Rosalie Kicks's Favorite 11 Motion Pictures of 2022
by Rosalie Kicks, Old Sport & Editor in Chief
Welp, another year shot, old sport. Which means it is time for the best flicks lists to make an appearance. I’ll let you in on a little secret. I do not really care for “best of” lists. Society has an obsession with arbitrarily ranking things. This entire list making racket does not thrill me. Therefore, I present my tabulation below of not the most superb motion pictures (except my number one pick… which is actually the best) produced in 2022 but instead the ones that I treasured.
Maybe you heard of them. Maybe you haven’t. Maybe you’ll find your next favorite watch. Regardless… whatever you think about this lineup old sport, just remember one thing:
ALWAYS BE WATCHING MOVIES.
11. Guillermo del Toro’s Pinocchio (dirs. Guillermo del Toro and Mark Gustafson)
I am sure the top of mind question from everyone and anyone is: Did we need another Pinocchio? Simple answer: No. However, I would like to point out this is not just any Pinocchio film, this is instead a creation from the mind of Guillermo del Toro. I find this specific fact to be the main point of contention if one is attempting to lump this into the cinematic scrap pile. Much like Gepetto, Guillermo’s productions are often made with such intricacy and with such a care that it begs the question if there has ever been a motion picture like such before it. The craftsmanship and exquisite detail that went into each frame of this animated picture is marvelous. Anyone that successfully makes it out of this film without wanting to procure a small Pinocchio of their own should be concerned whether they have a pulse of not. This is a film worth leaving your sofa for and watching in your local movie palace.
Find my full review of Guillermo del Toro’s Pinocchio here on MovieJawn.com
10. The Munsters (dir. Robert Zombie)
Don’t listen to the haters, The Munsters is a fangtastic! Never did I ever think a Robert Zombie film would show up on my year end list but here we are. I can’t even blame the alcohol here folks, for I have been sober since August 16, 2021. This is actual and true admiration for this picture.
Robert’s Munsters reboots the famed television program to share the backstory of how Lily and Herman fall in love which leads them to move from Transylvania to a California suburb. I quite enjoyed this colorful spooky romp. The production design and wardrobe are top notch. Sure, it is corny, kitschy, and silly but so was the actual show. The cast appears to be having a lot of fun and I am happy that this thrilling little movie is now added to my stable of Halloween watches. It also introduced me to the bestest character ever, Uncle Gilbert*.
*Someone buy me this, fang you very much.
9. Mrs. Harris Goes to Paris (dir. Anthony Fabian)
Mrs. Harris is the type of individual that appears in a room followed by sunshine and birds chirping. She can turn the gray skies blue and manages to make even the most terrible of situations seem less dire. Take for example, upon arriving to a client’s flat she finds that the woman has overslept and is late for an audition. Mrs. Harris does not panic, instead she manages to get Pamela rousted, dressed as cute as a button, and out the door with even a pep in her step. Very much like a fairy godmother, Mrs. Harris brings good fortune to those around her.
With the beautiful production design and costumes, this film is reminiscent of a picture straight out of the golden age of Tinseltown. Witnessing Mrs. Harris select her dream dress was a scene that reminded me of the film The Women (1939) when they attend a fashion show of sorts. Watching the stunning apparel parade by was thrilling not only for the characters but for me as well. Obviously, with settings such as London and Paris, one can’t get more cinematic. Nevertheless, it is the overall story and feel-good ending that give it that classic Hollywood feel.
Find my full review of Mrs. Harris Goes to Paris here on MovieJawn.com
8. See How They Run (dir. Mark Chappell)
Set in 1953 in London’s west end, an Agatha Christie whodunit play has just performed for the hundredth time. The film does not waste any time introducing a gaggle of characters including our narrator, Leo Kopernick (Adrien Brody), a blacklisted film director that has been hired to direct a screen adaptation of the stage performance. (Un)fortunately Leo is not upright for too long and instead finds himself the pièce de résistance in terms of murder victims. It is hard to feel bad for the chap as he pointed out early on in the film that the best motion pictures have a violent death occur to the most unlikable character within the first few frames. Bravo, Leo for a heck of a death.
With a departed body brings the fuzz, who descend on the playhouse for a murder mystery soiree. Typically, I would not be celebrating “dem boys” in blue, but in this case they get a pass as they are being portrayed by the illustrious Saoirse Ronan and notable Sam Rockwell. I enjoyed spending time in this picturesque world with these characters. See How They Run allows one to forget all their troubles and cares and simply, escape in the magic of the movies. It comes across that the director was meticulous about what is presented in the frame. The production design detail, costuming, locations immerse the viewer into the world and encourage one to get lost in the story.
Find my full review of See How They Run here on MovieJawn.com
7. Brian and Charles (dir. Jim Archer)
I found the story to be truly magical and it brought joy to me in these trying times we all find ourselves in.
On one trash picking expedition, Brian uncovers a mannequin head and decides to build a robot. Without a doubt, it is quickly realized that he is building more than a cyborg… he is building a friend. Before the creation of Charles the robot, the film has Brian breaking the fourth wall and directly acknowledging the viewer. He explains that he finds inspiration from all around him and even poses the question, “Who wouldn’t want to build one?”, in speaking about the idea of fashioning a robot. There are definite moments during this film in which I was getting some Frankenstein (1931) vibes. However, with the lack of grave robbing and dead body parts, this tale does not take the path of macabre. Instead, it is filled with a touch of charm and delight. However, it does address the idea of humanity fearing things they don’t understand.
Find my full review of Brian and Charles here on MovieJawn.com
6. Pearl (dir. Ti West)
This is some top notch horror.
Pearl (Mia Goth) lives with her parents on a remote farm and dreams of a Hollywood life filled with glamour and stardom. With Pearl’s father bedridden and her suffocating mother, it is apparent that she suffers emotionally and mentally. This may not seem like a remarkable story but what makes it special is Mia Goth’s performance as Pearl. Mia portrays her in such an unsettling manner, often with minimal to no dialogue. After watching this, I would love to see Mia in a song and dance flick à la an Astaire and Rogers picture (It should be noted that my heart grew three sizes the night I heard Pearl refer to movies as PICTURES. Her adoration for the cinema pleased me.)
For someone that loves classic films, there was a lot to admire here. With the lush colors, nods to cinematic history and eccentric characters, this is a film that non-horror audiences would find appreciation for. Along with Mia’s impressive work in Ti West’s X earlier this year, she is now on my radar, and I can’t wait to see what she does next.
5. Please Baby Please (dir. Amanda Kramer)
Upon witnessing a greaser gang outside of their apartment assaulting someone, newlyweds Suze (Andrea Riseborough) and Arthur (Harry Melling) find themselves captivated by the rabble rousers. This particular event awakens each of them and takes them down their own personal path in regards to their gender and sexual identities. They begin to question their placement within society and start to break down the walls of specific gender standards. Suze takes on a more domineering personality and starts, in essence, to throw her weight around in situations. While Arthur can’t help but fantasize about one of the main gang members, Teddy (Karl Glusman).
Initially the couple starts to show concern for these novel thoughts and curiosities but eventually, come to terms with their newly found feelings. Something the director manages extremely well in this representation is the duo’s hesitation of their metamorphosis. Their concerns lie more with those around them and the people they know rather than with one another. The overall colorful, campy production design and style of this film adds to the surrealism of the story. There is no definitive time of when this is taking place and in many ways it does not particularly matter. Much like a David Lynch or John Waters film, all of that is secondary to their main directive: to provoke the audience to feel something.
Find my full review of Please Baby Please here on MovieJawn.com
4. Women Talking (dir. Sarah Polley)
Do nothing. Stay and fight. Leave.
Those are the three options that these women have in terms of their future. During the course of the hour and forty-four minute runtime filmmaker, Sarah Polley takes the audience on a riveting journey to their ultimate decision. This is a quiet film that is captivating due to the stellar performances from the ensemble cast. This is a film you don’t want to sleep on.
3. Girl Picture (dir. Alli Haapasalo)
This is a story told over the course of three consecutive Fridays, about three ladies on the cusp of womanhood. Throughout the narrative, they attempt to figure things out in terms of relationships, sex, love, and simply growing up. Besties and schoolmates, Mimmi (Aamu Milonoff) and Rönkkö are both employed at a smoothie shop in the mall. They share a bond like no other and clearly are open books to one another. One of their classmates, Emma (Linnea Leino) has a meet up at the smoothie stand with friends where she experiences a rocky encounter with the brash Mimmi. In retrospect, though, this incident could be interpreted as Mimmi’s idea of flirting. Mimmi has a reputation for being a school outcast and upon hearing about Emma’s interaction, her friends decide to invite Mimmi and Rönkkö to a house party for entertainment purposes.
There are moments while watching this movie that I found myself overjoyed by the scenes I was witnessing simply due to the fact that I could relate so strongly to what was being portrayed on the screen. Often movies, particularly those that feature women, are written and/or directed by men. This causes female characters to essentially become props within a story and their plot lines neglected in favor of the males’. Girl Picture is what happens when you allow a person to create a film that has experience similar to those that are gracing the silver screen.
2. Tár (dir. Todd Field)
Lydia Tár is not a good person, but her story sure was captivating.
Prior to this, Todd Field has only directed one previous feature flick, Little Children. I recall seeing this when it came out in 2006 but would need to rewatch it before being able to comment further. For those wondering where he has been since then, I only recently learned (Thanks Ryan) that he was one of the inventors of the famed bubblegum product, “Big League Chew” and apparently is able to take his time between projects.
This script is so incredibly well written and fascinating. I loved the ride this film takes you on as you witness a person become completely unraveled and already can’t wait for the second viewing.
1. Elvis (dir. Baz Luhrmann)
Austin’s depiction of Elvis Aaron Presley is haunting.
There have been a ton of side by side clips shared of Austin and Elvis since the release of Baz Luhrmann’s lavish motion picture that are borderline eerie. In watching Austin’s superb portrayal of the Memphis rock ‘n roller, it was hard for me to not think he was possessed by the spirit of Elvis himself. Austin’s performance has stuck with me much after I walked out of the cinema on July 9.
As for filmmaker Baz Luhrmann, it is hard to compare him to anyone working in Tinseltown today. He is in his own world of wonder. The first twenty-some-odd minutes of this film is masterful at completely and utterly overloading the viewer. Pretty much the entire film I felt overwhelmed by what I was witnessing on the silver screen and often overtaken with anxiety. It was not until later that I realized that the film truly does mimic Elvis’s life. A life that was short, fascinating and a devastatingly wild ride.
Honorable Mentions
I would be remiss if I did not mention some other flicks I enjoyed this year that did not make the initial record above. These flicks are worth noting and are additional pictures I recommend seeking out. I now say, Happy Holidays! and will now retire into my cinematic crypt to watch films pre-1940s. G’night.
Living
Till
Holy Spider
Fire of Love
After Yang
Watcher
Banshees of Inisherin
Resurrection
Fresh