The first few months of the year is a good time for resolutions, renewal, and taking stock of life, but it’s often a slow time for new movies. The streaming era has changed that calculus — a novelty-hungry home-viewing audience doesn’t much care about the season, so more release houses are slipping interesting movies onto VOD or even bringing them to theaters during a season when they’ll face less competition.
And then there are always the little gems that were never intended for a blockbuster audience, and the compelling surprises we weren’t expecting would move us. So even though it’s still early in the year, we’ve started a survey of which 2022 releases have excited us most, from big action-adventures to small indie genre movies. All of these are worth a watch.
Below you’ll find entries are in reverse order of release: The most recent releases are first, so it’ll be easy to see the newest additions to this list. We’ll be updating it throughout 2022. We’ll also be doing the same for the best games, the best anime, and the best TV shows of 2022.
This delightful adaptation of Pride and Prejudice brings Jane Austen’s classic story to the gay vacation destination Fire Island. Comedian Joel Kim Booster wrote the movie and stars as Noah, the Elizabeth Bennet of this story. Noah and his friends travel to Fire Island every year to vacation for a week, but this year appears to be the last. Noah’s best friend, Howie (Bowen Yang, playing the Jane Bennet role here), has never been in a relationship, and Noah makes it his mission to get Howie laid this week. When the pair meet a group of rich guys also on vacation, tensions flare as some hit it off and some don’t.
Fire Island is the rare straight-to-streaming movie that doesn’t look like a cheap TV show, and director Andrew Ahn relishes the beauty present in both the people and the scenery. Every member of the cast is hilarious, with Booster and Yang earning the recognition they’ve already received for their particular takes on these long-explored roles. But for me, Conrad Ricamora as the Mr. Darcy of this world steals the show. While the other characters get lines filled with jokes and gags, Ricamora has to bring out the humor and charm in his character from moments of self-seriousness. It’s an impressive feat, and one that easily could have gotten lost under some of the energetic performances he’s acting across. Instead, it’s a star-making role in a lovely 105 minutes. —Pete Volk
Fire Island is available to watch on Hulu.
Top Gun: Maverick
“The sequel was so much better than the original” isn’t something movie fans say or hear often, but it’s true in the case of Top Gun: Maverick, a 36-years-later check-in on the high-flying 1986 action movie that gave Tom Cruise the need for speed. Cruise is back as Pete “Maverick” Mitchell, the Navy test pilot who continually lives up to his name by breaking rules, flouting superiors, and charting his own course.
But Top Gun: Maverick walks far enough away from Top Gun’s testosterone-scented smugness to consider the cost of the Maverick life: namely, reaching a point where a fed-up military is ready to put Mav out to pasture, and he has to settle for teaching a class of up-and-coming fliers, some of whom as are as cocky and off-putting as he used to be. Maverick is an intense action movie where the actors really are flying planes and filming themselves in the cockpits, and even though the ending is a foregone conclusion, director Joe Kosinski pulls off plenty of breathless “Is this where they all die?” action. But the film is more interesting and more satisfying for its emotional elements, which include a tearjerking salute to (and premature goodbye to) visibly ailing Top Gun star Val Kilmer, and Maverick making it clear that he still keenly feels the loss of his wingman Goose more than 30 years later. —Tasha Robinson
Top Gun: Maverick is currently in theaters.
Hanna Bergholm’s debut feature film is a shocker — a horror movie that’s partly about living a fake life online for an anonymous audience, partly about adolescent growing pains, and partly about fraught family relationships, but with all those ideas filtered through the body of a hideous, murderous monster. The Finnish fairy tale, scripted by Ilja Rautsi, has a 12-year-old gymnast living to please her mother, who carefully curates every aspect of her family’s existence for a video lifestyle blog called Lovely Everyday Life. But then the protagonist nurtures and protects a woodland monster out of folklore, something dark and destructive that represents everything her mother is trying to erase in her. The conflict is heavily symbolic, but it’s also visceral and messy. And thanks to a Lucasfilm animatronics guru and one of the makeup team behind Heath Ledger’s Joker in The Dark Knight, its monster is a memorable standout. —TR
Few things go better together than Vikings and revenge, and The Northman is the perfect proof. Drawing inspiration from the same Norse myth that inspired Shakespeare’s Hamlet, director Robert Eggers (The VVitch, The Lighthouse) has created a historical epic of the sort we rarely get to see anymore. The story follows Amleth (Alexander Skarsgaard) as he seeks revenge against his Uncle, who murdered his father and usurped his throne.
The Northman is a brutal movie, but among Amleth’s epic battles and lava-soaked duals, there’s a surprising heart and humanity, giving the character more compelling motivation than most revenge movies manage. Eggers brings this balance to every aspect of the movie, whether it’s the beauty and harshness of the Icelandic landscape, or combining incredibly detailed realism with the more operatic side of Norse cosmology. With this careful symmetry of real and surreal, The Northman is about as close as any movie has come to bringing the fantasy of myths to a live-action film. —Austen Goslin
The Northman is available to watch on Peacock.
We’re All Going to the World’s Fair
Writer-director Jane Schoenbrun has created something truly special: a coming-of-age horror film for the generation that grew up too online. We’re All Going to the World’s Fair communicates the excitement and fear that accompany creating a new self on the internet, as well as the excitement and fear of encountering others online who think they know you.
Casey, an internet-obsessed lonely teenager (Anna Cobb, in an unforgettable feature film debut), stumbles across The World’s Fair Challenge, a horror-themed online challenge that promises physical changes to those who take part. Casey begins to create videos of her participation in the challenge, opening the door to new experiences (and spectators) in her physical and virtual lives.
With effective use of creepypasta aesthetics (including striking collaborations with real YouTube creators), We’re All Going to the World’s Fair is an unsettling, immersive internet horror experience that is at once new and familiar to those who have visited these remote corners of the internet. Schoenbrun’s feature debut is one to remember, and they’re a filmmaker to keep an eye on as new projects emerge. —PV
Ambulance follows two brothers who steal an ambulance after a botched bank heist and lead the Los Angeles Police Department on a chase across the city, all with a couple of accidental hostages in the back. The robbers are played by Yahya Abdhul Matteen II, who brings a sympathetic presence to the high-stakes chase, and Jake Gyllenhaal at his unhinged best. But it’s action director extraordinaire Michael Bay who is the real star of the show.
After ten years in the dark dungeons of Transformers sequels, Ambulance is the best version of Michael Bay. The movie has all the hallmarks of Bay’s best work, like The Rock and Bad Boys, mixed with the mastery of new technologies that he’s shown in more recent works like 13 Hours. Drone cameras soar through car chases, hand-held shots give us an up-close view of panicked amateur-surgery, and every explosion looks incredible. Does every ounce of the story make perfect sense and conform to the laws of reality? No, it absolutely does not. But it is a tremendously fun 2-hour long car chase, and we wouldn’t have it any other way. It feels good to have Bay back at the top of his game. —AG
Ambulance is available to watch on Peacock.
Everything Everywhere All At Once
People who only know filmmakers Daniel Kwan and Daniel Scheinert from their tongue-in-cheek 2016 indie-movie parody Swiss Army Man — yes, that’s the one where Daniel Radcliffe spends the whole movie as a vomiting, farting corpse — may be surprised at the sheer scope, scale, and ambition of the writer-directors’ new movie Everything Everywhere All At Once, which absolutely lives up to its name. It’s a wild, winning multiverse comedy slash kung-fu epic about a depressed laundromat owner (Michelle Yeoh) who’s called on to save billions of alternate universes from evil, but that only scratches the surface of what the Daniels are out to achieve.
Part metaphorical attempt to reckon with the chaos of the internet age, part life-affirming argument against despair, and part reckless absurdist action movie, it’s simultaneously hilarious and touching, an impressive special-effects experiment and a tremendous mental reboot on the order of The Matrix. This is the only movie you’ll see this year (or probably ever) where one man gets beaten to death with oversized floppy dildos, while another changes the world with the Kurt Vonnegut-derived message “Be kinder to each other.” —TR
Everything Everywhere All At Once is currently in theaters.
You Won’t Be Alone
A story about a young witch that uses her power to shapeshift to live among humans in a small village, You Won’t Be Alone is a folkloric tone poem that uses horror as a form of yearning. As villagers disappear and the film’s protagonist replaces them, You Won’t Be Alone drifts into a dreamy, Terrance Malick-esque rumination on gender, community, and memory. Grotesque and lovely, You Won’t Be Alone lingers in the mind, wistful and aching, longing to wear your skin. —Joshua Rivera
You Won’t Be Alone is available to watch on Peacock.
RRR is the biggest, loudest, and most bombastic movie that’s likely to come out in theaters this year. The movie’s historical fantasy follows two Indian men on opposite sides of the country’s British occupation in the 1950s — or so they think. Both acting on parallel secret missions, the two men end up bonding over their bravery and strength and forming a friendship great enough to free the entire country.
RRR features fantastic dance sequences, and tremendous fights and stunts including more than a few battles against various creatures of the Indian jungles. But it’s also an incredibly earnest movie without a drop of cynicism in sight. In other words, it’s a welcome antidote for most American blockbusters. —AG
The new slasher X is the best Texas Chainsaw Massacre movie of 2022. Set in 1979, writer-director Ti West’s loving homage to all things exploitation cinema follows a porno director and his cast as they head to a small farm in Texas to shoot their next movie. Unfortunately, the farm’s owners don’t approve one bit of the filmmakers’ immoral ways, and that results in a lot of blood and guts. There’s sex, murder, quite a few uncomfortable scenes, and every minute of it is a film-grainy, old-school blast. —AG
The Long Walk
Laos’ first and only female film director, Mattie Do, makes ghost stories: movies where characters interact with the dead and learn from them, but pay a price for that knowledge. Some of the themes of her debut feature Chanthaly (which she’s posted on YouTube) and her followup, Dearest Sister (streaming on Shudder) get fuller, richer development in The Long Walk, a genre mashup that’s part time-travel story and part serial-killer story, but still keenly involved with the spirits of the dead, and how they both express their desires and enable the desires of living people.
A Lao hermit living in a tech-oriented future periodically travels 50 years into the past and intervenes in events in his own traumatic childhood, with the help of the ghost of a woman who died in the nearby forest when he was a kid. These are bold, striking elements that don’t entirely seem to fit together, but The Long Walk is exquisitely constructed in a way that reveals its puzzlebox methods slowly, building toward an emotional end that ties all its genres, timelines, and threads together in a startling, impressive way. —TR
The Long Walk is available for rental or purchase on Amazon and other digital platforms.
Jujutsu Kaisen 0
MAPPA’s adaptation of Jujutsu Kaisen, Gege Akutami’s supernatural dark fantasy action manga, quickly earned its place alongside the best anime series to air in 2020 and 2021. It comes as no surprise, then, that Jujutsu Kaisen 0 — the feature-length prologue to the series helmed by returning director Sunghoo Park — would carry on that momentum even further. Set one year before the events of the anime, Jujutsu Kaisen 0 follows the story of Yuta Okkotsu; an unlucky soul who, much like series protagonist Yuji Itadori, finds himself the unwilling host of the immensely destructive cursed spirit in the form of his deceased childhood friend Rika. Following a grisly massacre, Yuta is taken under the wing of Jujutsu sorcerer (and noted anime heathrob) Satoru Gojo, who teaches him how to hone his supernatural powers in humanity’s ongoing fight against cursed spirits. As to be expected, the action is electrifying; with swift punches, bright flashing power moves, and grotesque hulking enemies.
Yuta’s personal journey parallels well with that of Yuji, making for a relatable protagonist who’s easy to cheer on and root for. Though the movie as whole is the kind of “prequel” that benefits from prior knowledge of the series it precludes, Jujutsu Kaisen 0 is nevertheless an exciting watch that more than merits inclusion among the best animated movies to come out of 2022. —Toussaint Egan
Jujutsu Kaisen Zero is currently in theaters.
It’s hard to look back fondly at the painfully awkward middle-school years, but Pixar’s Turning Red considers the tumultuous ups and downs of early adolescence without flinching, and with an astonishing amount of love. Domee Shi, who directed 2018’s Pixar short Bao, makes her theatrical debut with this one-of-a-kind movie that envelopes quirky magic, cultural specificity, and most of all, an absolute love for young girlhood in all its messy glory.
Thirteen-year-old Mei discovers that she turns into a gigantic red panda when she’s overwhelmed by strong emotion — a quirk all the women of her family have been burdened with since ancient times. Mei struggles to control the panda just as other family members have, but she also starts to discover her own identity outside of her family, and to embrace that side of herself. The giant-red-panda-sized emotions she feels at the cusp of adulthood translate into giant emotions for the audience, who can look back on that pivotal time of their lives where everything felt like so much all at once. Turning Red balances those deep emotions with some charming humor and genuine sweetness, and it’s one of the best and most unique films in Pixar’s canon. —Petrana Radulovic
Turning Red is available to watch on Disney Plus.
Matt Reeves’ reboot of the Dark Knight isn’t as bold as it might be, but it sure is stylish. A long, slow-burning mystery in the vein of David Fincher’s Seven, The Batman infuses a familiar story with darkly beautiful imagery and magnetic performances from stars Robert Pattinson and Zoë Kravitz. When it isn’t too enamored with ideas already explored in Christopher Nolan’s Batman trilogy, The Batman lays exciting groundwork for a richer, stranger sort of Batman movie, which will hopefully materialize as a sequel reuniting everyone who made this one such a pleasure to watch. —JR
The Batman is currently in theaters and on HBO Max.
The latest from Columbus director Kogonada, After Yang is a melancholy science fiction movie that balances the question of how we should think about artificial life with the more intriguing question about how it should think about us. Colin Farrell and Jodie Turner-Smith star as adoptive parents raising a young Chinese girl, with the help of a “technosapien” — an android programmed as her language tutor, cultural advisor, and big brother. When his systems fail, the family goes through exactly what they’d experience at the death of any family member, with the added question of what his death tells them about their lives and relationships. It’s a small, quiet, meditative film, but it’s visually rich and packed with ideas about prejudice and assumptions, cultural assimilation, and the way everyone is navigating an inner life that would astonish everyone around them. —TR
After Yang is available to watch on Showtime.
I Was a Simple Man
August at Akiko’s Christopher Makoto Yogi turns this ghost story into a slow-burn meditation on death, memory, and what lives on after we depart. As the elderly patriarch of a fragmented family (Steve Iwamoto, excellent in his first lead feature role) nears the end of his life, he’s visited by family in the present and ghosts from the past, including his long-deceased wife (Constance Wu). Intergenerational tensions arise as the ghosts of past conflicts return, too — squabbles and fights between family members long estranged, and historical conflicts around Hawaii’s path to statehood.
I Was A Simple Man takes us on this journey across different time periods and with evocative use of surrealism and dream aesthetics. A beautiful movie filled with stunning images of Hawaii’s gorgeous landscapes and rich textures, it won the Made in Hawaii Award for Best Feature at the 2021 Hawaii International Film Festival. I Was A Simple Man is an unforgettable experience that ventures to capture the final days of one life on Earth. —Pete Volk
I Was A Simple Man is available to watch on the Criterion Channel.
Edmond Rostand’s 1897 play Cyrano de Bergerac has been adapted for film many times in many ways, including as the modern-day Steve Martin/Daryl Hannah rom-com Roxanne in 1987, and the Toshirô Mifune action-drama Samurai Saga in 1959. As with Shakespeare’s Romeo and Juliet, its story about unrequited love (and arguably, complete romantic cowardice) resonates in any age, and crosses cultures easily. But there’s never been a production quite like this lavish movie adaptation of Erica Schmidt’s musical version of the play. Game of Thrones’ Peter Dinklage stars as Cyrano, a French soldier and poet in love with his childhood friend Roxanne (Swallow star Haley Bennett), but afraid to tell her because he’s certain she’ll reject him. When she falls for Christian (Luce’s Kelvin Harrison Jr.), a handsome newcomer in Cyrano’s regiment, Cyrano agrees to ghost-write Christian’s love letters to her, mostly so he can finally, fully express himself, even if she doesn’t know it’s him.
Joe Wright’s production is lush and glowing, with a soft visual warmth courtesy of his longtime collaborator Seamus McGarvey, cinematographer on his Atonement and Anna Karenina, among other titles. Dinklage’s singing isn’t very strong, but he still feels like he was born to play this pained, passionate swashbuckler, and the central trio all deliver fantastic performances that make this an authentic tearjerker. It’s a big-hearted project, full of outsized emotions that hit home powerfully. Don’t watch this right after a breakup, or after someone you’ve secretly longed for marries someone else. —TR
Hellbender tells the story of Izzy, a teenager who lives isolated in the woods with only her mother, who says Izzy has a debilitating disease and can’t be around other people. That isn’t quite true. The movie delicately balances Izzy’s perspective and her mother’s, working as a movie both about the struggles of adolescence and about the inherent terror of trying to raise a child well. But for all the virtues of its story, Hellbender’s greatest feat is how gorgeous it looks.
Created by a filmmaking family who produce, direct, and star in the movie, Hellbender is an early contender for 2022’s most visually striking horror film. Directors John and Zelda Adams and Toby Poser use forests, and the movie’s many mystic visions, for both serene beauty and creeping terror, swapping effortlessly between the two to match their characters’ fears and discoveries. —AG
Hellbender is available to watch on Shudder.
The protagonist of Steven Soderbergh’s tech-crime thriller Kimi moves through the world like she’s tapped directly into a power line, and is desperate to burn off all the excess energy. The movie operates at that same level of speed and ferocity. Essentially an internet-age take on Alfred Hitchcock’s Rear Window by way of Francis Ford Coppola’s The Conversation and Brian De Palma’s Blow Out (among many other cinematic touchstones), Kimi follows a Seattle tech worker who stumbles across evidence of a crime, and draws some dangerous attention when she tries to report it. Soderbergh and Panic Room screenwriter David Koepp strip that story down to its basics, jumping in and out of the action in a shockingly tight and stylish 89 minutes. The plot is simple and the ethos is go-go-go, which makes the film’s verve contagious and the action breathless. It isn’t deep, but it sure is fun. —TR
Kimi is available to watch on HBO Max.
(Update, 4/14: Farhadi has been accused of plagiarizing the idea of A Hero by a former student.)
Oscar-winning Iranian director Asghar Farhadi returns with another stunner, painting a beautiful, nuanced picture of a man in crisis. Amir Jadidi is phenomenal as Rahim, a charming man who simply can not get his life together, no matter how much his friends and family love him. When his girlfriend finds an abandoned handbag with gold coins inside, Rahim considers using the money to pay off his debt while out on a brief furlough from debtor’s prison. But after a series of events leads him to return the bag and money to a woman who says she’s the original owner, he becomes the subject of a local media frenzy for his charitable act.
A moving, challenging story about the difficulties of trying to do the right thing in an unjust world, A Hero is also a study of how difficult it is to pin down clear motives or objective truth, especially when facing a story filtered through layers of personal and organizational agendas. Even the truth about your own actions and motivations can be difficult to sort through. And if you do actually find it, is it actually for navigating the world? A Hero is a stirring, unforgettable work that should not be missed. —PV
A Hero is available to watch on Amazon Prime Video.
Just when you might think Disney’s permanently locked up the coveted title of “Best Animated Musical Rendition of the Beauty and the Beast Story,” along comes Mamoru Hosada’s Belle, which gives the “tale as old as time” a thrilling futurist spin. This anime feature from the director of Summer Wars, Wolf Children, The Girl Who Leapt Through Time, and Mirai re-imagines the classic fable as a conflict in a virtual-reality wonderland, where everyone’s digital avatars reflect their innermost selves. When withdrawn, mourning high-schooler Suzu enters the VR world, she becomes a beloved pop star, center of an energetic fandom — and equally energetic dismissal and criticism. Then she becomes obsessed with a mystery user whose avatar is a powerful, monstrous beast, and she starts trying to uncover his secrets.
This is a dizzying story that sometimes overreaches — Hosada is trying to take in everything from the addictive but destructive nature of online life to the importance of individual human connection, and there are so many threads (and romances, and secrets) that they aren’t all fully fleshed out. But it’s a heartfelt film full of big emotional beats and stunning animated sequences, and even if it doesn’t answer all the questions it raises, it at least seems determined to bring a familiar story to a bolder, brighter, more ambitious stage. —TR
Belle is currently in select theatres and is available for purchase on Apple and other digital platforms.