Our most densely populated tier in 2022 is a collection of perfectly average, moderately enjoyable, entirely serviceable content. Like take for instance, Jim Gaffigan. He's fine. He's nobody's favorite comedian but when it comes to stand-up, you can certainly do a lot worse. So enjoy this plentiful bounty of Jim Gaffigan level entertainment.
#67. Devotion
It's really hard being the OTHER film about fighter pilots in the year of Top Gun: Maverick. And weirdly enough, "Hangman" Glen Powell appears in this one as well, which oddly kind of serves as a constant reminder that you could be watching Maverick instead. But as Devotion is based on a true story, this one is restricted to boundaries of real-world events and as result, feels incredibly uneventful by comparison. Especially the anti-climatic ending. However, Jonathan Majors gives his absolute all to this performance (as he seems to do with every role he's given) and makes an otherwise forgettable feel-good movie into a likely Oscar contender. If for nothing else, his performance alone. Although director J.D. Dillard does a stellar job orchestrating the flight sequences. Hopefully his next project just doesn't occupy the looming the shadow of Tom Cruise.
#66. Hocus Pocus 2
I've always found the hype around Hocus Pocus to be a little overblown. But I think even the most devout fans were never really clamoring for a sequel, especially nearly 20 years later. However, all things considered, this wasn't nearly as bad as I expected it to be. Seeing Kathy Najimy flying around on enchanted Rumbas was worth my time alone. But the obvious seeds for future continuations around the un-charismatic young cast members was unnecessary dead weight and the ending was way too sentimental. The Winifred Sanderson from the original Hocus Pocus would have sacrificed her sisters for eternal life in a heartbeat. But I get it, this is technically still a Disney property. But that was kinda the best thing about the original film when you think about it. The fact that it didn't feel like it had the typical safety net of a Disney property. This does.
#65. Three Thousand Years of Longing
George Miller's first film since Mad Max: Fury Road, Three Thousand Years of Longing, is a visually stunning and intellectually stimulating fairy tale for adults. At least until Tilda Swinton's character makes some puzzling choices with her 3 wishes. But overall the film just feels poorly constructed, with interesting pieces that never really fit together. And definitely an imbalanced pace with an overload of voice over backstory that drags Tilda's use of her first wish past the 70 minute mark of the film. And the jarring way the film abruptly reaches it's conclusion feels like a filmmaker swerving for the first available exit ramp rather than a carefully planned journey to a predetermined destination.
#64. Black Panther: Wakanda Forever
Given the untimely passing of Chadwick Boseman, the sequel to Black Panther occupies an understandably unique place in the Marvel Cinematic Universe. The incredibly solemn opening sets the mood and Angela Bassett's riveting performance drives it home. But as much as I enjoyed Letitia Wright's supporting role in the original Black Panther, I kept waiting for her to forcefully take charge here as the new lead but unfortunately she's never really given the space to do so. The obligatory baggage of the inter-connected Marvel Universe wastes way too much time with Julia Louis Dreyfus' character (who apparently made her debut in Falcon in the Winter Soldier series? But who has time for all this Marvel content...) and the introduction to Dominique Thorne's Riri and her home made Iron Man suit. And even though I felt that Namor and his army of blue mermen made for some solid villains, it's strange that no one pointed out the potential similarities between their story and Avatar: The Way of Water's...which absolutely dwarfs this film in almost every capacity. As someone who considers the original Black Panther one of the best MCU films to date, Wakanda Forever was a massive letdown and easily one of Marvel's worst.
#63. She Said
There's something kind of weird about a massive Hollywood scandal (and the subsequent cover-up) being packaged and sold as a massive Hollywood product. Especially one that's seemingly tailor made for the sole purpose of being decorated with awards season accolades. "Let's celebrate this depiction of how fucking corrupt we've been by congratulating ourselves with trophies! Hoorah!" But as much as She Said wants to be this year's Spotlight, the weight of the story just kind of caves in on itself due to the mismanagement of inexperienced director, Maria Schrader. But the thing that really held this back for me were the unsympathetic reporters at the center of the story and the confused performance from Carey Mulligan, who seems to always be wearing a shit eating smirk despite the tragic subject at hand. They really don't inspire much intrigue with their portrayals and even with Jennifer Ehle's character seemingly superimposed into the foreground to manufacture an entry point for the audience, the film fails to resonate any lasting impression.
#62. Weird: The Al Yankovich Story
As a lifelong Weird Al fan, I was probably a little too excited for Yankovich's first foray into filmmaking since 1989's criminally underappreciated box-office bomb, UHF. And as much as I love the concept of formatting Weird Al's musical biopic as a parody of the entire sub-genre of musical biopics, it's hard to shake the feeling that you've seen this all done before and better in 2007's Walk Hard. Or more recently in the Lonely Island's mockumentary, Popstar. But that's not to say that this Funny or Die production isn't without it's charm. Daniel Radcliffe is pretty spectacular in the lead role and the celebrity filled Dr. Demento pool party scene is marvelous. But the budgetary limitations and poor pacing are hard to overlook - as is the fact that this simply should have been weirder.
Check out our Playlist of the Top 40 Weird Al Songs of All Time Here.
#61. The Adam Project
Reuniting less than year after 2021's Free Guy, director Shawn Levy and star Ryan Reynolds deliver this fairly harmless tween action comedy, trafficking in the familiar tone of Amblin inspired adolescent mischief and adventure. There are some decent action sequences and cute moments with Ryan Reynolds interacting with his overly-snarky younger self but the film definitely unravels under any real logistical scrutiny. Especially in the final half when Mark Ruffalo shows up. But it's a fun enough way to spend 90 minutes and much less mind-numbing than the majority of films aimed at younger audiences these days. Not bad but definitely nothing vital. Typical Netflix filler. Although I did think Ryan Reynolds was gonna pity fuck his own mom at one point...
#60. Hustle
The fact that Lebron James splatters his name on the poster as a producer but doesn't bother to actually even appear in the film (even though Kenny Smith, Doc Rivers, Dirk Nowitzki, Luka Doncic, Allen Iverson, Brad Stevens, Trae Young, Aaron Gordon, Mark Jackson, Anthony Edwards, Boban Marjanovic, Julius Erving, Charles Barkley, Shaq, Ernie Johnson, Mark Cuban, Seth Curry, Tobias Harris, Kyle Lowry, Tyrese Maxey, Jordan Clarkson and even NBA super fan Jimmy fucking Goldstein do) tells you everything you need to know about this film's prioritization of forced name drops and stiff cameos over quality. It's the same old predictable, diamond in the rough, underdog's rise to prominence we've seen a thousand times before. But I will say that director Jeremiah Zagar does a masterful job choreographing some very authentic basketball scenes. And even with his cornball "Never Back Down" motivational speeches, Adam Sandler is incredibly likable here. And it's definitely far from the worst movie he's made for Netflix.
#59. The Gray Man
Despite my distaste for the time traveling cop-out finale of Avengers: Endgame, I think we can all agree that Anthony Russo and Joe Russo are a spectacular filmmaking duo. I've been eager to see what these two can do outside the constraints of the Marvel Cinematic Universe but with 2021's Cherry and now this, my excitement around their creative potential has dwindled considerably. Ana de Armas is completely wasted here and Chris Evans' range as an actor remains limited to whatever wardrobe or facial hair he has at his disposal. Gosling is also surprisingly un-charismatic here in this series of dull CGI set pieces, each one feeling more lifeless than the one that proceeds it. Painfully mid considering the talent involved.
#58. Tar
The long winded interview at the onset of this Oscar hopeful character study effectively sets the dry and verbose tone for what's to come. It's an hour into this movie about a conductor before you even seen her conducting. 90 minutes before we finally arrive at some sort of conflict to ignite some interest in the story. Can you tell I was checking my phone for the time pretty frequently while watching this? Anyways, from there it devolves into a predictable whirlwind of cancel culture controversy that engulfs Cate Blanchett's cold and robotic classical conductor and transforms her into an unhinged maniac having a meltdown with an accordion. Blanchett's performance is stellar but the film itself is way too drawn out.
#57. Marcel The Shell With Shoes On
I don't want to sound ultra pretentious here but while watching this I couldn't help but be reminded of something an old teacher once told me - "there's a difference between arts and crafts." And not that every movie needs to be a highly evolved work of art but this feels like an incredibly empty, craft of a movie. Yes it's cute (maybe too cutesy tbh) and fairly endearing but so are your grandma's cross-stitch pillows. And you can definitely feel the writers reaching to fill this out into a full-length film, as this concept was probably better off in the bite-sized format of a YouTube short. But regardless, it's still not bad. Just not all that necessary.
#56. Christmas Bloody Christmas
This hyper vulgar, neon soaked, 80's throwback form VFW director Joe Begos is jam packed with so many heavy metal and horror hot takes that it's almost exclusively made for Shudder subscribers. But the ultra talkative millennial leads feel like they belong in a different, more realistic movie than the yule-tide Terminator who rages aimlessly without a directive. Especially when the proceedings devolve into a primal chase movie, anchored only by Riley Dandy's exceptional breakout performance in the lead role and composer Steve Moore's fantastic score intertwining synth pads with droning metal guitars. It's easily one of my favorite soundtracks of the year and may be even better than his stellar work on The Guest.
#55. Kimi
The prolific Steven Soderbergh's latest film treads some fairly interesting water, broaching the subjects of our technologically induced isolation and dehumanized interactions with the outside world. Think Rear Window or last year's Woman in the Window but the murder being witnessed is captured by a Siri/Alexa in home smart device named Kimi. However the film takes a hard stylistic turn when our agoraphobic protagonist finally leaves her apartment in a series of cartoonish sequences that finds her scurrying along hilariously to an awful Hitchockian imitation score from Cliff Martinez that sounds more like Looney Tunes. And then the unintentionally funny chase gets even more slapstick in the third act; transforming into a sort of smart-Home Alone update, complete with a not so subtle cameo from the actor who played Buzz McCallister himself. Not bad, but definitely a little imbalanced.
#54. Ambulance
We're in a weird place when self-proclaimed internet cinephiles are coming to the defense of the latest Michael Bay film. But here we are. And even though there's virtually no set up for this quippy heist gone wrong scenario, this definitely falls into my type of mindless entertainment more often than it doesn't. It's a 2 hour, high stakes car chase that may be a little too drone happy for it's own good (making a lot of the action sequences unnecessarily choppy) but the "Sailing" sing along sequence definitely made up for it. I am really curious though as to why Jake Gyllenhaal insists on this weird career trajectory of asserting himself as an action star. Especially here where he just comes off as a coked up douche bag. A far cry from his humble beginnings as Donnie Darko or the Bubble Boy, that's for sure...
#53. Spiderhead
Just two weeks after Top Gun: Maverick hit theaters, director Joseph Kosinski dropped this comparatively humble little thriller onto Netflix. This dystopian examination of an experimental drug prison is surprisingly lacking in personality despite Chris Hemsworth hamming it up in his best attempt to emulate Oscar Isaac in Ex Machina. But beyond that and the cheesy 80's pop songs, not a lot happens until things finally erupt in the stirring finale. Which is admittedly brilliant. As is the amazing looking car crash sequence. Joseph Kosinski is a fantastic director but this script definitely felt a little half baked and without his A-list cast, I'm not sure I would have stuck around long enough to make it to the best part of the film.
#52. Doctor Strange and the Multiverse of Madness
With Evil Dead director Sam Raimi on board, I guess it shouldn't be a surprise that Multiverse of Madness is the most violent Marvel film in a spell. Get it...Sorry. Anyways, Raimi brings some stellar visuals for his first super hero film since the famed Toby Maguire-verse killer, Spider-Man 3. However the confounding narrative, forced tie-ins to other Marvel properties and barrage of fan-service cameos kind of epitomizes the failures of Marvel's Phase 4. The Multiverse seems to only serve as a catch all for enabling endless fanboy hypotheticals without having to deal with any lasting consequences. "What if John Krasinski got to play Mr.Fantastic?! What if Patrick Stewart's Professor X joined the MCU?! What if Doctor Strange fought a zombie Doctor Strange?!" But as fun as the film can occasionally be, it fails to answer the two most pressing questions. "Does any of this really matter?" and "Why?"
#51. The Bob's Burgers Movie
I'm tangentially aware of Bob's Burgers but I don't know that I've ever sat down and watched a full episode, start to finish. So admittedly, this was probably not be the best way to jump into the series. But nevertheless, I did find myself laughing along from time to time with this snarky collection of hyper dork horniness, fart jokes and musical numbers. Although I didn't seem to find any of it as endearing as the series' fans do. And maybe that's on me for not having the same investment or attachment built into this property. But judging it purely as a standalone feature, I think Archer is probably more my flavor of H. Jon Benjamin animated series. But this was okay too. Serviceable, but not all that remarkable. And definitely nothing that couldn't have been packed into a few episodes rather than a full length movie.
Check Out Our List of the Best Movies Based on TV Shows Here.
#50. Hellraiser
I love Clive Barker's original Hellraiser, but I can definitely see the need to reboot this series. Especially with all of the horrendous straight to video sequels that followed. But compared to the 35 year old original, which really hits the ground running, the pacing in this 2022 update felt really off. It takes nearly an hour for these kids to figure out what's going on with the puzzle box or even get a clear glimpse at a cenobite. But the construct of the billionaire's maze/mansion was really fun, it just took way too long to get there. And then there's that twist doesn't really line up with the character's earlier portrayal. But overall, this a solid reset for a franchise that hasn't really produced anything watchable since the early 90's.
View our List of the Top 10 Horror Films that Deserve a Reboot Here.
#49. The Unbearable Weight of Massive Talent
Remember back in the late 2000's when everybody beat those fucking Chuck Norris jokes into the ground? It's starting to feel like Nic Cage is nearing that same territory. Specifically with this self-indulgent movie that trips over itself to make as many references as possible while stringing together a corny ass C.I.A. angle to try and conjure up some tortured semblance of a cohesive story. But dropping acid with Pedro Pascal and Nic Cage is a fairly entertaining endeavor, regardless of how contrived the circumstances may be. And seeing Pascal let his guard down as such a lovable goof provided for much more organic fun than the onslaught of Nic Cage jokes.
View our list of the Best Nic Cage Movies of All Time Here.
#48. Cha Cha Real Smooth
I found this to be a decent little indie-twee coming of age romantic comedy with a fairly endearing message about allowing yourself the room to grow-up. But then the lead character went on the most overly sentimental monologue about how much he loves mom and I just had to google who this Cooper Raiff dude was. Turns out, he's not only the lead here, but also the writer. And director. In this movie that just bludgeons you to death with how much of a likable, charming dude his character is. Which is kind of weird, right? Writing and directing a movie with this saintly lead character, who's always doing the right thing and painted in the most flattering light, that you just happen to cast yourself as? I know I should be able to compartmentalize that away from my enjoyment of the movie itself, which was fine, but it's hard to look at this the same way when you know Cooper Raiff has manufactured this weird little showcase to sell you on how charming he is.
#47. Beavis and Butthead Do The Universe
It's hard to think of a more emblematic IP of the 90's than Beavis and Butthead. And for anyone wondering, even though it's probably Mike Judge's most popular creation, the original run of Beavis and Butthead doesn't really hold up like King of the Hill or Office Space does. But this sequel (although entirely unnecessary) is probably a more well constructed film than "Do America" is, with better pacing and a more thoughtfully developed plot. But that's not to say that it doesn't revel in stupidity and frequently lazy jokes. It's still fairly effective though, even if there's no need for it to exist. And it's definitely a better way to revisit the characters than trying to rewatch the original series.
Check Out Our List of the Best Comedy Sequels of All Time Here.
#46. Watcher
It's been a surprisingly long while since we've seen Maika Monroe in a starring role but her return to horror in The Watcher proves she's still incredibly captivating as a leading lady. Her performance here as an American transplant in Romania, unfamiliar with the native language and paranoid that a nearby resident may be following her, sells this simple set-up incredibly effectively. As does director Chloe Okuno's capacity for crafting a subtly threatening atmosphere, enhanced by Nathan Halpern's outstanding score. The story is fairly straight forward but the proficiency with which it's handled and the swirling doubt encompassing the central character are compelling enough to keep this taught little thriller engaging throughout it's refreshingly brief runtime. And that deathly stare delivered by Maika Monroe in the final moments here is the perfect punctuation to her journey after she's been gaslit by everyone she confides in throughout the course of the film.
#45. Vengeance
Following in the footsteps of Jordan Peele and John Krasinski before him, B.J. Novak (aka "Ryan the Temp" from the Office) aims to pivot into the role of social commentary filmmaker with his directorial debut in Vengeance. This Blumhouse produced mystery, seeking the cause of "The Death of the American Identity" carries with it the rambling tone of a condescending millennial think piece re-tweeted by someone who didn't bother to read the article they're sharing. B.J. Novak and John Mayer discussing text etiquette during the opening credits sets the mood perfectly. Although it's never quite clear if Novak's pretentious presentation is intentional or coincidental. He doesn't read as someone self aware enough to recognize his own patronizing tone, however the film does offer some surprisingly thoughtful insight. Eventually. It's just tangled up in an admirably ambitious, yet undeniably uneven viewing experience. It's not the home run that Krasinski or Peele debuted with but it's enough to get him on base.
#44. Thor: Love and Thunder
The thing that really made Thor: Ragnarok stand out among the crowded field of Marvel outings was how distinctly director Taika Waititi left his imprint on the film and how unexpected the quirky humor was throughout. But Love and Thunder seems to always go for the easy joke, leaving a lot of the larger moments feel underdeveloped. The whole Guardians intro feels superfluous and Russell Crowe's Zeus sequence seems to only serve as a setup to show us Chris Hemsworth's butt. I wanted more of Christian Bale's Gorr The God Butcher. And definitely more of Natalie Portman's return as Jane Foster. Especially considering the questionable way her character arc wraps up in the film, neutering the momentum of the film's most exhilarating action scene. It's not a total disaster by any means, just a classic case of trying to do too much of everything and ultimately not doing enough of anything.
#43. Armageddon Time
I really had no idea where this movie was going for about the first hour or so. Whose perspective is this story being told from? Are they really gonna stick us with this kid the entire movie and hide Anne Hathaway, Jeremy Strong and Anthony Hopkins in the background as supporting characters? Unfortunately, yes. I would have loved to have seen more of those three and well, sorry kid, less of Banks Repeta. But then, as subtle as a pussy grab, Jessica Chastain enters the picture as Maryanne Trump to welcome our lead character to his new private school after being separated from his underprivileged black classmate. And thus suddenly, it all became clear. This is a depiction of a cultural turning point in American society where the wealthy separate themselves into a charmed plutocratic existence, ready to usher in the Reagan 80's and initiate the hellish political landscape we currently find ourselves navigating. It's late capitalism's origin story, albeit a little on the nose and woefully lacking in a compelling surface level narrative to convey the obvious subtext.
#42. The Greatest Beer Run Ever
From the Academy Award winning director of Hall Pass and Dumb and Dumber To (okay, that's a little misleading but it's not entirely untrue either...) Peter Farrelly follows up his Best Picture winner, Green Book, with this true story about a man who voluntarily delivers beer to his childhood friends stationed overseas in the Vietnam War. It's an effective blend of Farrelly's newfound knack for true story drama and comedic instincts, with Zac Efron serving as a pretty solid leading man. My only gripes with the film were the confused political messaging (at least until Russell Crowe shows up) and the way the story meanders to a close after such a fun start. This definitely feels like a movie they didn't quite know how to end properly. But it's still fun for a casual movie night on the couch.
View our List of The Top 10 War Films of All Time Here
#41. Violent Night
2022 seems to be the year Holiday-themed horror took over and Violent Night was definitely the biggest financial benefactor of the sub-genre trend. And although it may rely a little too heavily on it's influences - sometimes feeling a direct composite of Home Alone, Die Hard, and even the criminally underappreciated Die Hard 2 - director Tommy Wirkola's delivery of slick and morbidly comedic violence paired with the hilariously horrendous family taken hostage is indisputably fun to take in. I wasn't fully on board with David Harbour's Santa but it doesn't really matter, he's basically just an indestructible avatar the audience gets to slash through John Lequizamo's henchman with in delightfully twisted ways.
#40. Barbarian
Barbarian is another one of those movies where the less you know about it going in, the more likely you are to enjoy it. And even though it does test the audience's patience quite a bit with it's slow reveal and jumping timelines, the journey will undoubtedly leave an impression on you. Particularly the lingering implications of how society treats women and the ingenious way writer/director Zach Cregg gets his feminist message across without patronizing his audience. He provides a titillating series of sequences and metaphors for the audience to unpack and decipher, which makes for an incredibly unique viewing experience. And also a visually stunning one, with some first rate cinematography. Cregg has certainly announced his arrival with his unique voice in this film, even if Barbarian isn't something I see myself revisiting. But I may reconsider, if for nothing else, just to relive Justin Long's spectacular supporting performance.
#39. Emily the Criminal
I've been an Aubrey Plaza stan ever since I first saw her in Funny People back in 2009 and the unexpected way her career has developed has been fascinating to watch. She's always been funny and an enigmatic personality but this is hands down her best performance as an actress. She absolutely carries this film and the simplistic premise of escaping to a better life with her nuanced performance that her involvement alone almost makes up for the story's lack of depth. Almost. I still wish there was a little more built in to what was going on. But this is quite the breakthrough for Plaza, who proves here that when given the opportunity, she is more than capable of taking on lead roles without having to rely on her dark and quirky humor to carry her through.
#38. After Yang
I still haven't gotten around to checking out director Kogonada's critically acclaimed debut film, Columbus (filmed in Columbus, Indiana), but this somber and meditative follow up has definitely excelled it towards the top of my must-see list. Kogonada dissects technology's interwoven effects on the human experience in a fascinatingly unorthodox and delicate examination of what it is to be an existential being. At first you might expect the story to go down a familiar path of technology posing as a threat to humanity but instead, Kogonada focuses on how our interactions with technology and the ability to simulate experiences can actually enhance the human condition. It's one of the most serene and fascinating films I've seen this year, even understanding that not everyone will walk away feeling entirely entertained.
#37. Glorious
This latest Lovecraftian homage to psychological, supernatural horror short stories is a fun and fearless little 80 minute pit stop from Shudder that is more than serviceable. Specifically with it's unexpected ending, this brisk little sci-fi tale of a post-break up mental breakdown set in a highway rest stop feels like the best episode of Tales From the Crypt you've never seen. Granted, it can feel a little cheap at times with it's spotty CGI and bargain bin 1 man show from Ryan Kwanten but with J.K. Simmons' remarkable vocal performance as an insane piece of intergalactic bathroom stall graffiti and the innovative unraveling of the creatively told story more, I was more than willing to overlook the film's financial limitations. This is exactly the kind of thing Shudder subscribers fear losing with AMC's planned cutbacks and why the streaming service is worth fighting for.
#36. Funny Pages
The son of actors Kevin Kline and Phoebe Cates, writer/director Owen Kline, brings us this intentionally hideous cringe comedy for his feature length debut which may contain the ugliest ensemble cast assembled on screen since Harmony Korrine's Gummo. The relentlessly uncomfortable coming of age story is full of laugh out loud awkwardness and although that's what Kline is obviously aiming for, I can't say that makes it anymore enjoyable to endure. But I do really appreciate how effectively Kline gets the film's message across, even if it's a movie I have no desire to see again. And honestly, struggled finishing it the first go around. But I'm definitely glad I did because the conclusion this film reaches is incredibly moving and resonated with me for weeks after I'd seen it. Kline has definitely established himself as a filmmaker to watch in the indie-comedy scene with this picture.
View the Rest of the 2022 Year in Tiers Here:
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