Simply based on regular season statistics, Chris Paul is one of the greatest point guards to ever play in the NBA. But he's never been the league MVP and his playoff record is stunningly dismal. Like this tier of movies, Chris Paul is great. But just a step down from the very best of the best.
#35. White Noise
Noah Baumbach is one of my favorite screenwriters working today and his latest film may be his most ambitious feature yet. Rather than the subdued, character driven indie dramedies we're used to seeing from Baumbach, White Noise feels like an intellectual disaster film. Like Wes Anderson's version of Independence Day. The hilariously irreverent and incessant bombardment of information, both verbally and visually, perfectly encapsulates our cultural obsession with constant stimulation. Baumbach attempts to explore our innate desire to invent something to fill the silence around us, particularly when we face our own individual disasters. And although there's a strange tonal departure after the imminent threat of an airborne toxin dissipates and Adam Driver starts investigating his wife's privately prescribed medication, the overall experience is still an absolute blast and overflowing with stylistic splendor. It may not be Baumbach's best work as a writer but it could be perhaps his strongest as a director and a promising evolution for the filmmaker in taking on a project with such a grandiose scope.
#34. X
I'm more than grateful to see Ti West back in the director's chair for this simple yet effective 1970's time capsule, oozing with big Texas Chainsaw Massacre vibes. It's an exquisitely shot film with a rich palette of colorful characters but I did find that the shift from humorous and horny to horrifying didn't quite click. But even though the threat doesn't feel all the real, everything else is so expertly done here that it's still a pleasure to take in. The ensemble cast is phenomenal but the clear stand out here is Mia Goth, who's developing into somewhat of a powerhouse performer. And to be quite honest, she's the primary reason I'm invested in seeing the X universe continued into a trilogy.
#33. Jackass Forever
As a huge fan of the original series, I was reluctant to see the gang return for another unnecessary sequel. Especially without Ryan Dunn or Bam Margera along for the ride. Not to mention the introduction of young new cast members for a presumed, forthcoming reboot of the series. Yelck. But the original crew came through with just enough creative carnage to make this reunion worth while and much more fun than it had any right to be. And even though the newcomers didn't inspire much hope for where the series is heading, post Knoxville - the seasoned vets definitely gave it their all to make sure their swan song was worth the hospital bills. Especially Danger Ehren, who absolutely owned this fucking movie. Kudos to you, my dude. He seems to be on the receiving end of more internal pranks than any other regular cast member over these past 20 years and even still, he's relentlessly willing to sacrifice his body (and more than occasionally, his self-respect) to make this movie entertaining.
View our list Ranking Every Stunt in the Jackass Cinematic Universe Here.
#32. The Menu
Ralph Fiennes leads a stellar ensemble cast as an unhinged, self-loathing celebrity chef in this tightly wound, darkly comedic thriller. Even though the twists aren't quite as shocking as they're intended to be, the film packs enough flavor to make it worth your while. I often found myself wanting to like this movie more than I actually did but once you accept The Menu's capacity to deliver the primal satisfaction of an exceptionally well made cheeseburger rather than anticipating a next level, prestige adorning cinematic masterpiece - you'll likely walk away feeling good about the experience. Although I can't help but wonder what Alexander Payne (the original director attached to this project) might have done with this same premise...Regardless, the phenomenal cast and devilish reckoning of the over privileged guests makes for an aptly satisfying outing. 4 Stars.
#31. Nitram
I had no idea this film was based on a true story going into it. So I really didn't know where this film was heading but when it finally arrived at it's conclusion, I was absolutely shook. Early on I thought maybe this was just Caleb Landry Jones angling for a pretentious arthouse character study to win some awards but as the narrative takes shape, it feels like you're watching a hurricane bear down right on top of you after casually tracking it's progress and downplaying it's severity. Jones is stunning as the mentally unstable young man who befriends a lonely heiress, played by Essie Davis. But the true stand outs to me where Judy Davis and Anthony LaPaglia, who play Caleb Landry Jones' parents. It's gutting to watch them struggle with their son's well being as the film does such a brilliant job of portraying how ill-equipped we are at handling mental instability, despite even the best of intentions.
#30. Glass Onion: A Knives Out Mystery
I was not a huge fan of Rian Johnson's original Knives Out mystery but this follow up was a substantial improvement in large part to how much room he provides for each member of his extended cast. The original film may have had a deeper roster but the story focused way too much of it's time on Ana de Armas and Daniel Craig while leaving LaKeith Stanfield, Toni Collette, Michael Shannon and Jamie Lee Curtis on the sidelines far too often. Glass Onion does a much better job of balancing the screen time equally between all of the incredible performers in this stunning "whodunnit" featuring some of the best costume design of the year. Namely for Daniel Craig's neckerchief swim suit. Glass Onion packs a bit more of a thematic punch than Knives Out as well, making a mockery of empty and enigmatic "disruptors" like Edward Norton's Elon Musk-like character. The mystery itself isn't always airtight, but it's still an incredibly fun island getaway.
#29. Blonde
Considered by many to be one of the most detestable films of the year, Andrew Dominik's Marilyn Monroe biopic is undeniably challenging to take in. With it's 3 hour runtime and NC-17 rating; the brutally tragic, fictionalized biography featuring nightmarish visuals like a talking fetus feels more like a tribute to David Lynch than Monroe. Granted, Marilyn's life was full of darkness but the relentless tone of this depiction of "hell close up" can be overbearing, to say the least. But Dominik's ability as a director is undeniable and he exhibits some of the most distinctly unique visuals you'll encounter this year. Dominik's vision is presented without compromise, which may be both the film's biggest strength and weakness. Blonde feels like it could go on to epitomize the unwieldy cart blanch creative playpen Netflix offers directors to bring the biggest names in Hollywood into the streaming giant's content bullpen. But the blank checks for auteur passion projects are the exact reason Netflix is hemorrhaging so much cash with such little return on their investment and a reputation for producing bloated, self-indulgent originals. And hell, this is one of the few I thought mostly worked. But I'm clearly in the minority...
#28. The Fabelmans
The latest filmmaker to embark upon telling their own origin story while recreating their childhood, Steven Spielberg crafts this semi-autobiographical encapsulation of his upbringing with all of the idealized mid-century nostalgia one might expect to find in such an endeavor. With Spielberg's vast body of work and undeniable place in cinematic history, I was actually intrigued for him to take us behind the curtain and into his personal life for seemingly the first time. But the young Spielberg himself takes kind of a backseat in his own story, without much character development beyond an early infatuation with filmmaking and an "aw shucks" boy scout like disposition. Frankly I'll take J.J. Abrams' fan fiction, Super 8, as my Spielbergian origin story. But the real stars of this film are the Fabelman parents, portrayed by Paul Dano and Michelle Williams. Williams in particular delivers one of the best performances of the year with her flawed yet fundamental motherly figure anchoring this film brilliantly. Her powerful monologue in which she explains to her son, "You don't owe anyone your life" is one of the most inspiring and moving scenes of the year.
#27. Triangle of Sadness
Palm d'Or Winner, Triangle of Sadness, sets a pretty wild course through our current cultural climate. Aptly split into 3 sections, the journey is more than a little uneven in it's delivery. First we get a couple of vapid models, incessantly taking photos of themselves on a luxury cruise. An obvious metaphor but whatever. The point where it gets annoyingly preachy is during the grotesquely authentic vomiting scene as the ship's captain sermonizes his captive passengers through the overhead speakers with trite anti-capitalist cliches like "the ship is going under" while arguing with a foreign salesman explaining "I sell shit". It's way too overt but in the 3rd act, when things devolve into an all out post-capitalist Lord of the Flies, we get a terrifically twisted ending to cap off the proceedings. I would have preferred it's thesis was a little more subdued but I still loved everything the film had to say and look forward to what the creative forces behind this picture tackle next.
#26. Elvis
I'm not a huge fan of Baz Luhrmann's sugar rush stylistic sensibilities but if there were ever a fitting showcase for them, an Elvis movie is it. Even when the film's ambitious reach exceeds it's grasp, for the most part, the film is still a pretty captivating biopic. Largely due to the revelation that is Austin Butler, who is utterly phenomenal in his portrayal of Presley. From the way he recreates the live performances to the way his character changes through the different eras of Elvis' career; this is a hallmark achievement for this young actor and honestly may be hard for him to live up to moving forward. He's incredible. Also incredible, but not in a good way, is that for the first time in his storied career Tom Hanks is the worst part of a film he's in. The cartoonish accent and distracting fat suit make him an eye sore anytime he's on screen. Which is something I'd never thought I'd say about Hanks.
#25. Ted K
Delivering a career performance in this nightmarish depiction of a radicalized green enthusiast turned guerrilla domestic terrorist, Sharlto Copley is fantastic as The Unabomber aka Ted Kaczynski. Tony Stone's remarkable direction coupled with the exhilarating score from Blanck Mass make this one of the most visceral viewing experiences of the year. And while I wasn't always a fan of the way the screenplay could lead you to sympathize with Ted and the similarities between it and 2019's Joker (specifically the imaginary girlfriend bit), the stylistic choices definitely made up for the narrative missteps. Copley's nuanced performance gives this film an incredible depth, examining a man's helpless struggle against the impending industrialization of the natural world and a fight for validation to rectify his obsolete place within it.
#24. The Banshees of Inisherin
Martin McDonagh's long awaited follow up to the Oscar-nominated black comedy Three Billboards Outside Ebbing, Missouri finds the acclaimed writer/director returning to his Irish roots and re-teaming with his In Bruges leads Colin Farrell and Brendan Gleeson for a demented feckin' fairy tale like story of loneliness, companionship, spite, and meaning. At it's core the film asks some fascinating philosophical questions about what makes an interesting life and what sacrifices you should be prepared to make to achieve it. How do you reconcile your desire to leave a legacy without forgoing the opportunities to just enjoy your life in the moment? But as theoretically engaging as the questions it raises may be, the story itself is rather dry and admittedly slow. McDonagh is still one of the most fascinating writers in Hollywood but I do wish that he'd choose more exciting ways to get his messages across. Nevertheless, this modern gothic fable of spiritual unrest leaves its viewers with plenty to chew on.
#23. The Northman
Known for his unforgettable, quaint psychological fever dreams The VVitch and The Lighthouse, this time out writer/director Robert Eggers shifts his focus to delivering a large scale historical epic with supernatural undertones. And for the most part, the film succeeds. Despite the brutally violent nature of the film, I did find some of the action sequences to be a little stiff and the pacing to drag just a tad. But the stunning visuals and incredibly stacked cast hallmarked by stand out performances from Alexander Skarsgard, Anya Taylor-Joy, Nicole Kidman, Ethan Hawke, and Willem Dafoe are an absolute joy to take in. It's just not nearly as unique as Eggers' previous works, which left me feeling a little letdown. Still enjoyable though and it's a true shame more people didn't see it.
#22. Spirited
Other than the fact that it's hidden away on Apple+ (or AppleTV or AppleTV+ or whatever the fuck it's called), I'm kind of surprised that a comedic teaming of Ryan Reynolds and Will Ferrell managed to sneak under the radar. Especially due to the fact that it's the best comedy Ferrell's starred in in over a decade. The cheeky spin on the classic Scrooge tale and charming musical numbers like "Good Afternoon" and "View from Here" definitely set this apart from the abundance of Christmas Carol adaptations before it. Although director Sean Anders seems to be a tad in over his head managing a project of this magnitude, particularly in camouflaging the fact that a large majority of this picture feels like it was all shot in a green screen sound stage. But the on screen talent more than make up for the lack of talent behind the scenes. Spirited is a fun and festive feel good comedy spotlighting it's terrific cast's ability to charm their way through seemingly anything and elevate it to surprisingly enjoyable levels.
#21. Till
Emulating Emmit Till's mother's insistence that her son's funeral feature an open casket so that the horrific ugliness of racism's effects be on full display for all to see, Till is a riveting revelation of our country's atrocious past. And while you may be familiar with the story of Emmit Till's unspeakable murder, the second half of the film which delves into the following trial was incredibly enlightening and almost equally as damning as the initial act itself. It's absolutely gripping with Danielle Deadwyler's heartbreaking performance as Mamie Till wrenching every drop of emotion from the script imaginable. Particularly when she proclaims "They Killed My Son Again" at the trial's conclusion. And perhaps even more shocking still is how recently this all took place. We often like to think of segregation and the civil rights movement as ancient history but Mamie Till only passed away in 2003 and the Emmit Till Anti-Lynching Act wasn't passed until March 2022.
#20. The Leech
Quadruple threat (writer/producer/editor/director) Eric Pennycoff's sophomore feature film takes you into the home of an embittered priest providing sanctuary for a down on their luck couple during Christmas time and the insanity that follows is pure horror-comedy gold. The claustrophobic setting and ambiguous motives of house guests Terry and Lexi (played by real-life husband and wife Jeremy Gardner and Taylor Zaudtke) evokes a fascinating character study as their relationship with Father David evolves throughout the story. The title suggests one of these parties is a parasite, "leeching" off of the other but the story never tips it's hand as to which is the predator and which is the prey. The duality of their opposing lifestyles and what they perceive to be truth are brilliantly embodied in the "never have I ever" drinking game scene, where Father David reveals his true self and his repressed urges; juxtaposed against Father David's confessional booth scenes where he believes to be hearing an honest confession from Lexi but is only reinforcing his predetermined internal beliefs. Like a dark comedic hybrid of Paul Schrader's First Reformed and Darren Aronofsky's Mother, The Leech is a breakout success for Pennycoff and a fiendishly fun examination of religion that's got future holiday cult classic written all over it.
Hear our interview with the film's creator, Eric Pennycoff Here.
#19. Spin Me Round
Jeff Baena's been delivering his offbeat brand of absurdist comedy for some time now with varying results. But utilizing this outstanding stable of comedians in what feels like a Duplass Brothers murder mystery dinner party of improv superstars trying to out-weird one another makes for arguably his most accessible comedy to date. The chemistry of it's cast and the freedom Baena extends to them echoes of the great Christopher Guest mockumentaries Waiting for Guffman or Best in Show. The simplistic and relatable premise of horny dudes acting ridiculously strange to win the attention of an attractive woman provides a massive canvas for these performers to work upon. The Many of Saints of Newark standout Alessandro Nivola is spectacular in his unexpected pivot to comedy, holding his own with greats like Molly Shannon and Tim Heidecker who are as irreverent as ever here. But the standout for me was Zach Woods and his entirely unhinged tirade when the film's paranoia reaches it's boiling point. Definitely the biggest laugh any movie got out of me this year.
#18. Pearl
Ti West's prequel to X is an unexpected origin story draped in old Hollywood flare, making for a gorgeously shot and exquisitely well developed character study for Mia Goth as the titular Pearl. The layers peeled back here regarding Pearl's unyielding desire to escape the dull and unfulfilling life on the farm isn't necessarily new territory, but the horrific tone in which Pearl's willingness to do anything to achieve her dream is told casts the entire "Star is Born" style trope in a fascinating new light. West has always delivered visually gratifying films but this feels like his most thoroughly expanded story to date and a magnificent showcase for Mia Goth as one of the most stunning performers in the industry. Pearl changed my mindset from "why do we need more stories in the X universe?" to "I can't wait to see what he does with the next installment" - the 1980's set MaXXXine, coming soon...
#17. Women Talking
Former actress, Sarah Polley, has created an incredibly effective and efficiently well written script for this based on a true story depiction of an isolated religious community's women debating how to handle the sexual misconduct occurring in their humble village. They can do nothing, stay and fight, or leave. Its' single location, loquacious structure make it feel very play-like but in the best of ways. Like 12 Angry Men. But with, y'know, women. It's an incredibly expansive exploration of the moral and theoretical fallout of accountability and whether or not forgiveness that's forced is true forgiveness at all. Describing the gaping silence around the issue and responsibility to ensure the safety of their inhabitants moving forward, Women Talking is a concise and thorough meditation on abuse and the ripple effect it has on the victims and a community.
#16. Top Gun: Maverick
I know I'm way late to the party here but I just finally watched the original Top Gun for the very first time last summer and I gotta say, it's cultural standing as a "classic" is highly overstated. Wouldn't even consider it a Top 10 Tom Cruise vehicle. But I have to admit, the sequel was very well done and improves upon the original in almost every capacity. Well except for the soundtrack. That original whips all kinds of ass. Otherwise, everything in Top Gun: Maverick is bigger and better than the original. It's one of the most surprisingly successful legacy sequels to date and effectively builds upon the foundation of the original while enhancing the formula for an optimal blockbuster event film. And while it's a bummer to not have Val Kilmer or Tony Scott able to fully participate, the introduction of Miles Teller, John Hamm, Jennifer Connnelly, and director Joseph Kosinski expands upon the Top Gun universe brilliantly. Even though it's still not my favorite Cruise franchise, this serves as a solid appetizer for the main course - next year's Mission Impossible: Dead Reckoning.
#15. Bodies Bodies Bodies
Murder mysteries are so hot right now. Halina Reijn's directorial debut is an incredibly well made whodunnit with exceptionally fleshed out characters. From the trailers I was really dreading this turning into a finger-wagging "get off your phones" gen Z castigation but Bodies Bodies Bodies actually focuses more on dissecting modern relationships and our savage social proclivities. It's surprisingly effective for how little it actually leans into the horror of the situation but instead uses the entanglement of it's young cast to build a compelling narrative with organic twists and a brisk, engaging tailspin of paranoia. The entire cast really sells this thing but the standout for me (aside from Lee Pace's hilariously obtuse Greg) was Rachel Sennott. She's phenomenal here and feels like a star in the making. As is Halina Reijn, who announces her arrival with this nuanced satirical breakout feature brilliantly.
#14. All Quiet on the Western Front
There's already an over-abundance of war movies out there but impressively somehow, All Quiet on the Western Front still finds new ground to cover in this readily traveled terrain. It's grisly portrayal of the ugliness of war in the trenches is as brutal as any war film you've seen before it but the way that director Edward Berger humanizes his soldiers, as fragile and terrified young men, rather than the superhuman "whatever it takes" vessels of indestructible perseverance is so much more relatable. As an unwilling participant, war is absolutely terrifying and is presented as such in this unique portrayal of World War I as an endurance test of survival rather than a quest for victory. There's very little discussion of strategy or political ideology, but rather soldiers just trying to find their next meal and live to see another day. With stunning photography depicting the bleak and horrific experience of being a used as pawn to fill some distant overlord's own self interest, All Quiet on the Western Front disassembles the "brave war hero" facade we often cast onto these violent moments in history all to often.
View our list of the Top 10 War Movies of All Time Here.
#13. Bros
Having really only been familiar with Billy Eichner through his bit roles on Friends from College and Parks and Rec, I wasn't sure how he'd fare leading his own film in a starring role. But this dude is a fucking star and Bros should have been a star-making vehicle for him. Why it was dumped in the release window wasteland of September and packaged in all of the gender swap rom-com marketing that this film so brilliantly picks apart is beyond me. This movie is so much smarter and more well developed than just another romantic comedy with a hunky dude in place of an attractive female as the love interest. It's an incredibly unique and personalized account of sexual identity and our redefined relationship norms in 2022. Exploring our more casual attitudes with sexual interactions and the detached, impersonalized state of swipe right dating. IT'S NOT JUST FOR GAYS. Although I would say it spends maybe a little too much time diving into the bedroom stuff, reusing the same jokes for a handful of intentionally uncomfortable sex scenes but maybe that's just my prudish Midwestern upbringing talking. The Steve bit was definitely worth it. But overall, the thing that this movie really has going for it is Eichner's defiant "Love is Not Love" messaging that tears apart our inclination to cast everyone's relationships in the exact same mold. As Eichner's character explains, "my story is not your story".
View our List of the Top 10 Romance Movies of All Time Here.
#12. Emancipation
10 years after Will Smith famously passed on the opportunity to take the starring role in Quentin Tarantino's Django Unchained, Smith stars in this story of a runaway slave trying to find his way back to his family up North after hearing of Lincoln's emancipation proclamation. And while this is easy to pigeon hole as fan service for an actor looking to win back audience and critical approval after his infamous public blunder at last year's Oscar ceremony, this is without a doubt, the best performance of Will Smith's career. This is the film that he should have won Best Actor for and would have had a legitimate shot at winning the honor in back to back years had he not cast himself in the looming shadow of his momentary lapse in judgement. For the first time in his career, Smith is almost unrecognizable as the runaway Haitian slave fighting to reunite with his family in this throwback to historical action epics like The Revenant, Braveheart or even Gladiator. Antoine Fuqua's stunning cinematography and sprawling scope make this the best film he's made since Training Day and the most ambitious project of his career. It's just a shame so many people will write it off because of Smith's inexcusable reaction to a terrible G.I. Jane 2 joke.
#11. Avatar: The Way of Water
After avoiding the original for 13 years, I finally watched Avatar to prepare myself for this follow-up and I gotta say, I think it's so commonly downplayed as "overrated" that it may actually be a tad "underrated" at this point. But even still, this gargantuan sequel ratchets everything up from the original to a whole new level of world building pageantry. We haven't seen another filmmaker develop an original concept on this large of a scale since Star Wars. So even though I'm not the biggest fan of the character design for the Na'vi (or their ability to plug their pony tails into their environment like a spiritual flash drive) the storytelling capacity James Cameron displays here is irrefutably impressive. The way Cameron has organically expanded the Avatar universe with Jake and Neytiri's family and the water-bound Na'vi they seek refuge with is something to behold in itself. But the final confrontation at the climax of The Way of Water reaffirms any doubt you may have that Cameron has lost his ability to piece together phenomenal action scenes. Cameron's bet on himself has yet again paid off and I've gone from wondering why anyone would still care enough to be excited for an Avatar sequel (let alone several) to anxiously awaiting the next installments. In James Cameron we trust. Amen.
#10. Thirteen Lives
It's nice to see Ron Howard rebound after a series of uncharacteristic misfires like Hillbilly Elegey, The Dilemma or his ill-advised Dan Brown Da Vinci Code trilogy. And you can't really blame him for having to come in and clean up the mess of Solo: A Star Wars Story. But Thirteen Lives reinforces his place as one of the prominent filmmakers of our generation and perhaps the preeminent example of an established actor pivoting to a career as a director. This is an exhilarating re-enactment of the recent true story rescue mission to extract a youth soccer team trapped in a flooded series of caves. Howard recreates the claustrophobic atmosphere and anxiety inducing tension of the situation impeccably well, so much so that I'm curious how they were able to recreate these strenuous diving scenarios required for the rescue. His incredibly realistic tone also keeps this from feeling like a clap-trap feel good story of perseverance or heroic idolization of the divers who made the rescue. It's incredibly grounded and presents the story in a documentarian like fashion making the proceedings all the more riveting, particularly if you're unfamiliar with the details of how the real thing played out.
#9. RRR
2022 seems to be the year of maximalist filmmaking and there's very few movies that will throw as much at it's audience as RRR does. With breath-taking visuals and utterly insane action sequences including a literal truck-load of CGI animals being hurled at British colonizers that serves as the center-piece for this over the top spectacle - this is the kind of mammoth scaled insanity you go to the movies to see. But on top of the historical action set pieces, there's a sensational best friend montage capped off with a hyperactive dance battle between our lovable leads and some stodgy white devils. This movie has fucking everything. Indian director S.S. Rajamouli has cultivated a stirring tale of revolution and one of the most epic films you'll see this year. Or maybe ever, to be honest. It's just something you have to see for yourself. Truly mindblowing and at 3 hours long, exudes an unthinkable level of endurance with how relentlessly entertaining it is.
#8. Fresh
This is another film where the less you know about it going in, the better. So if you're unfamiliar with this entry, I'd actually advise you to skip this review entirely. With it's incredibly witty script deconstructing the technologically induced dating experience, this cynically flirtatious horror comedy simulates the uneasiness and hesitation in getting to know someone really effectively. And just as the film earns your trust, the opening credits and title screen hit you 30 minutes into the fucking movie like whaaaaaaa?! From there, Mimi Cave's directorial debut dissects marital norms and traditional relationship roles in a hilariously satirical fashion. Sebastian Stan's character believes that "giving yourself over to someone forever, that surrender, that's love" while holding Daisy Edgar-Jones in captivity and wrapping her in a pink bow, like a prize. Their performances really elevate the material substantially. Particularly Daisy Edgar-Jones, who really establishes herself as a formidable lead and the emotional nucleus of the film. And that "Thank You For Being a Friend" needle drop may be the best soundtrack tie in of the year.
#7. On The Count of Three
Comedian Jerrod Carmichael makes his directorial debut with this candid and realistic account of two friends battling depression who decide to give themselves one last day to get their affairs in order before agreeing to shoot one another. It's a bleak subject to turn into a "comedy" but it's handled with such honesty and detail that it never feels flippant or reckless in anyway. The film remains incredibly grounded and doesn't shy away from the stakes it sets for itself. There are a number of incredibly memorable moments throughout, including Jerrod Carmichael's monologue about the feeling of freedom found in quitting and Christopher Abbott's hilariously painful rendition of Papa Roach's "Last Resort" being screamed into his steering wheel. But overall the film works because of the intangible chemistry between the two leads. Their report with one another is incredibly endearing and Christopher Abbott's comedic timing here is remarkable, turning in one of the best supporting performances of the year. It's an incredibly thoughtful meditation on the topic of suicide, somehow delivered in the vessel of a buddy comedy that handles the unique tone with the grace of a seasoned vet. A sensational script brought to life by an outstanding cast. This is a dark comedy of the highest order and an incredibly promising feature film debut for Carmichael.
View the Rest of the 2022 Year in Tiers Here:
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