With 2023 winding down, it is time for my annual list of the ten best movies (at least ten years old) that I watched this past year. As always, this is not a list of the best movies ever, just those I chose to watch in 2023. I ranked the top ten, but the order doesn’t matter as much as the “tiers,” which I separated into five groups: I) Cinematic Masterpieces, II) Great Films, III) Just Good, IV) Flawed But Watchable, and V) Disappointing (Don’t Bother). The ordering of films within each tier are interchangeable. [Use JustWatch.com to see if/where these films are currently streaming.]
Tier I: Cinematic Masterpieces
1. Aguirre, the Wrath of God (1972) – Directed by Werner Herzog
This is an amazing piece of cinema. It feels like a documentary following actual Spanish conquistadors in the 16th century searching for El Dorado. The opening shot is stunning, as hundreds of people descend a steep mountain trail carrying all their supplies. With so many of today’s movies shot on green-screen using CGI, the verisimilitude of this film was a breath of fresh air—literally. You feel like you are there in the verdant jungles of the Amazon with the actors—because the film was shot on location in the jungles of the Amazon. As a result, you feel the same constant dread that the crew felt, of trekking into the complete unknown, not knowing what danger may be lurking in the thick forest or around the next river bend.
The film captures such an interesting point in history, of Europeans first exploring the New World and encountering the indigenous people who lived there. With no shared language or culture, it must have been akin to making first contact with an alien species. There are good and bad that came from these encounters, and the film explores both in a non-didactic way.
Aguirre was a clear influence on Apocalypse Now: a foreboding journey deep into the jungle, into the unknown. The ethereal electronic soundtrack adds to the atmosphere. Roger Ebert wrote in his review: “They conclude not in an ‘ending’ but in the creation of a mood within us — a spiritual or visionary feeling. I believe he wants his audiences to feel like detached observers, standing outside time, saddened by the immensity of the universe as it bears down on the dreams and delusions of man… [Herzog] does not want to tell a plotted story or record amusing dialog; he wants to lift us up into realms of wonder.” I could not have said it better myself.
2. Le Samouraï (1967) – Directed by Jean-Pierre Melville
A French neo-noir masterpiece about a hitman and a police detective in a cat-and-mouse game, full of twists, turns, and double-crosses. Le Samurai was massively influential, having been copied by countless inferior movies since. The attention to detail is amazing as you follow the hitman closely through each step he takes to conduct his crime, get away with it, create alibis, and evade the police—plus the criminals who hired him. Jean-Pierre Melville is an auteur director, infusing the film with style and virtuoso sequences consisting of little to no dialogue that leave you utterly absorbed and on the edge of your seat. Melville said, “I’m not interested in realism. All my films hinge on the fantastic. I’m not a documentarian; a film is first and foremost a dream, and it’s absurd to copy life in an attempt to produce an exact re-creation of it.” He tells the story visually through images and sound—which is the power of cinema, what movies can do but books cannot (though books have a unique power of their own). There is no boring exposition where everything is spelled out, instead they “show, don’t tell” and assume the viewers are smart enough to figure it out. Le Samurai is pure filmmaking at its absolute best.
3. The Exorcist (1973) – Directed by William Friedkin
[I wrote all about this movie in my October post, “Excavating The Exorcist“]: The Exorcist is often hailed as “the scariest movie ever made.” It has a grounded realistic feel, thanks to Friedkin’s documentary background and “unconventional” directing tactics. Some of the most disturbing parts of the film are actually the purely scientific scenes of Regan receiving ordinary medical treatments. In 1973 people literally passed out and vomited in the theater because of how shocking and horrific the movie was. Protesters wanted the film banned. Fifty years ago The Exorcist might have been truly frightening, but modern horror audiences now laugh at the film and think it is “boring.” Post-internet, people have been desensitized to vulgar language and visceral violence. The Exorcist is no longer the “scariest” movie ever made, but it remains one of the best movies ever made. [Read the rest of my review of The Exorcist and its sequels here.]
4. Michael Clayton (2007) – Directed by Tony Gilroy
I saw and loved this movie around the time it first came out, but it’s been a while, and Tony Gilroy’s Andor made me want to go back to re-watch this. Michael Clayton is a perfect thriller, a modern classic reminiscent of The Parallax View, but instead of the world of politics, it is a corporate corruption conspiracy. George Clooney plays a fixer for a law firm involved in a class-action lawsuit against a large agrochemical corporation. He’s a “janitor” who cleans up messes but becomes part of a mess that must be cleaned up by other, more ruthless janitors. The details feel too real, like Gilroy got inside knowledge about how the dirty work in the world of high-stakes business and politics is actually done. The nonchalant way in which hitmen kill their targets and make it seem like an accidental death is chilling. Tilda Swinton’s character is an example of how leaders of institutions (both corporate and political) become slaves to the institution itself, driven by success at all costs, dehumanizing any people in their path. I loved the story construction of opening with a flash-forward then returning to that same scene at the end but with a new understanding. The writing and acting are both top-notch.
Tier II: Great Films
5. Frantic (1988) – Directed by Roman Polanski
This is an underrated movie directed by Polanski, starring Harrison Ford—sort of like Chinatown meets The Fugitive. Ford plays an American doctor on a business trip to Paris with his wife, and upon arriving at their hotel, she disappears. He goes on a labyrinthine journey through the Parisian underworld to find her. It’s a great mystery that starts seemingly simple, but layer upon layer of the onion is slowly peeled away to reveal (without spoiling too much) a complex international conspiracy.
6. The Duellists (1977) – Directed by Ridley Scott
I’m a big fan of Ridley Scott but I had never seen this movie, his directorial debut. It’s a period piece set in Napoleon-era France, with an episodic plot following two military officers who hold a bitter feud toward each other. The bitterness was started by Feraud (Keitel), but due to the honor culture of that era, when challenged to a duel, you must accept. d’Hubert (Carradine) is honorable, so the two men fight in a series of duels over a span of decades, using both swords and pistols. I sought this movie out as I was writing my own fictional story about dueling. Duels may seem a barbaric practice to modern people, but it was an honorable method of settling disputes that actually promoted more civility in society. You would not see such an abundance of lies, slander, and insults being hurled around today if you could be challenged to a duel for saying it.
7. Shutter (2004) – Directed by Banjong Pisanthanakun & Parkpoom Wongpoom
A genuinely scary horror movie from Thailand. After a hit-and-run accident late one night, a photographer begins to see a ghost of the victim in his photos. The filmmakers creatively use the clever gimmick of only being able to see the ghost on physical photographs. Shutter has a great story on top of the scares with surprising twists and turns.
8. Hellraiser (1987) – Directed by Clive Barker
This is a classic 80s horror movie that has been on my to-watch list for a while, and I finally saw it for the first time this year. I did not know anything about it beforehand, other than the images of Pinhead. I assumed he was the major villain, but he is barely in the movie. Most of the story is more of a family drama that takes a horrific turn, then Pinhead and other Lovecraftian god-like entities enter the story at the end. I liked that turn toward cosmic horror, though I would have liked even more of it. I assume they go further into that mythology in the sequels.
9. The Sunset Limited (2011) – Directed by Tommy Lee Jones
Based on the play written by Cormac McCarthy, this entire movie is just two men talking in an apartment room—yet it is utterly fascinating. It is an intense conversation between an atheist professor (Tommy Lee Jones) who just tried to commit suicide by jumping in front of a train, and the Christian ex-convict (Samuel L. Jackson) who saved him. They talk about the biggest questions in life regarding philosophy, science, and religion. This movie is all about the acting of those two great actors and the writing of the late great Cormac McCarthy. (PS: I randomly happened to watch this the day before Cormac McCarthy passed away. RIP)
– I ain’t a doubter, but I am a questioner.
– What’s the difference?
– A questioner wants the truth. A doubter wants to be told there ain’t no such thing.
10. Ringu (1998) – Directed by Hideo Nakata
I saw and reviewed the American remake of The Ring a few years ago, but this was my first time seeing the Japanese original. They are both great. The Japanese version is subtler, more of a mystery than overt horror. There are few scares until the very end. The horror is more cerebral than visceral, as they use no jump scares or manipulative music, whereas the American version does and is therefore much scarier, with a higher budget and better visual effects. Both versions are good for different reasons, depending on what you’re looking for. But really, all credit goes to Koji Suzuki, the author of the original novel that all the Ring movies and their sequels and remakes are based on. It is an absolutely brilliant premise for a horror story: if you watch the cursed VHS tape, you will die in seven days—unless you share it with someone else.
Honorable Mentions (still Tier II, now listed alphabetically)
The Believers (1987) – Directed by John Schlesinger
A horror noir film, similar to Angel Heart and Rosemary’s Baby, about a secret cult among the elites in New York City, involving Santeria, black magic, and human sacrifice. The story follows a psychologist whose young son is targeted to be the next victim of the cult.
Bringing Out the Dead (1999) – Directed by Martin Scorsese
This is one of the few Scorsese films I’d never seen before. He reunited with Taxi Driver screenwriter Paul Schrader, and there are some similarities between the films. They could have called this movie “Ambulance Driver,” as that is the profession of the protagonist played by Nicolas Cage, following his descent into madness as he is haunted by the death and chaos he encounters on the streets of New York City. Just as Taxi Driver captured NYC in the 1970s, this serves as a good time capsule for NYC in the 1990s. I’m surprised the film doesn’t get more acclaim. It’s not on the same level as first-tier Scorsese (Raging Bull, Taxi Driver, or Goodfellas), but it is firmly in the second tier (which is above the first tier of most other directors).
Living in Oblivion (1995) – Directed by Tom DiCillo
I saw this film years ago in my college screenwriting class. It’s a low-budget indie movie about people making a low-budget indie movie where everything goes wrong. It’s deliberately over the top but displays just how difficult it is to make a good movie because of the cast, crew, and other elements outside the director’s control. Also it’s remarkable how much Steve Buscemi has aged and how little Peter Dinklage has (no pun intended).
The Medusa Touch (1978) – Directed by Jack Gold
A hidden gem of a horror noir, (again) one of my favorite genres. A detective investigates the stabbing of a writer who seems to have telekinetic ability and uses it to kill his enemies and cause disasters, such as plane crashes (including one scene eerily prophetic of 9/11).
Storytelling (2001) – Directed by Todd Solondz
It is hard to believe 2001 was over 20 years ago—then again, when you compare the culture then to now it seems like a completely different world. Pre-social media, art was edgier then, as apparent in this film. Storytelling would never be made today, pre-canceled in the script stage for being too “problematic.” That would be a mistake. The film pushed the boundaries by confronting the most controversial social issues of its time, which is always needed in art.
You’re Next (2011) – Directed by Adam Wingard
A home invasion slasher with a good plot, inventive kills, and surprising twists.
Tier III: Just Good
The Accidental Tourist (1988) – Directed by Lawrence Kasdan
A drama about a man finding new love after the loss of his son and divorce, though Geena Davis’s character felt like too much of a manic pixie dream girl.
Dark Passage (1947) – Directed by Delmer Daves
A classic film noir starring Humphrey Bogart. He escapes prison after being wrongfully convicted of murder then gets plastic surgery to change his face. Before the surgery, they use clever camera work to avoid showing his identity, which felt jarring, like too much of a gimmick. It would have been better to just use another actor or have him wear a mask or makeup.
Dominion: Prequel to the Exorcist (2005) – Directed by Paul Schrader
Exorcist III: Legion (1990) – Directed by William Peter Blatty
Read my full reviews of The Exorcist sequels here.
Friday the 13th (1980) – Directed by Sean S. Cunningham
I had never seen this classic horror movie despite it permeating popular culture. I had no idea that [Spoiler Alert] Jason Voorhees as the hockey-masked killer doesn’t even appear in this movie—except for… (I won’t spoil how or when because it is a great jump scare.) The hockey mask only appears in the sequels, so I was surprised by the twist of who the true killer was. This film is pure visceral horror as opposed to the type of cerebral horror I prefer, but it is at least a well-made slasher film with some inventive kills.
After watching the first Friday the 13th movie and finding it mediocre, I had no desire to watch any other films in the series. But while doing research for my Time Zone Weird piece “Camp Blood Gore Tour,” I wanted to watch at least one movie that featured Jason Voorhees as the killer in a hockey mask. I saw parts IV and VI, which would both also be in this tier, but I’ll wait to do a full review of the entire series until I have seen all twelve.
Get Carter (2000) – Directed by Stephen Kay
I am shocked by how poor the reviews were for this movie (a mere 5.1 on IMDb and 11% on Rotten Tomatoes). It’s no masterpiece but it is a solid neo-noir, starring Sly Stallone as a Las Vegas mob enforcer who returns home to Seattle after his brother’s suspicious death and begins to investigate who might have killed him. The mystery plot is twisty and turny, like all good noirs. Stallone received a Razzie for this film, but I thought he was perfect in his role as an antihero muscle for the mob who is trying to go good. The villains are great: Mickey Rourke as an online porn kingpin, Alan Cumming as a tech-bro billionaire in the dot-com boom (one of the earliest versions of what would become a cliché character. It’s like Zuckerburg watched this movie in high school and took notes from Cumming on how he should behave in real life), and Michael Caine, who was in the original Get Carter, which is supposedly much better (though I have not seen it). That may be why the reviews are so poor—viewers were comparing it to the original film and expected something different. I said “villains” but like most noirs, the line between the good guys and the bad guys is blurred. Another reason for the poor reviews may be the style of the editing and music, which had a late-90s high-tech aesthetic. It might have felt too jarring then, and it feels kind of dated now, though I have great nostalgia for the late 90s, so I loved it. The movie now feels like a period piece that perfectly captures the vibes of the late 90s. Get Carter (2000) is more interesting 23 years later looking back than it probably was at the time.
Logan’s Run (1976) – Directed by Michael Anderson
This is a fantastic concept for a movie: set in a futuristic “utopian” society where everyone dies at the age of 30. But the acting, costumes, hair, and special effects all felt dated. I would have liked to have seen Nicolas Winding Refn’s remake with Ryan Gosling, but it now looks like that won’t be happening.
Miami Blues (1990) – Directed by George Armitage
Alec Baldwin plays a lone wolf who arrives on a flight to Miami after a stint in prison and immediately gets back to his criminal ways by causing havoc throughout the city. It is an interesting character study of a psychopathic criminal who is somewhat likable due to his charisma and eccentricities. He has a Robin Hood streak in him, stealing from other thieves and drug dealers—though he keeps the goods for himself. He seems to get a kick out of robbing people and hurting them, even when he doesn’t need to. He starts a relationship with a hooker with a heart of gold, but you can tell it won’t end well. He just can’t help himself from taking unnecessary risks and getting into trouble. He beats up the detective investigating him, steals his badge then impersonates him, pretending to be a vigilante cop to steal from crooks. He seems destined to either return to prison or die an early death, but while free he lives it up like someone playing Grand Theft Auto, treating the world like his personal playground with no rules, where anything goes. (PS: Considering how many people he shot in this movie, you’d think Baldwin would be more experienced with movie guns.)
Rare Exports (2010) – Directed by Jalmari Helander
A unique Finnish horror movie that features a darker take on the mythical lore surrounding Christmas. It is almost Lovecraftian, similar to At the Mountains of Madness, as miners dig up something buried under the snow in a mountain and unleash the monster that is…the Santa Claus.
Wendigo (2001) – Directed by Larry Fessenden
A solid low-budget horror movie about a couple and their young son from NYC going upstate for a weekend. After they accidentally hit a deer with their car, they encounter an angry and possibly psychotic local hunter, while they are all haunted by the “wendigo“, an evil spirit from Native American mythology depicted as a human/deer hybrid monster.
Tier IV: Flawed But Watchable
A Very Harold & Kumar Christmas (2011) – Directed by Todd Strauss-Schulson
I saw and liked the original Harold & Kumar Go to White Castle when I was in college, the perfect age for such a movie, but I never saw this, the third film in the series. It is an absurdist comedy featuring a scene with a toddler getting high on cocaine. There are some laugh-out-loud moments, but overall it is too dumb to recommend. The movie is an interesting cultural artifact from the early 2000s. It was made by progressive liberals (Kumar left Hollywood acting to work for Obama’s White House administration), meant to offend religious conservatives—and it still will. But today it will also offend most liberal progressives, as much of the comedy will now be considered too “problematic.” Remember when Obama was elected in 2008, he was against same-sex marriage. Culture changes fast.
Dragonslayer (1981) – Directed by Matthew Robbins
A decent fantasy adventure. George R.R. Martin must be a fan because he took half the names for Game of Thrones from this movie.
Exorcist II: The Heretic (1977) – Directed by John Boorman
Mimic (1997) – Directed by Guillermo del Toro
Decent special effects and moments of horror, but the story was lacking.
The Pit and the Pendulum (1991) – Directed by Stuart Gordon
A mediocre movie that strays from the Edgar Allan Poe story. It was certainly inspired by the story, and the end had a scene with the pit and the pendulum, but the entire movie up until that point was an invented story with new characters that were not as compelling as Poe’s short tale. It was about a sadistic evil Spanish Inquisitor arresting, torturing, and killing women whom he suspected as witches.
The Rite (2011) – Directed by Mikael Håfström
Not a terrible movie, but an inferior ripoff to The Exorcist. Worth watching for Anthony Hopkins’ zany performance while being possessed.
The Woman in Black (2012) – Directed by James Watkins
This ghost story starring Daniel Radcliffe was slow and boring with too many jump scares.
Tier V: Disappointing (Don’t Bother)
The Barrens (2012) – Directed by Darren Lynn Bousman
I was interested in seeing a movie about the Jersey Devil, but this was a low-budget D-grade horror movie with poor acting.
The Ring Two (2005) – Directed by Hideo Nakata
This was a step below the first Ring movie, both the Japanese original and the American remake. The Japanese original made sense story-wise, as it was about a certain time and place. But with the American version, the sequel particularly, they try to expand the video and the “woman” to the entire world, and it just doesn’t quite make sense. This film has the same problems as The Exorcist II. It takes what should be a more terrifying cosmic type of horror and turns it into a petty personal drama. The brilliance of the first film was anybody could see that video and they’d be screwed. But in part 2, the video doesn’t even matter anymore (except for the opening scene)—it’s just Naomi Watts and her son who are screwed. The movie wasted the brilliant concept of the haunted video.
T.Z. Barry 