By Gracyn Richardson
This cinematic year has offered a much needed breath of fresh air to the theater trekking community. Out of the movies that I took the time to watch this year, here is a list of notable films I saw this year.
Going in chronological order from the start of the year to the end, the first film that made its mark starts with Mimi Cave’s thriller “Fresh.” Though it debuted on Hulu, this piece deserved to be in the movies. The movie offers a grotesque take on a new age type of horror, which does involve bodily mutilation.
The movie has its scenes of suspense, but doesn’t solely rely on the impending weight to carry its scary ambiance. There were known themes of “capture” type films that carried in this, however it did not squander the entire piece. Following the first movie released, Ti West’s flick, “X.” Jumping forward a little in our linear line-up, this film’s review was featured in our previous issue, alongside its prequel that was released later in the year.
These Mia Goth led flicks haunt its audience in a lingering way. Perhaps it’s the clips from the movie that’s reused again and again on TikTok by Gen-Z posters, however the dialogue from the movies take the prize for uniqueness and catchyness. The films, specifically the prequel, “Pearl,” conceptualize girls, and others, gone mad from their environment. The scenes, sounds, and shots sit in the audience’s mind well after the credits roll.
Close after West’s release, Dan Kwan and Daniel Scheinert dropped the film of the decade. “Everything Everywhere All At Once” humbles, uplifts, reprimands and demands extreme and all attention from its audience.
The movie experience in and out of the theater has to affect the overall sound experience. There’s a factor about being a theater versus your living room, in a theater you’re virtually rendered bodily useless in the pitch black. Allowing yourself to give your full, undivided attention to the screen is what “Everything Everywhere All At Once” encourages from you.
From the plot, to the symbolism, the cinematography, the soundtrack, the characters, the actors–the entire movie causes a response from the audience. Whether it be an existential break or a boost of motivation to change your life, the movie beckons for self reflection. It is a sight for all to see.
The next notable piece I watched was icon Jordan Peele’s movie, “NOPE.” Expecting big political expression following his last movies, my excitement was turned on my head and slapped across my face after watching the film.
The political undertones of this piece are wearing very different colors and not hiding in plain sight. The symbolism and cinematography is what makes the piece so good. The connections that the audience makes between characters also brings the watchers into the piece even more.
Moving forward, following Peele’s film, Halina Reijn pumps out thriller, “Bodies Bodies Bodies.” The Gen-Z slasher movie features movie declared, “himbo,” Pete Davidson, as well as a handful of other young faces that step into the classic, stereotypical slasher roles. The movie was criticized for relying too heavily on the appearance of the women in the film rather than its plot, when the characters are acting in the same terms as beloved Y2K actors.
Overall, a hilarious and nail-biting flick.
Moving into the early autumn releases, Dan Tratchenberg’s “Prey” gives us all the answers that we have been looking for since the first movie of its franchise debuted in 1987, “Predator.” The movie features a young, Native girl and her skills taught within her culture. The film is beautiful, the scenery Tratchenberg has set the movie in hypnotizes its audience.
The heart-thumping film is one to spend an evening indulging in. The next film that Pathfinder readers may recognize is Zach Cregger’s piece, “Barbarian.” Out of all of the horror movies that I watched this year, this one takes the cake. The plot set up is the shining element of the piece.
Much like a puzzle that is split up into three different parts that you can’t find the connective pieces to, to then find them all three sitting on top of each other under your table–this movie has that feeling. The audience reels for a vast majority of the time spent in front of the screen, thinking, “what is actually going on?”
But almost in “I see dead people” fashion, everything comes together. The feeling is relieving but also humbling.
I am looking forward to watching more movies in 2023. Hopefully they all have the elements that this year brought, and more.