Ross Bonaime

Eichner and Stoller have written a film that plays to both of their strengths as storytellers, all while making one of the funniest and most romantic films of 2022.

Hit Man is also simply one of the most thoroughly enjoyable films of Linklater’s career, an absolute delight to watch unfold and play out. He keeps the twists of the noir narrative fairly straightforward, leaving us to revel and admire in Powell’s comedic chops, the romantic entanglements, and the anticipation for when this relationship might go too far.

The Good Nurse is a shocking drama that seeps under your skin with its ferocity and terror. Yet Lindholm makes this story about a disturbing individual into a film about how important kindness and consideration for others can mean in the larger scheme of things.

Guardians of the Galaxy Vol. 3 isn’t just the ideal sendoff for this group, it’s the best MCU film in years, and a reminder of how much fun and moving the Marvel Cinematic Universe can actually be after film-after-film of recent disappointments. The Guardians of the Galaxy were the best corner of the MCU, and Gunn has created the perfect goodbye to this gang of misfits.

Wakanda Forever isn’t perfect, but its ability to handle this tightrope walk between exploration of loss and a larger superhero film makes this one of the most moving MCU entries so far, and one of the best films to come out of Marvel’s Phase Four.

Kosinski has already made one of the year's best movies with Maverick, and with an extremely intriguing concept and fantastic performances all around the board, Kosinski has for the second time this year made one of the best movies of this summer.

Napoleon is a grand film, both in terms of Scott creating a story with a size we’ve rarely seen from him, and the bold, large choices made by a completely game Phoenix.

John Wick: Chapter 4 is a goofy, ridiculous, three-hours of fun that manages to not overstay its welcome. Stahelski continues to find ways to keep this series from getting stale, and Chapter 4 pushes the ambition to the brink.

Rowe and co-director Kyler Spears are able to make this world action-packed, exciting, abnormal, and humorous in equal measure, and by focusing on making these TEENAGE Mutant Ninja Turtles into authentic youths, Mutant Mayhem takes characters we’ve seen over and over again and makes them fresh once more.

From the gorgeous cinematography by Erik Messerschmidt, the mesmerizing Daniel Pemberton score, a towering performance by Cruz, and Martin’s screenplay that reflects as much on Enzo’s insular battles as well as his public ones in equal measure, Ferrari is one of Mann’s best film in years.

Hamaguchi’s Drive My Car worked so beautifully because of the smaller, quiet moments of life, the drives from one place to the next, and the undiscovered moments that we keep hidden. Evil Does Not Exist turns these moments into an entire feature-length film, and while it might seem slight at times, the approach is wonderful in its own right—a master filmmaker taking his time and embracing the silence.

Seydoux brings both parts of this story together with grace and charm, and an honesty that makes this one of her best performances so far. Hansen-Løve’s story is deceptively light, yet packs an emotional wallop as it explores the impact that love—and our separation from such love—can have on a person.

Dead Reckoning Part One is plenty of fun, and one of the best action films of the summer by far, but coming five years after Fallout, it’s hard for this seventh film to not feel like a bit of a disappointment.

You Hurt My Feelings is the type of film that reminds us why Holofcener is one of the best writers of comedies today, and that her ability to write films with such small consequences can often feel like a massive achievement, as these are situations that feel honest and human and wholly earnest.

There are few filmmakers that can make the leap from smaller, insular stories into large-scale epics, but with The Northman, Eggers has proved that his style and substance can remain intact, regardless of the size of the story.

Audiard, Mysius and Sciamma, along with their fantastic cast, create an enchanting and seductive story told through an intimate group of relationships. This beautiful and simple story of young love and finding one's self through love is one of the most romantic and sexiest films of 2022 so far.

It finds just the right combination of nostalgia and fresh blood, telling a story that manages to feel familiar in its winks at the past, but breaking with tradition in ways that are exciting and new for this series. Scream VI might be a sequel to a requel, but this franchise still finds new ways to feel original in its approach to this world.

Affleck makes Air look easy, a director who knows exactly what he’s doing, and knows how to build anticipation, work our excitement, and tell a story about a shoe that is truly enthralling and gripping.

It is a delightfully bizarre film that is always unexpected while being perfectly balanced by the two lead performances of Edebiri and Sennott.

In three hours, Cameron turned this Avatar nonbeliever into a viewer who can’t wait for a new sequel every two years. Avatar: The Way of Water truly feels like a fresh start for this series, as Cameron and his team address the weaknesses of the first film, improving the script and characters, while also creating one of the most extraordinary experiences one can have at the theaters.

As a live-action film, The Peasants would’ve been a grand achievement, but by taking the time to animate these frames and add that extra texture to this story, the Welchmans have made one of the most impressive animated films of the year by far.

Some might criticize Tancred’s approach to this mystery, which meanders, goes on tangents, and follows several red herrings over the course of its two hours. Yet it’s precisely that free-flowing style that makes Last Stop Larrimah so unique.

With a great lead performance by Kravitz, a plot that—like the KIMI device itself—is persistently upgrading and shifting, and a shockingly optimistic story despite the fear of the technological world, KIMI is a shining example that Soderbergh is one of the best directors working today.

Emily the Criminal is an excellent example of how to make an effective thriller on a smaller scale.

Pomerantz’s screenplay is deceptively complex, yet it’s pulled off effortlessly. Pomerantz is presenting ideas of self-discovery, lifelong friendships, confusion and uncertainty in who a person is, and handling all this in a remarkably entertaining and endearing story.

Figgis’ Megadoc is an engrossing look at one of the biggest pet projects of all time, a film that lived in Coppola’s brain for so long and struggled to come to life on the screen effectively. Megadoc shows that while it's great to bring your passion to life, sometimes, it wasn't meant to be.

Despite its occasional flaws, The Brutalist is one of the most remarkable films of the year, and proof that Corbet is a fascinating filmmaker to keep an eye on.

Hoppers is an absolute delight, setting the bar high for animated films this year, while creating a film that reminds us just how amazing Pixar still is at making new, exciting worlds and stories, without relying on sequels.