Yellow Hills (Matthias Schoenaerts), sending young Ruthye (Eve Ridley) off on a revenge quest, which eventually drags in Kara Kor-El (Milly Alcock). Kara is on a week-long birthday bender, making sure to stay in red sun systems so that her powers don't work and the booze does. This is significant for the showstopping transformation yet to come on an interplanetary bus. Look, the film itself is fine, nothing new in the storyline structure (Andrew from The Curb notes that 'the ...

Dune

Denis Villeneuve's long-awaited  Dune  finally arrives in Australian cinemas and it's a technical marvel.  To start with, there's the amazing production design by Patrice Vermette. A lot of the sets and machinery have been physically created, to add weight to the visual effects. A highlight is the appearance of the 'ornithopter', a clunky, dragonfly of metal, that flaps its wings to fly. The scale of the buildings and cities is mammoth, many of them made on a studio lot in Budapest (see this  Architectural Digest article  for more). The cinematography, by Melburnian, Greig Fraser, is suitably magic, in keeping with Villeneuve's stylistic requirements, For example, desert scenes have a tendency to go all wind-whipped and blurry, but even when a dragonfly enters a storm, acuity is admirably maintained.  The visuals are just a part of Villeneuve's signature language - the almost ethereal long shots across vast rooms and landscapes; the measured, even slow paci...

Predator: Badlands

So without me really noticing, this franchise has reached NINE films (if you include the two Alien vs Predator crossovers). The last three have been directed (or co-directed) by Dan Trachtenberg, who's also helmed an episode each of the TV shows  Black Mirror and The Boys . I've got to say, carry on lad, because this is probably the best Predator film I've seen (let me revisit the Arnie one before I remove that 'probably'). This film starts as a revenge quest that soon morphs into a discourse on dysfunctional families and finding your groove in life. All wrapped up in a gnarly, bloody sci-fi romp. I say blood, in actual fact, none of it is human blood, all characters being either alien or synthetic humanoid. That in itself is one of the film's credits -  none of the protagonists are human, and the nominal lead is usually a villain. Dek (Dimitrius Schuster-Koloamatangi) is from the Yautja race, the original 'ugly mother-fucker' Predator. The preamble n...