2023 has already produced many great films. See 10 now.
2023 is only five months old, but those who know where to look (or live in a place where AMC isn’t the only game in town) can already find a smorgasbord of cinematic delights.
Here we are with a list of the top 10 best movies of 2023 , which you can watch. Scroll down –These are the 10 best films of 2023 so far. New films will be added to this list throughout the year.
1. “After Love” (dir. Aleem Khan)
Mary (Joanna Scanlan) loved her Pakistani husband so much that she converted to Islam and lived a quiet life in rural England wearing a head scarf. Genevieve had a decades-long affair with a married man while raising his child. After Mary’s husband dies and Genevieve suspects her lover isn’t coming back, they’re drawn together by the shared experience of grieving the person you’ve given your life to and by the fact that they’re both obsessed with the same guy.
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Aleem Khan’s feature directorial debut is a slow, meticulous look at devotion and the gaping hole left when you lose the basket with all your eggs. It’s an imperfect film about the imperfect little relationships life often throws us into at our lowest points and a reminder of how certain types of people can affect us long after they’re gone. Scanlan’s nuanced lead performance makes the film a beautiful, jagged exploration of human messiness.
2. Air” (dir. Ben Affleck)
There are currently 37 different Air Jordan models. In American culture, Nike trainers are worn everywhere from basketball courts to runways. The movie “Air” starring Ben Affleck takes viewers inside the Nike HQ to learn about the shoe’s famous athlete namesake:
In 1984, Affleck portrayed Phil Knight. Knight enjoys taking chances, which makes him popular with Sonny Vaccaro (Matt Damon), the risk-taking basketball coach for the struggling company. What “Air” lacks in boldness it makes up for in sure-handed satisfaction, as this free throw of corporate fairytale hits every shot it takes from the line and has you pumping your fist at the prospect of millionaires becoming billionaires—as well as for the equity that Air Jordans earned for the athletes themselves, a profit-share model that Affleck extended to the entire cast of the movie.
3. “Are You There God? It’s Me, Margaret” (dir. Kelly Fremon Craig)
Kelly Fremon Craig’s film adaptation of Judy Blume’s most beloved book, “Are You There God?”, never talks down to kids or adults. It’s Me, Margaret” is an adaptation Blume resisted until “The Edge of Seventeen” director and her mentor and producer James L. Brooks pitched their idea to her. The film captures Blume’s book’s energy, wit, and charm.
“Are You There God?” is a beautifully specific story about a pre-teen girl eagerly awaiting her first period. It’s Me, Margaret” is a universal story about finding life’s meaning at any age. Blume’s books are magical because she examines her characters’ issues, even though they’re for kids and teens. Margaret’s mom worrying about reconnecting with her parents after they cut her off over her choice of husband and her sixth-grade daughter worrying about when she’ll need her first bra may seem like different issues, but here they’re all important, vital, and worthy of respect. Is God There? “It’s Me, Margaret” is the best Blume adaptation and a coming-of-age classic, a warm, witty, and inspiring film that is already one of the year’s best.
4. “Godland” (dir. Hlynur Pálmason)
Hlynur Pálmason, a writer-director from Iceland, studied filmmaking and raised a family in Denmark. His third and best film, “Godland,” is an arrestingly beautiful and philosophically imposing bilingual historical drama about human arrogance in the face of nature’s unforgiving prowess, colonial failures, and how these factors shape cultural identities.
As in “Winter Brothers” and “A White, White Day,” Pálmason’s latest follows Lucas (Elliott Crosset Hove), a 19th-century Danish Lutheran priest tasked with overseeing the construction of a church in a remote corner of Iceland, then part of Denmark. A terrifying and breathtaking journey of visual splendor and divine contemplation awaits.
5. “John Wick: Chapter 4” (dir. Chad Stahelski)
The “John Wick” franchise has grown from a revenge story for the death of a wife and the murder of a do to a global epic with dozens of characters and complex mythology. Chad Stahelski and Keanu Reeves return this franchise to its roots while expanding the world and story in its fourth installment. It’s the franchise’s best and one of the best American action films since “Mad Max: Fury Road.”
“Chapter 4” finally asks how far John Wick is willing to go for revenge, how many people he’s willing to endanger, and whether it was worth it. This is now about destroying a system Wick always resented for abandoning it, not killing his wife and dog.
Each setpiece uses different locations and crews to create unique fight scenes, and it’s fun to watch Keanu Reeves’ John Wick get out of breath, knocked down, and beaten up before getting up again. The Louvre should host the last arc, which features a fight in the Arc de Triomphe.
6. “Mars One” (dir. Gabriel Martins)
Simple tales can be epic. A boy wants to be an astronaut, a girl falls in love, and a father dreams of his son. Just life. “Mars One,” Gabriel Martins’ Brazilian film, humbles viewers. Why complicate storytelling when everyday experiences can be so moving?
“Mars One” follows a working-class family as they long for more, love each other, self-reflect, and struggle to make ends meet after Jair Bolsonaro’s election. “Mars One” gracefully weaves the stories of its four main characters into a touching family. They fight while remaining human. Martins strikes a narratively satisfying balance. Watching characters grow outside of most American dramas is refreshing. Heroes’ daily struggles to thrive are plentiful.
7. “M3GAN” (dir. Gerard Johnstone)
The best game in “M3GAN” is the most straightforward: Which odd human sucker will this murderous android kill first? (Trying to predict when M3GAN will start singing is a much less predictable but equally educational game.) And although the final death toll may be slightly lower than you might anticipate from a Blumhouse production, the audience can’t help but be delighted by director Gerard Johnstone’s film. For that, it was designed.
On stage is M3GAN! Or the hilariously evil “Model 3 Generative Android,” designed to play with and protect children but actually more interested in murdering them for sport. Why does Alison Williams’ desperate tech expert—clearly not someone who enjoys spending time with children—believe that her insane invention will become every kid’s new best friend? Despite their tenuous logic, Cooper and Wan manage to capture the madness of a world preoccupied with technological advancements. “M3GAN” is prepared to ascend and remain in the murder-doll pantheon. Oscars!
8. “Plan 75” (dir. Chie Hayakawa)
In Chie Hayakawa’s “Plan 75,” a scripted drama inspired by a 2016 mass murder at a Japanese assisted living facility, the Japanese government has created a social welfare program in which people over 74 can volunteer to be euthanized for $1,000. The program targets lonely pensioners with boring jobs who think leaving early might be more gracious than overstaying their welcome.
Plan 75’s passage placed an insurmountable burden on Japanese citizens of a certain age. Now they have to justify their existence to everyone they meet with every breath. To themselves. That kind of pressure could bend even the most loved and well-supported person in their twilight years, let alone a semi-frail and seemingly family-less hotel maid like Michi (Chieko Baisho). From the start of this movie, she will numbly fill out the paperwork and prepare for cremation.
“Plan 75” destroys the economic case for euthanasia without alienating supporters of merciful end-of-life care due to its contemplative approach and gentle argument. Hayakawa’s film’s soft dystopian depiction of a society that can soft-shoe around dehumanization and/or sell it as grace is scarier than its familiar depiction of a society that values output over dignity.
9. “Polite Society” (dir. Nida Manzoor)
British-Pakistani siblings Lena (Ritu Arya) and Ria (breakout star Priya Kansara) have always wanted to be their people, but as Lena’s dreams of being an artist fade, Ria’s dreams of becoming a world-class stunt performer become more important. She must use her ass-kicking passion to save the world.
Nida Manzoor’s first feature film is a hyper-creative coming-of-age story about fighting the patriarchy, gut-punching feminine expectations, “The Matrix,” Islam, martial arts, family dynamics, high school dynamics, fresh-pressed juice, romance, friendship, forced leg waxing, possibly evil hybrid alien babies, diplomacy, computer hacking, and one seriously cool convertible. But Manzoor’s stuffed-to-bursting “Polite Society” is held together by one haunting question: What happens when your best friend chooses her life path?
Ria experiences that when Lena marries a wealthy but untrustworthy doctor. She’ll die for her sister, even though her increasingly dramatic suspicions alienate her from everyone. The film’s profound emotion at the heart of that relationship makes it special.
10. “R.M.N.” (dir. Cristian Mungiu)
The personal tensions that pervaded Cristian Mungiu’s earlier works (such as “Beyond the Hills” and “4 Months, 3 Weeks, and 2 Days”) are extrapolated across an entire Transylvanian village in the poorly titled but expertly staged “R.M.N.” The outcome is a socioeconomic crucible that deftly shifts its weight to the same foot Mungiu always likes to rest on your throat: an overly broad tale of timeless xenophobia baked full of local flavor and set right on the cusp of the 21st century.
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Bullheaded Matthias (Marin Grigore) is forced to return to his economically depressed hometown where a group of Sri Lankan migrant workers is about to be held responsible for everything that goes wrong during a harsh winter after quitting his job at a German abattoir by assaulting his racist boss. An all-too-common migration story is expertly transformed into an atavistic passion play about globalization’s detrimental effects on the European Union in “R.M.N.” You’ll exhale.
