My Favorite Movies Of 2023

“If you leave something behind, you gain something too.”

The last year felt… kind of normal? Or as normal as we can get these days because of *gestures everywhere, aimlessly*. That said, 2023 was a great year of movies and for The Movies. The whole “Barbenheimer” thing became a sort of new-age classic cinematic moment. It helps that they were both two of the year’s best-reviewed and best-received films as well. Meanwhile, the usual tentpole-suspects (namely: superhero films) didn’t dominate the top of the box office in the same way. Some of the year’s biggest earners were based on name brands and may spawn their own sequels or prequels in the near-future, but we’ll claim them as “original stories” for now.

To have those films come at the same time a sort of crossroads moment for the superhero movie complex seems notable as well. Studios made their big budget bets on long-lived franchises like The Exorcist and Indiana Jones to poor and mostly-OK reception, respectively. Sure, The Super Mario Bros. Movie climbed to second-place at the domestic box office, but high-profile releases like The Flash, Blue Beetle, and The Marvels came back with various degrees of middling results and fanfare. Apple decided to invest hundreds of millions into a pair of historical epics from Martin Scorsese and Ridley Scott knowing full-and-well they wouldn’t make that money back. Those movies could, at least in Marty’s case, see plenty of buzz at the Oscars (which is perhaps the only parallel one could draw between the studios’ releases of CODA and Killers of the Flower Moon). Looking across the year’s slate, fellow filmmaking “masters” pitched efforts that may have not been their best work, but high-quality stuff nonetheless. David Fincher freaked it with a Netflix project. Todd Haynes made a campy, unsettling drama. Jonathan Glazer delivered his first film in 10 years. A24 dropped a few stylish, sure-to-be cult horror and dramatic classics. Whether Barbie or Oppenheimer or Killers or The Killer or Ferrari are considered top-tier Gerwig or Nolan or Fincher or Scorsese or Mann is besides the point. The point is: we got all of it.

However, the actors’ and writers’ strikes defined the year as much as the films that premiered. Dune 2, The Bikeriders and Challengers were the most notable casualties, moved to the 2024 slate by their respective studios. Those films deserve a full media tour, and it was clear how thefilms that trudged ahead were impacted in absence of that promotional cycle, but the absence of Dune in particular left the end of the calendar wanting for a tentpole release (with all due respect to Wonka).

I say all that to say, in retrospect, this was probably the best movie year I’ve experienced since I started tracking my movie-watching habits in 2019. Despite that, I watched fewer releases this year than in 2022 and rewatched more movies this year than ever. Quality over quantity, or something like that. That applied to this year’s films as well. Giving movies like The Killer and Barbie and Oppenheimer a second go only increased my appreciation for them while a handful of movies suffered under a second-viewing for one reason or another. Either way, movies freakin’ rocked this year.

I also have to shoutout The Beverly Theater, which opened in Las Vegas and allowed me to see classics like Escape From New York and The Maltese Falcon on the big screen as well as smaller releases like this year’s Fallen Leaves. It’s truly a blessing to finally have a venue like it in Vegas.

As usual, I used the Oscars/awards-cycle as the arbitrary cutoffs, so a movie like The Taste of Things or Zone of Interest will show up on this list once I inevitably watch them even though their United States premieres aren’t until early-2024. Last year, I included every single 2022 release I watched whether I actually liked it or not. That was dumb. I’ll keep this list to movies I actually enjoyed for one reason or another, instead. Once again, I am without screeners — if you have a plug, please hit me up — so there’s still a bunch of movies I haven’t had a chance to go see just yet. When I do, I’ll adjust the list accordingly.

(Also, as usual, I spoke with a couple of good friends and fellow movie geeks about our favorite movies from the year. You can listen below.)

2023 Viewing Stats:

Total Movies Watched For The First Time: 232 (-11 from 2022)

In A Theater: 34 (+12)

Most-used Streaming Service: Criterion Channel (68)

Apologies to: Ferrari, The Taste of Things, Zone of Interest, American Fiction, Perfect Days, Monster, Master Gardner, Evil Does Not Exist, Memory, Next Goal Wins, Eileen, The Color Purple, and Dream Scenario… I’ll get to you eventually

1. Past Lives

Celine Song’s feature debut is a meticulously crafted joy to watch. Warm, comforting and somber in ways that only emphasize the palpable emotional tension injected into small glances, familiar language and shorthand.

The first time I watched, I was taken with the chemistry between Greta Lee, Teo Yoo and John Magaro, but the rewatch really opened up the intrinsic, platonic and intimate romance between each of the them to one another. While several sequences will stay with me, including the devastating final scene, Shabier Kirchner’s cinematography added a special sauce to this small drama that elevated it to one of my favorite films in recent memory. I adored all of the long lenses that put the viewer into a position of eavesdropping on these cherished moments.

2. Spider-Man: Across the Spider-Verse

Bless this miracle of a franchise. The way Spider-Verse riffs on the superhero films we’ve seen before it as well as the extensive lore of the Spider-Man comics is so deft. Some of the images in this film will stick with me forever just like Into the Spider-Verse did. The movie is so much more than the maximalist overload of information, images and colors although those are also done with great balance. They just add depth to the story, the humor and the energy of the film. Lauren Vélez’s monologue she delivers as Miles Morales’ mother, Rio, is as heartfelt as anything in movies this year. I hope these movies continue to influence animated storytelling forever.

3. Barbie

The movie event of the year is also one of the most rewarding rewatches. The sets, jokes and Ryan Gosling all shine super brightly on first watch, as they should, but with each rewatch, it’s hard not to feel more and more blown away with what Margot Robbie does. She holds and develops the emotional center of the film within her performance. Barbie is also a god-tier “just watch what’s going on in the background” movie. I’d urge everyone to also give the version with Greta Gerwig’s commentary a run (available on Max).

4. John Wick: Chapter 4

“It’s so good to sit with a friend.”

How the John Wick franchise has managed to expand its universe while maintaining its high-quality action sequences in a knowing and innovative way is truly a feat. Donnie Yen is a perfect foil added to this mixture of characters, and the final hour in France elevates this installment to perhaps the best in the series.

5. The Boy and the Heron

Hayao Miyazaki returns to his fantastical best in The Boy and the Heron after choosing a more grounded, reflective turn in The Wind Rises. After an exhilarating and unique opening sequence, his latest (and maybe last?) film almost splits the difference between the immersive world-building and mundane beauty his movies so frequently spotlight. The movie’s investigation into creation, living in the world and the legacy we pass on grows the more I think about it and spend time with it, and while it isn’t my favorite Miyazaki film, it is perhaps the most moving. A particular shoutout to lead animator Takeshi Honda, who imbues the characters with body language that provides as much inner-life as anything in live-action.

6. Are You There God? It’s Me, Margaret.

I think the greatest quality to Kelly Fremon Craig’s adaptation of the Judy Blume classic is that is not just a sickly-sweet, heartwarming coming-of-age tale nor is it just a reflective look at growing up as a young girl in the 1970s. It is a showcase in balancing the embrace and rejection of all of those things, and as a result, it feels wholly lived in.

Abby Ryder Fortson delivers a hilarious, emotionally resonant performance as the titular Margaret, which is balanced with a truly awesome Rachel McAdams (though, when is she not?) as her mother.

7. Oppenheimer

It was a year of directors delivering biopics that were as much about themselves as the subject they chose, and none more so than Christopher Nolan’s Oppenheimer. The investigation into collaboration, the idea of a Great Man and the burden of perceived genius is laid over the character of J. Robert Oppenheimer but could stand to be applied to Nolan himself.

Of course, the ensemble cast lives up to their billing. Cillian Murphy is restrained, tortured and charasmatic. Robert Downey Jr. reminded everyone he could indeed play someone other than Tony Stark. Emily Blunt did as much as she possibly could in an underwritten role. For all the technical feats of the film, for which there are many, I was most taken with Jennifer Lame’s editing that built the narrative handily throughout a twisting narrative over the course of three hours. This could be Nolan’s peak achievement in terms of getting his own gang together to create something special.

8. Anatomy of a Fall

I don’t think there’s a movie more primed for enthusiastic debate and discussion than Justine Triet’s Anatomy of a Fall. This French courtroom drama is a masterful look at how point-of-view impacts the weight of a story. Sandra Hüller gives a pitch-perfect performance as an equal-parts deplorable and sympathetic character, and a particular fight at the center of the film is one of the best scenes of the year. This also has one of the best animal performances of the decade so far.

9. The Killer

Fincher, you little sicko. It’s good to have you back in this space after the heartfelt Oscar bid that was Mank.

There is something about Fincher’s precision, both fabled and actual, that make his movies endlessly watchable. Some people may feel like Tilda Swinton’s character is in a different movie, but I think she plays a perfect foil to Michael Fassbender. This is probably Fincher’s funniest movie to date.

10. Killers of the Flower Moon

Marty!!!!!!!!

It feels dumb to have this on the edge of the top-10. It is one of the filmmaking achievements of the year and would be whether Scorsese’s name was attached or not. But, it is, and it feels like a self-reflective opus that goes hand-in-hand with The Irishman. Shaping the narrative around Leonardo DiCaprio and Lily Gladstone’s characters was a great shift in perspective from the book it was based on, particularly because of the time Gladstone gets on screen to deliver a devastating performance. Her absence in pockets of the film is felt greatly, and, I believe, purposefully so. There is some valid debate about the lens through which the story is told and whether Scorsese is the one to helm that, but I do think it’s clear, particularly because of the concluding scene, this was all taken into consideration.

This is also the best Robert De Niro of the century, I think.

11. The Iron Claw

The most impressive aspect of Sean Durkin’s feature on the Von Erich family isn’t the godlike-physiques of the cast nor the visceral and well-executed wrestling scenes, but rather the fact that the movie earns all of the cliche beats toward the end of the story.

It is tragic movie about a tragic family, but by the end, I still felt quite moved. I hope Jeremy Allen White can eventually get a role playing someone in a functional family, but he is so damn good at playing a broken cog moving in a broken machine. I also hope Zac Efron gets to crush more dramatic roles like this in the future. He is so weathered, so in control of his own charisma, and holds the emotions of this movie together where it could go off the rails.

12. Mission: Impossible — Dead Reckoning Part One

Tom Cruise, you psychopath. Look, I know the plot of the 7th Mission: Impossible is held together with duct tape and made of popsicle sticks, but so is every other one. I never need to know why Ethan Hunt is sprinting across a rooftop. I just know I like watching it happen. Hayley Atwell is an invigorating addition to the cast, and I’m glad I got to see her, Rebecca Ferguson and Vanessa Kirby on-screen together.

13. Bottoms

I don’t know if I laughed harder in a theater this year than the first time I watched Bottoms. Emma Seligman’s second feature calls back to those raunchy mid-2000s high-school comedies, and Rachel Sennott and Ayo Edebiri show off their palpably hilarious chemistry as the two leads. I can’t believe they got Marshawn Lynch to do this, too.

14. You Hurt My Feelings

I’ll admit to being biased toward small, slice-of-life stories that feel lived-in and light, which is exactly what Nicole Holefcener’s You Hurt My Feelings delivers. Julia Louis-Dreyfus and Tobias Menzies are lovely and whimsical in this story of upper-middle class New Yorkers taking on a story of middle-aged and marital strife.

15. Showing Up

Kelly Reichardt takes her specific lens into the community and milieu of the Pacific Northwest arts scene, shedding light into the tight-knit and mercurial bonds that are shaped there. For a film about artists, Reichardt captures the mechanical and tedious frustrations on the making of art rather than focusing on the result itself to amusing and thoughtful ends.

16. Creed III

I have to admit: When I heard Michael B. Jordan was directing Creed III, I was incredibly skeptical. Creed is my favorite movie, but the sequel left me wanting in large part because Ryan Coogler’s absence was so palpable. I didn’t think MBJ making an actor-director turn was the solution, but he showed a smart and unique directorial vision in his first feature. The anime-dipped fight sequences are a fascinating addition that individualize this film from others in the Rocky/Creed franchise, and while Sylvester Stallone’s absence is notable, it did open the door to a very good Jordan performance opposite each of his various screen partners. The scene that takes place between Jordan and the film’s villain at a diner is one of the best in the spin-off trilogy.

17. Rye Lane

Á la the Before trilogy, Rye Lane entrusts its story to the chemistry between a pair of winning performances from David Jonsson and Vivian Oparah. Raine Allen-Miller’s first directorial effort is a whip-smart and pleasant romcom of which we get too few. The movie features one of my favorite cameos/fake-food establishments I’ve seen in recent memory.

18. The Holdovers

Every bit of The Holdovers wants you to think of those boarding school dramas from the 90s like Dead Poets Society. From the faux-film filter through which the movie is shot to the small-scale, gang-of-misfits story it tells, director Alexander Payne wants you to feel nostalgia whether it is your own or not. Paul Giamatti is thoughtful as the school crank, and Dominic Sessa is a revelation, but the beating pulse of the film comes from Da’Vine Joy Randolph. This movie is a little more bitter than I expected, and it has less to say than its influences may have had, but it is an instant addition to the holiday-season movie list.

19. The Burial

A good ol’ courtroom drama is hard to beat, and whereas Anatomy of a Fall subverts some tropes, The Burial embraces them. Jamie Foxx is at his charismatic best as a showy but determined lawyer, and his chemistry with Tommy Lee Jones is heartwarming, but I particularly enjoyed his dynamic with Jurnee Smollett’s opposing lawyer. This is one of the movies we get too few of and that I will always give time.

20. Maestro

While I didn’t come away from Maestro feeling like I learned a lot about Leonard Bernstein, I was still taken with Bradley Cooper’s second feature. The black-and-white photography was stunning as were the performances, particularly Carey Mulligan as Felicia Montealegre. Cooper gave a committed performance as Bernstein although the swings were hit-and-miss, but the scene in Ely Cathedral is one of the most magical filmmaking sequences of the year.

21. Poor Things

Yorgos Lanthimos absolutely freaked it with Poor Things. His Frankenstein-riff allows Emma Stone to take advantage of every bit of her comedic talent, from her physicality to the absurdity to the timing. While I thought it got a bit repetitive with the story it wanted to tell, it’s a nearly impossible task to find a movie more fantastically pretty as this one.

22. Priscilla

Nobody films loneliness and longing quite like Sofia Coppola. This biopic of Priscilla Presley takes Coppola’s unique lens to the sickening reality of her relationship with Elvis Presley, which makes the most of the stark height difference between Cailee Spaeny and Jacob Elordi. Spaeny is especially impressive in the way her performance grows to show Priscila’s maturation throughout the story, and Elordi continues to show why he is one of the most intriguing young performers working today.

23. How to Blow Up a Pipeline

The premise of Daniel Goldhaber’s heist-like thriller is in its title, which plays like a sort of activist Ocean’s Eleven. The way the film whips around its gang of characters and builds momentum toward its inevitable final conflict is thrilling, and it’s just one of those movies that could be one whose cast and crew will allow this film to grow in estimation and impact as they evolve in their individual careers.

24. The Royal Hotel

Kitty Green’s second film has all the tension and anxiety of her first Julia Garner-led project The Assistant. This time, as Garner and Jessica Henwick play a pair of backpacking tourists in need of a job, Green holds the ill-at-ease feeling of lurking danger with a confident hand that is conveyed through Garner’s performance.

25. Passages

Franz Rogowski charms, frustrates and sickens as the central cog in Ira Sach’s Passages. Rogowski and Ben Wishaw play a couple that is strained under the choices of Rogowski’s character in a hands-on-your-head, what-are-you-doing kind of narrative. The turbulent train-wreck of a drama includes some of the most emotionally violent sequences of the year while also featuring some of the best interior cinematography of any movie in 2023.

26. Fallen Leaves

Aki Kaurismäki loves a slice-of-life film, and this quirky romantic-dramedy is as pleasing as any. Jussi Vatanen and Alma Pöysti embue a deadpan chemistry between two misfits that breezes through its story of aimlessness and loneliness.

27. Asteroid City

I’m admittedly not the biggest Wes Anderson person, but Asteroid City is a movie that sticks in my brain the way his best films tend to months and months after first watch. Nobody creates a diorama quite like Wes Anderson, and while I’m not always in-sync with his signature rhythms and deadpan humor, his scripts always hit with a sneaky punch toward the end. Asteroid City is as pretty a film as he’s ever made, which is saying a lot as well, and Margot Robbie wows in her single scene. I’m sure this one will grow in estimation as time passes.

28. They Cloned Tyrone

Juel Taylor’s zany directorial debut doesn’t blend all of the elements of its science-fiction conspiracy thriller plot successfully, but it is certainly entertaining. John Boyega, Jamie Foxx and Teyonah Paris make for a winning trio. It’s a film with a fun enough premise and slick enough direction to evolve into a lowkey cult-classic.

29. Sanctuary

This two-hander puts Margaret Qualley and Christopher Abbot in a boiling pot of sexual and psychological tension. Zachary Wigon’s direction adds just enough flavor to this bottled story to zip things along as it oscillates between thriller, comedy and a look into romantic power dynamics.

30. Teenage Mutant Ninja Turtles: Mutant Mayhem

We finally have a great Teenage Muntant Ninja Turtles movie in the 21st century. God bless Seth Rogan, Evan Goldberg and director Jeff Lowe for their embrace of the material. Perhaps the first TMNT story to lean into the teenage part of the characters, the wacky, messy animation style pairs well with the 90s hip-hop energy of the movie.

In short, I am a simple man who gets goosebumps when four mutant turtles work together to defy evil.

31. May December

I’m probably colder on this movie than most movie-lovers, but that’s not to say Charles Melton, Julianne Moore and Natalie Portman didn’t floor me with their performances. Melton in particular steals the movie in the final-third with his delivery of a emotionally stunted and traumatized character. A hot-dog related line delivery from Moore is one of the funniest things I saw in a movie this year.

32. A Thousand and One

A.V. Rockwell’s A Thousand and One sort of family epic spans a decade of turmoil, gentrification and chosen family. Teyana Taylor is grounded, gritty and visceral at the film’s center. I also was impressed with Josiah Cross, who only gets a third of the space to work.

33. No Hard Feelings

I’m really glad we have Jennifer Lawrence back in the movies. After a quiet, dramatic performance in 2022’s Causeway that harkened back to her early days in independent movies, No Hard Feelings allowed her to let loose and make the most of her comedic talents. She and Andrew Barth Feldman actually have lovely chemistry in this bonkers setup that shepherds in some economic strife as well. The particular fight on the beach at nighttime was as shocking and hilarious as anything I saw in 2023.

34. Air

Air (a.k.a. We Bought A Shoe) feels like a throwback not only because the film does everything it can to let you know the story is taking place in the 80s, but because it entrusts the viewer to just ride with movie stars being movie stars. The period-accurate framing of Nike as an underdog is a little goofy as most will know how the story plays out, but I appreciated the decisions to make it a Michael Jordan-adjacent story instead of a backdoor biopic. Matt Damon and Viola Davis stand out the most here.

35. Nimona

Netflix is usually good for one or two underrated but well-made animated movies per year, and Nimona is exactly that. The fantastical, neon-tinged fantasy adventure story is a fun twist on a familiar story.

36. All of Us Strangers

All of Us Strangers is debatably the most emotionally evocative film of the year or the most manipulative. What keeps it in the camp of the former are the well-pitched performances throughout. Andrew Scott bodies his role as the lead, handling the outpouring emotions in a surprisingly physical performance while Claire Foy and Jamie Bell beautifully portray Scott’s mother and father. This ghost-story of a drama isn’t necessarily as harrowing nor healing as it might want to be, but it does give off a sort of haunting appeal.

37. Fremont

Anaita Wali Zada impresses playing a former military translator in Afghanistan looking to find her footing in America. The framing of her job in a fortune cookie factory was utilized in a creatively appealing way throughout the story, and Jeremy Allen White does his charming-but-embattled thing to his best degree.

38. Godzilla Minus One

This is a classic Godzilla film that centers character and emotionality in a way that the recent run of American kaiju projects do not. That is already an impressive feat, but to execute certain visual sequences on a budget the 10th of the size you’d expect deserves all the praise.

39. Guardians of the Galaxy Vol. 3

The conclusion to James Gunn’s trilogy is the rare MCU film that excels in its final act, but I did bump on the emotionally manipulative aspects of the story (although I did still cry). Bradley Cooper gives another fully-committed vocal performance as Rocket, who is the beating heart of not only this story but the Guardians films as a whole. These losers rock.

40. Joy Ride

Joy Ride is in competition for both the hardest I laughed and hardest I cried all year. This one is raunchy, ridiculous, hilarious, and heartfelt with some unforgettable set pieces.

41. Godland

Epic in scope, Godland is one of the prettiest films you’ll see not only this year but any year. Taking full advantage of its vast Icelandic landscape, the movie investigates religious colonization, and while it may not fully connect that with the journey of its central character in his attempt to bring those two points together, it still awes.

42. Indiana Jones and the Dial of Destiny

If anything, I appreciated this movie for the inspiration to run through Harrison Ford’s filmography. This isn’t the best Indiana Jones film by a mile, but it isn’t the worst, either. I enjoyed it nonetheless despite the nostalgia-porn of it all. Phoebe Waller-Bridge is incredibly winning here as well.

43. Dungeons & Dragons: Honor Among Thieves

I expected nothing from this film, and what I got was the charismatic Chris Pine I forgot I’ve been missing. Embracing every bit of the earnest silliness of D&D, this movie cashed-out on the surefire bet of getting a fun gang together and allowing them to become a chosen family.

44. The Marvels

Sometimes, “not as bad as I expected” is an actual boost to a movie, which is to say The Marvels exceeded a very low bar. Perhaps the most fun MCU release of the year featured one of the best performances from an actor under-25 in the franchise from Iman Vellani. Her chemistry with Brie Larson and Teyonah Paris almost, almost pushed the movie past some generic and flimsy storytelling. The Marvels also included a pair of the most ridiculous sequences I saw all year, and they landed more on the positive side of the “what the actual hell is happening” spectrum. I liked it!

45. BlackBerry

In a year filled with brand-driven stories, BlackBerry was the underdog that could. I didn’t jibe with Glenn Howerton’s over-the-top, angry performance as much as others, but Matt Johnson directed the hell out of this small drama.

46. The Hunger Games: The Ballad of Songbirds & Snakes

Yet another “not as bad I as expected” IP-entry, The Hunger Games: The Ballad of Songbirds & Snakes balanced its hat-tipping to the original trilogy well with building out its own world. Although the movie force-feeds many references to the source material, it does well enough to earn its own feet as a prequel. Tom Blyth is impressive in his villainous transformation as Coriolanus Snow and credibly sells his character’s complicated yearning after Rachel Ziegler’s Lucy Gray.

47. Dumb Money

I just enjoy it when Paul Dano plays an oddball. This look at the Gamestop stock phenomenon of 2021 is a little thin, but also highly entertaining as a 2021-period piece.

48. Scrapper

A little bit like if Aftersun and The Florida Project had a quirky baby, Scrapper is a pleasant watch. Lola Campbell is strong as the lead, and while this movie is a little surface-level about its material, it’s charming nonetheless.

49. Theater Camp

I’ll cop to the fact that a lot of the theater references went over my head while watching this movie, but I still appreciated the home-away-from home ambiance only a summer camp can capture.

50. Gran Turismo

Gran Turismo is your typical Underdog Sports Movie boosted with a solid David Harbour performance as the gruff but heartfelt mentor. Even though the true story is predictable (why else would this video-game-related movie get made?), the racing sequences are debatably the most thrilling of the year.

51. Polite Society

A cute, genre-bending story that ultimately goes into the deep and storied Sister Movie canon, Polite Society has some surprisingly invigorating action sequences considering its small budget.

52. Emily

I just needed to shoutout Emma Mackey, who carries this entire movie on her back. Emily takes some wild swings in this semi-fictional account of Emily Brontë’s life, but Mackey is a real joy to watch at the center.

53. Leave the World Behind

Yes, throwing Julia Roberts, Ethan Hawke and Mahershala Ali into a room together and having them act will yield fun results. Leave the World Behind is a lovely exercise in tension although its apocalyptic premise left me wanting for a more conclusive resolution, but maybe that’s the point.

54. The Super Mario Bros. Movie

This movie was endearingly and knowingly stupid, and I happily laughed along. It’s wild to have a vocal performance like Jack Black in the same movie as some of other, will-remain-unnamed-here actors, but it is what it is.

55. The Creator

Technically and visually, a beautiful feat. The story left me feeling a little icky with how the robot-adjacent humans were portrayed, but it was fun to watch this on a big screen. I’m still not sure how I feel about John David Washington, but I appreciate that he keeps taking off-kilter swings as a leading man.

56. Napoleon

Joaquin Phoenix is so good at playing a little weirdo, and Ridley Scott is creates some of the most impressive war sequences you’ll ever see in a movie here. Everything in between those sequences felt a little light, but Vanessa Kirby continues to be one of our best.

57. The Little Mermaid (2023)

Halle Bailey ate Part of Your World up, which was worth the price of admission alone. I was also excited to see/hear Jodi Benson as well.

58. Ant-Man and the Wasp: Quantumania

Actually a bad movie, but I thought Kathryn Newton was fun, so I hope she is included in the seemingly-inevitable Young Avengers movie/series.

59. Chevalier

I just wanted to shoutout Kelvin Harrison Jr., who swaggers through this film as its lead with confidence and commitment.