The Fourth Annual Awards Radar Awards (Part Two): The Ten Best Films of 2023

Ladies and gentlemen, it’s that time again! There are few things a writer in this industry looks forward to more than doing their year end Top Ten list. Even with the sort of unusual years that were the last few, I still saw well over 300 films each year, and that includes here in 2023, when things were essentially back to normal. As such, it all makes for a list that culls from nearly every corner of the cinematic world. So, I’m, as always, incredibly fond of the movies that make up my Top Ten list. I’m actually very excited to share it with you all today, continuing the Third Annual Awards Radar Awards! In prior years, my favorite film of a given cycle ranged from Blinded by the Light to Hell or High Water. The Disaster Artist to A Star is Born. Blue Valentine to her. Three years ago, we added Promising Young Woman to the mix, with Red Rocket joining two years ago, alongside The Fabelmans last year. What will join them this time around? Time to find out!

For part two of this awards series (part one is right here from yesterday), we’re going to run down my ten favorite films of 2023. Basically, anything I saw this year, or that has an eligible release date, was in the running, aside from what I considered for my prior 2022 list. That created quite the list to pull from, though it pretty quickly narrowed down to 25 or 30 movies that were a cut above.

The moment is now at hand. Out of 310 or so eligible titles seen for me (which, insanely, is still one of my lower totals, if you can believe that), here are the ten best films of 2023:

10. The Killer

It’s decidedly possible that no film in 2023 was more unexpectedly hilarious to me than The Killer. Watching David Fincher make a black comedy riffing on the perception of his own perfectionism was an absolute riot. The more it went down its dark rabbit hole, the further in I was. Fincher was having a blast and so was I. My review here from back at the New York Film Festival had this to say about the flick:

Not everyone realizes the sense of humor that David Fincher has. Even his bleakest of works usually has some black comedy in it. With The Killer, Fincher has embraced that more than ever before. I’d posit that this might be his most humorous work to date. It’s gallows humor, to be sure, but this is an incredibly funny film. Now, it’s dark and violent as well, hallmarks of his career, but there’s a tongue in cheek quality as well. The movie manages to have its cake and eat it too, in that way. Playing as my final title at the New York Film Festival, the flick immediately becomes one of my favorites, not just of the fest, but of the year so far.

The Killer is savage as it is savagely funny. Once the narrative clicks in and you see what Fincher is up to, it becomes even funnier. That being said, you have to be on the film’s wavelength and vibe with what it’s doing, but once you do, it’s highly amusing. By working this sort of mood within over genre fare, Fincher has made one of his most entertaining movies, as well as one of the best new thrillers in some time. Between this, Hit Man (also phenomenal and a future excellent double feature on Netflix), as well as Knox Goes Away, it’s the year of the assassin on screen.

9. A Good Person

Probably the least seen of any film on this list, A Good Person sees Zach Braff working in a whole new register. The indie quirk he’s known for behind the camera is largely gone, replaced with complex emotions. I’ll admit that this one hit me hard at a time where I was sensitive to a tearjerker, but I’d argue a good movie is a good movie, and this is a very good one. My review here gets into why:

Zach Braff as a filmmaker has proven to be a storyteller I deeply respond to. Garden State and Wish I Was Here are brilliantly effective quirky dramedies, establishing his specific voice. I even really enjoyed his remake of Going in Style, which he only directed, as opposed to writing and directing his other features. Now, with A Good Person, Braff has showcased the same feel for characters and emotions, while telling a more mature and far more complex tale. Not everyone will be expecting what he has in store for audiences here, but I was blown away. This film is the class of the year so far, cinematically.

A Good Person is Braff working in a whole new key. To be sure, having a muse in Florence Pugh changes the dynamic a bit, though it’s certainly not the only factor. It just seems like he’s telling a more mature story. His emotions and sense of humor are still fully in evidence, flowing through each character, but here, there’s tragedy compounded on to it all. It easily could have turned into a mess, or rang false, but that’s decidedly not the case. It all builds to a satisfying conclusion that had me openly weeping.

8. American Fiction

A top notch satire, American Fiction is also an incredibly lived in family dramedy, while still being a character study all its own. That deft ability by filmmaker Cord Jefferson to walk those lines helps to set the movie apart. Any of its elements on their own would make for a strong film. Together? We have one of the best and most memorable works of 2023. Just look here at my rave review for some details:

There are a lot of reasons why American Fiction has been amassing fans since it surprisingly blew the roof off of the Toronto International Film Festival this year. For me, I think the reason, above all else, is that we never get this sort of work anymore. Beyond that, even, it’s an incredibly specific yet ultimately universal story. Anyone will get something out of this movie. It’s hardly just inside baseball, even if some knowledge of the industry will lead to more chuckles. It’s just an impeccably made film. Believe the hype, folks. This flick is certainly among the cinematic highlights of 2023.

American Fiction is not just a scathing satire. It’s not just a showcase for brilliant character actor Jeffrey Wright. It’s also an emotional, funny, and downright moving character study/family drama. The laughs are big, especially during the satirical moments. However, it’s the deep well of emotions, as well as its beating heart, that sets this one apart.

7. Flora and Son

John Carney just knows how to warm my heart. Armed with his best performance in a film of his to date from Eve Hewson (my runner up for the Actress of the Year prize yesterday), Flora and Son soars. The centerpiece songs are brilliantly handled, Hewson is becoming a star before your very eyes, and the Carney vibe is in full force. I hope he makes 100 more just like this. Here is some of my rave review:

At this point, you know what to expect walking into a John Carney film. That’s not a criticism, either, as the filmmaker is wildly consistent. He has a bright view of the world, has impeccable musical tastes, and ends his movies in a way that leaves you with a song in your heart. That’s all true once again here with Flora and Son. Making this stop at the Toronto International Film Festival before hitting Apple, it’s an early favorite of the festival for me.

Flora and Son delighted me to no end. It’s funny, emotional, full of solid music, and leaves you with a smile on your face. Whether in a festival environment like here at TIFF or in general, what more can you ask for? Movies like this are rare gems and deserve to be treated as such. Honestly, I never wanted this film to end.

6. Poor Things

Now we’ve reached the start of the real upper echelon. Poor Things is both my favorite Yorgos Lanthimos work to date as well as, I think, his best film overall. It doesn’t hurt that Emma Stone blew me away like no other actress did this year, while the supporting work from Willem Dafoe and Mark Ruffalo is amazing. It’s audacious, defies easy categorization, and stuns at every turn. You might not even know why you’re loving it so much, but you just know you’re seeing something truly singular. My Telluride rave here starts to explain why:

It shouldn’t look this easy. At this point, and with the stupendous success that is Poor Things, I think director Yorgos Lanthimos can be called a master. He’s managed to take his very specific style and worldview, which is about as singular as it gets, and create a filmmaking voice worth celebrating. His latest work, a sexually free and wildly entertaining examination of female self-discovery, is not just one of the funniest movies of the year, it’s one of the best as well.

Poor Things is the best work to date from not only star Emma Stone but Lanthimos as well. They trust each other implicitly and it shows in the final product. Daring and wild, but also incredibly playful, their spin on the Frankenstein tale is unlike anything you’ve seen, even if the narrative won’t necessarily surprise you. In their hands, you’re safe, provided of course that you don’t get offended easily.

5. Killers of the Flower Moon

It’s almost unfair how we expect perfection from Martin Scorsese every time out, and yet, he still manages to deliver. Killers of the Flower Moon is his latest epic, and while it’s a crime story, sure, this is Scorsese even more contemplative than usual. With incredible production values, visuals, performances, and perhaps his best ever ending, the amount here to fawn over is as long as the running time itself. Some of that praise can be found here in my review:

Epic crime stories from Martin Scorsese are nothing new. He’s made his career on depicting criminals, whether it was Mean Streets, Goodfellas, Casino, The Departed, or The Irishman. Now, Scorsese is doing it again with Killers of the Flower Moon, only this time, he’s not just following his bad guys, but the victims as well. That epic canvas that the master filmmaker is painting on is fueling him, to say the least. Yes, this movie runs nearly three and a half hours long, but it earns that investment. The film is one of 2023’s crowning achievements and another feather in Scorsese’s well-adorned hat.

Killers of the Flower Moon finds unique footing due to its bifurcated focus. While there’s plenty of time spent with the idiots and mastermind of the atrocities being committed throughout, there’s also ample time spent with the natives who are being systematically picked off. Scorsese has you sit with that, over and over again, to the point where you wish someone, literally anyone, would so something. When the law finally does get involved towards the end, it’s a relief, sure, but also enraging that it took that long. By trimming a lot of the procedural aspects of the story, he’s come upon a haunting work that hits as hard as anything he’s done before.

4. Air

Ben Affleck helmed pictures run like absolute machines. He’s just the type of filmmaker who knows how to make a precise work, full of entertainment value, but also lots to chew on. Air is easily his most purely enjoyable directorial effort to date, while also being one of his overall best. Plus, in taking what seemed like a less than cinematic premise and crafting something both hilarious and thrilling, he also made a secret mom movie, which we all know by now I’m sensitive to. In my rave here, I not just praised the film, but also expressed my happiness to see Affleck back behind the camera:

Sports movies can often center on athletes, sure, but some of the great ones (or sports-adjacent ones) never even focus on game being played. Just think of Jerry Maguire and Moneyball, for example. The characters and the drive to win a different kind of game fuel the narrative. Ben Affleck‘s return to directing, as well as his latest collaboration with Matt Damon, is of that ilk, and it truly stands tall with those other films. Air is an absolute triumph, supremely entertaining while also trafficking in emotion and ideas. It’s the full package and the cinematic equivalent of a franchise player. Nothing else so far this year can match the slam dunk (excuse the pun, but everyone will be doing it) that is Air. Affleck has been gone from behind the camera for too long. We’ve missed him.

Air is far more than just the best “dad movie” in years, or even just a sports flick. Utilizing the story of Nike pursuing a partnership with a rookie Michael Jordan, we get a testament to believing in yourself, believing in others, and standing for something. It takes real talent to invest you in the tale of a shoe salesman, the underdog aspect of an eventual billion dollar corporation, and the budding career of a legend you barely see, but Affleck and company pull it off in spades. It runs like clockwork and never ceases to be a delight.

3. The Iron Claw

The most recent addition to my top ten list as the season progressed, The Iron Claw exceeded even my own high expectations. An emotional napalm bomb, the film somehow obliterates you, before managing to end on a moment that’s damn near close to uplifting. With one of the best performances of the year from Zac Efron at its core, Sean Durkin has crafted something hard hitting that will stay with me for years to come. My recent rave review here has some of the explanation for why:

It’s okay not to be okay. We all should know that it’s a show of strength to admit when you’re in a bad place, not a display of weakness. This goes doubly for supposed tough guys. The Iron Claw, the true story of the Von Erich family of wrestlers, speaks to this with immense power. The family suffered tragedy throughout the years on a level one can barely comprehend, but what if some of them had been able to speak to their traumas? Would things have turned out differently? One can’t know, but this film depicts just how damaging keeping it all inside can be. It’s a fantastic sports movie, biopic, and character study, but as a look at why asking for help is crucial, it may well be an important one as well. It all adds up to one of the best and most moving works of 2023.

The Iron Claw obliterated me. Strong acting, impeccable filmmaking, and a timely message about mental health makes for a real stunner. I loved wrestling as a kid and have a passing knowledge of the Von Erich family, as well as the “Von Erich curse,” but not having that is no barrier for entry. Much like Raging Bull or Rocky doesn’t require you to be a boxing fan, this film does the same with wrestling.

2. Oppenheimer

Now it seems like it was always inevitable that Oppenheimer would be a masterpiece, but until we saw it back in the summer, there was no way to know for sure. Maybe Christopher Nolan had bitten off more than he could chew with this biopic? Silly us, as it’s one of his best films yet and deserves the citation of masterpiece. Nolan commands his craft for three hours, while also showing how he can actually do emotion on screen in a way everyone can get behind. Months later, I’m still stunned thinking about it. My review here expresses some of that stunned nature, especially in terms of the message Nolan is trying to get across to us:

When you think of Christopher Nolan, you don’t think of activism or character studies. With Oppenheimer, he’s putting forth an epic version of both. In crafting a biopic of J. Robert Oppenheimer, the father of the nuclear bomb, Nolan has opted to make this a tale of not just one of the 20th century’s most important men, but a missive that nuclear warfare will eventually doom us all, much like the weapon’s development ultimately doomed the man himself. It’s as much a thriller as a drama, albeit with the filmmaker’s typical flair. If he was ever going to do his JFK, this is it. It’s also a riveting experience and one of the best things I’ve seen all year.

Oppenheimer is an epic character study as well as a dire warning. This engrossing experience builds to an endgame that places no less than the fate of humanity almost at death’s door. It’s heady stuff for summer cinema, but in Nolan’s hands, the urgency is never ignored, but the riveting nature of it makes for one of is most unique works to date. Frankly, given the choice between more work like this and more explorations of the action genre, I’ll take ten more Oppenheimer types before he goes back to Tenet. We’ve seen him master action. Now, he’s mastered the biopic and character study.

1. Barbie

This is the most surprising number one film I’ve ever had. Going in, I had no idea if Barbie even had a chance at my top ten list. Then, I saw it, bowled over by every aspect. Ryan Gosling‘s instantly iconic supporting turn, Greta Gerwig‘s message, and just how singular this product is, from top to bottom. In all of its wonderful strangeness, it’s perfect, and that’s before you even get into the late stage emotion that had me sobbing like a child. Refer back here to my review for some examples of how it won me over in a way like few movies ever have:

A Barbie movie probably shouldn’t even exist, let alone be this good. An audacious start to this review, I know, but this is an audacious film. Taking a doll and giving it life, while examining both the positives and negatives of its very existence, through the lens of a laugh out loud yet often touching comedy? This is damn near a miracle of a movie. Skewering the societal patriarchy while also having you howl at cinematic references, epic dance numbers, and genuine emotion? Greta Gerwig has outdone herself here. This is one of the year’s best works so far.

Considering that the log line for this flick is simply that “Barbie suffers a crisis that leads her to question her world and her existence,” there’s a ton going on here. Barbie is action, comedy, fantasy, and satire all rolled into one, with immersive production design, its tongue planted firmly in its cheek, but its heart always beating loudly and proudly. I know I’m not necessarily the audience for this film (aside from loving quality cinema), but knowing that there are young girls out there that will see this and absolutely go gaga over it, that heartens me to no end. Plus, as mentioned, it’s just spectacular entertainment.

Honorable Mentions

Maestro

Memory

Origin

Saltburn

Spider-Man: Across the Spider-Verse

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*Special Citation: Hit Man (Not being released until 2024 but would have made my 2023 top ten)*

Stay tuned for Part Three tomorrow, where you’ll see my full awards for 2023!