Author photo Warner Bros/ A24
BBC film critics Caryn James and Nicholas Barber have picked out the best cinematic achievements of the year, from the “unique” horror Guns to the “almost romantic comedy” Materialists.
Guns
Author photo by Warner Bros
The film begins at 02:17 at night in the suburbs. 17 children from the same class suddenly get out of bed, leave their homes and disappear into the darkness.
Since then, alarmed residents have been trying to figure out what happened and why.
The clue is that a simple event turns out to be simple, but writer/director Zach Cregger leads the viewer down winding paths to the finale, showing the events through the eyes of various characters: a strict teacher (Julia Garner), a tortured school principal (Benedict Wong), an angry father (Josh Brolin) and a disturbed police officer (Alden Ehrenreich).
Cregger demonstrates a mastery of the horror arsenal, from painfully drawn-out pauses to brutal violence, from creepy surrealism to unexpected humour.
But it is the bright, vivid mosaic of everyday American life that makes the film truly special.
“Highest 2 Lowest” (Highest 2 Lowest)
Photographer, A24
Spike Lee turns a classic thriller into a vivid and tense film of race, morality and New York.
“From Highest to Lowest” inspired by Kuros’ “Paradise and piloc” is a true auteur film.
Bring her back
Author photo, A24
Australian director brothers Danny and Michael Phillip surprised everyone with their debut, the awful film Talk to Me (2022), and their new work is even better.
Bring Her Back to Me is the story of orphans: a brother and sister (Billy Barratt and Sora Wong) who are sent to live with an overly friendly and possibly dangerous foster mother (Sally Hawkins).
The filmmakers take both horror and drama seriously. Instead of cheap japes and clichés, they create a strong emotional narrative about living people in a realistic world with demonic possession and body-eating zombies.
The film is gripping, suspenseful and shows that the brothers are among the best modern horror masters.
“The Materialists.”
Author photo, d)
Author photo, Focus Features
A charming British comedy starring Tom Basden, Tim Key and the adorable Carey Mulligan.
Lottery billionaire Charles (Key) pays his favourite musician (Basden) to put on a show on an island, but is not told that he has also invited his former bandmate and ex-girlfriend.
Director James Griffiths maintains a balance between sincerity, vividness and humour – each character is liked from the first scene.
Charles’ dialogues are often knowingly weak puns and phrases that make you want to watch the film so you don’t miss a joke.
The lines between fan and star are almost non-existent, but really they are all the same and unforgettable characters.
“Lurker.”
Author photo, Sundance Festival
Films about fame in the social media day – where there are virtually no boundaries between fan and star, but it’s really all the same and unforgettable – are many. But few have shown it poignantly, almost imperceptibly – and that’s how it clings.
The film also reveals an important theme: why people so easily lose their heads to fame – and invent fictional intimacy with idols.
“The Companion.”
Author photo, Warner Bros Pictures
The sharpest and most inventive American indie film of the year (so far).
Starring Jack Quaid and Sophie Thatcher, they play a couple in love who head out into the wilderness to a forest estate owned by a Russian oligarch.
At first, it seems like we’re facing either a romantic comedy or a noir with elements of a botched heist. But “Sputnik” quickly sheds its masks: it is actually a science fiction thriller with elements of black comedy. And the less you know beforehand, the more buzz you get from all the unexpected twists and turns.
The debut of director and writer Drew Hancock is witty, p photo, Cozy Cottage Films, LLC
Miranda Yusef’s fascinating documentary about Thomas Kincaid, one of the best-selling artists in U.S. history. His cosy, ‘sweet’ landscapes were loved by millions and despised by critics.
The film raises important questions: what is real art, and who decides what counts as art?
Alongside this, Youssef explores the duality of Kincaid himself – the image he created for the public of a pious family man hiding a much darker side.
“War.”
Photo A24
A tense and realistic film by Alex Garland and veteran Ray Mendoza.
Without further explanation or pathos, it plunges the viewer into the real battle between the Seals and the jihadists from Al-Qaeda.
Actors Joseph Quinn, Will Poulter and others show real concern and courage, turning war into war.
And it all leads to violence.
But director Christopher Andrews takes us back and shows the same story from a different angle. What at first glance appears to be a story of revenge and crime is actually a sad story of poverty, youthful mistakes, male pride and problems that are passed down from father to son.
Watching their destruction is not easy – the film is heavy. But it’s beautifully shot, with an interesting plot and strong emotions.
“Holy Cow.”
Photo by Agat Films
In the deep French countryside, teenager Toton (Clement Favoux) is forced to care for his younger sister Claire (Luna Garre) after the sudden death of their father.
How does he solve their serious financial problems? Creating a premium cheese that even wins awards.
Louise Courvoisier’s debut film is a touching story of growing up to be Apollo’s dog, though Iris lives in a studio flat in a building that forbids keeping animals.
Taking care of the dog becomes a way for Iris to cope with feelings of love and affection. rat – this is helped by flashbacks with Bill Murray, who plays Walter, and his every appearance on screen is full of wit and warmth, despite his brief appearance.
The film is based on Sigrid Nunez’s acclaimed 2018 novel and is directed by Scott McGehee and David Siegel.
Without any sentimental nonsense, they have created a real gem – a touching and funny story that will appeal to both animal lovers and those who don’t admire them.
Wallace & Gromit: Vengeance Most Fowl
Photo by, BBC/ Aardman Animations
Two of Aardman Studios’ most prominent characters return – and with them the most insidious villain of all time: the diabolical penguin Pero McGraw.
In the new Oscar-nominated film, directed by Nick Park and Merling Cross, we all love the adventures of Wallace and Kropit: and, of course, a warm affection for these characters and their strange world.
But the big surprise is the return of Feather McGraw, who first appeared in Misfits over 30 years ago.
That said, the new film isn’t just a nostalgic walk down memory lane. When Wallace invents a robotic garden gnome that does all of Gromit’s favourite jobs (and that’s before he turns into a villain), the story abruptly departs, breaking the theme of fear of artificial intelligence.