I’m hearing a lot of people say that 2024 was a bad year for movies. Maybe it’s a reflection of my personal taste, which often doesn’t align with the majority, but I found a lot to love at the cinema this year. Admittedly, it wasn’t the best year for big-budget blockbusters or Oscar-bait dramas, but there was no shortage of memorable experiences that took bold swings and big risks.

All but one of the films on my list this year are independent releases and three of them aren’t in English. The majority are horror films or at least contain dark and disturbing subject matter, which is a reflection both of my viewing preferences and the state of the world at large. The bottom line is that there were plenty of good movies this year if you were willing to put in the effort to find them.

Here are the ten films that impressed and stuck with me the most this year.

10. Late Night with the Devil (Colin & Cameron Cairnes)

What if the devil took over a live television broadcast? That’s essentially the premise of this simple but effective throwback horror film, set during the taping of a fictional late night talk show on Halloween night in 1977. After an opening that efficiently summarizes the backstory of this talk show and its host, Jack Delroy (an excellent David Dastmalchian), the remainder of the movie is presented as a lost tape of the broadcast from that evening, complete with behind-the-scenes footage.

We learn early on that both the show and its host are in a precarious position, desperately needing this Halloween special to draw big ratings in order to stay on the air. The main event of the night is an interview with parapsychologist June Ross-Mitchell (Laura Gordon) and the subject of her book, Lilly D’Abo (a chilling Ingrid Torelli) – a young girl who is the sole survivor of a cult that committed mass suicide and now claims to have a demon living inside her.

Jack, more concerned about saving his career than the mental health of this obviously disturbed child, encourages her to summon the demon so he can speak to it on the air. Needless to say, things quickly get out of hand with disastrous consequences for everyone involved in the production. But is it all merely a case of showbiz trickery or is a genuine supernatural force of evil at work?

I won’t reveal the answer, but the clever script kept me guessing for most of the film. Rather than relying on jump scares or graphic gore, this movie makes an impact through its carefully constructed atmosphere, slowly building up suspense and dread until everything finally explodes in a bonkers climax. With its nostalgic aesthetic, brisk pacing, and impressively executed scares, Late Night with the Devil has all the makings of a modern Halloween classic.

9. Love Lies Bleeding (Rose Glass)

The sophomore effort from British filmmaker Rose Glass, Love Lies Bleeding is a propulsive thriller that never takes its foot off the gas. Though it doesn’t reach the heights of her masterful debut, Saint Maud, it’s a stylish and furiously entertaining ride that confirms Glass is a filmmaker to watch.

Set in rural New Mexico in 1989, the plot centers around gym owner Lou (Kristen Stewart), a reclusive lesbian who feels trapped in her boring small-town life. When a bodybuilder named Jackie (Katy O’Brian) arrives in town, Lou is immediately smitten and the two of them develop a passionate relationship. But it isn’t long before a series of complications involving Lou’s shady criminal past plunges the couple into a violent nightmare that threatens to destroy their whirlwind romance.

Stewart and O’Brien give excellent performances, displaying a genuine chemistry that makes the connection between them believable. They’re backed by a solid supporting cast that includes Dave Franco, Anna Baryshnikov, Jena Malone, and a reliably excellent Ed Harris. But the true star of this movie is the style – the neon-hued cinematography, 80’s inspired outfits, and a pulsing synth score by Clint Mansell keep your senses engaged from start to finish.

The only weak point is the script, which doesn’t do enough to develop its two main characters and stretches plausibility to a frustrating degree, even by the standards of a thriller. On the other hand, the film is so relentlessly paced, suspenseful, and unpredictable that it doesn’t give you time to overthink anything. Even if it doesn’t totally hold up after reflection, it’s hard to knock something that held me so tightly in its grip. Reactions will vary significantly to Love Lies Bleeding, but I can guarantee one thing – you won’t be bored.

8. The Coffee Table (Caye Casas)

A pitch-black horror-comedy from Spain, The Coffee Table somehow manages to elicit uproarious laughs from one of the least funny situations imaginable. I won’t say what that situation is since it would spoil the film, but fair warning – if you’re even remotely sensitive, stay far away from this one. However, if you’re up for it, this movie delivers a shock to the system that’s both horrifying and exhilarating.

The story focuses on Jesús (David Pareja) and María (Estefanía de los Santos), a married couple with a newborn baby who we meet in a furniture store as they bicker incessantly over whether to purchase a coffee table. María thinks the table is tacky and doesn’t trust the slimy salesman’s promise that the glass is unbreakable, but Jesús insists on getting it. María ultimately relents and goes out to buy groceries while Jesús sets up the table and…

What happens next should be discovered for yourself, but suffice to say the story goes to a place that few films would dare – and that’s just the beginning. Over the course of 90 minutes, The Coffee Table wrings an unbearable amount of tension out of its simple premise, always undercut with biting humor. This is the kind of movie that will make you laugh and squirm at the same time, keeping you on the edge of your seat all the way through its brutal and unforgiving climax.

7. The Substance (Coralie Fargeat)

A ruthless takedown of Hollywood beauty standards and the unrealistic expectations placed on women as they age, The Substance is a grotesque roller-coaster ride that doesn’t let up for one second of its nearly two-and-a-half-hour runtime. Featuring some of the wildest body-horror and jaw-dropping prosthetic effects in recent memory, it’s a film that will either have you riveted or repulsed within the first few scenes – maybe both.

Demi Moore stars as Elizabeth Sparkle, a Hollywood actress and TV personality whose career is spiraling as she turns 50 (Moore is actually 62 in real life and still looks fantastic, making the character feel even more tragic). Elizabeth’s harsh reality is brilliantly and wordlessly summarized in a stunning opening montage that shows her star on the Hollywood Walk of Fame slowly fading and cracking over time, before she’s fired for the crime of being too old by her misogynist pig of a boss (a hilariously revolting Dennis Quaid).

Soon after, she discovers a mysterious treatment called The Substance that claims it can unlock “a younger, better version of yourself.” Elizabeth injects herself with the serum and turns into a gorgeous doppelganger who calls herself Sue (Margaret Qualley). Sue quickly becomes a star, but to maintain this version of herself, Sue and Elizabeth have to switch bodies every seven days, with no exceptions. What could possibly go wrong?

To say that this movie goes off the rails is an understatement – it features some of the most insane and disgusting sequences I’ve seen in recent memory, with Elizabeth/Sue’s misuse of The Substance leading to unimaginable physical consequences. It all feels constantly on the verge of falling apart but never does, thanks to Fargeat’s stylish direction and a pair of fearless, ultra-committed performances by Moore and Qualley.

Ironically, The Substance is a bit light on just that. It’s too long and feels repetitive at times, never exploring its worthy themes beyond surface level. The most powerful and memorable scene in the movie doesn’t involve any gore – it simply shows Elizabeth getting ready for a date that she’ll never make it to because she can’t figure out how to look in the mirror without hating herself. I wish the film had more moments like this, but despite its flaws, The Substance is a thrillingly unrestrained and gloriously entertaining sensory overload that you won’t forget.

6. Anora (Sean Baker)

Sean Baker has delivered his most accessible film to date in Anora, a raunchy crowd-pleaser that seems poised to elevate him from indie darling to Oscar nominee. Seamlessly progressing from a fairytale romance to a screwball comedy before ending in tragedy, Baker’s clever script and tight direction ensure the film’s many tones don’t clash while never allowing its central character to get lost in all the noise.

And what a character Anora “Ani” Mikheeva is, played brilliantly by Mikey Madison in a star-making performance. Ani is a stripper in Brooklyn who happens to speak some Russian, which leads to her services being requested by a young client named Vanya (a hilarious Mark Eydelshteyn, alternately charming and despicable). It turns out Vanya is the son of extremely wealthy Russian oligarchs and he seems smitten with Ani, offering to pay her to be his girlfriend for a week until he goes back to Russia.

Ani is quickly addicted to her lavish new lifestyle and when Vanya proposes they get married so he can stay in America, she eagerly agrees. Needless to say, Vanya’s parents aren’t pleased with the marriage and it isn’t long before Vanya’s handler Toros (Karren Karagulian) shows up at the door with two henchmen in tow (Yura Borisov and Vache Tovmasyan), and all hell breaks loose.

As a fan of Baker’s previous work, I wasn’t surprised that Anora is beautifully shot, sharply written, and wonderfully acted. What I didn’t expect is that it would be the funniest movie of the year, with several moments that had me laughing out loud in the theater. Toros and his two henchmen evolve into a Three Stooges-like comic dream team, bumbling incompetently through one riotous scene after another. But amidst all the absurdity and chaos, it’s Madison’s towering performance that holds everything together, ensuring you never lose interest even when the story’s momentum stalls.

Of course, Anora isn’t all laughs. Baker is far too serious and ambitious of a filmmaker to let his audience off the hook with a neat and tidy resolution. For most of the movie, Ani seems to have found a golden ticket to escape her desperate existence, and you sincerely hope she can hang on to it – but reality inevitably comes crashing in during the film’s quietly devastating climax.

5. The Girl with the Needle (Magnus von Horn)

A Danish film set at the end of World War 1, The Girl with the Needle is an exquisitely crafted and deeply disquieting piece of filmmaking. With its stunning black and white cinematography, painstaking set design, and nerve-jangling score, the film immediately establishes a haunting atmosphere that holds you in its grip and never lets go.

The excellent script, which boldly incorporates real historical events into a fictional narrative, focuses on a downtrodden young woman named Karoline (Vic Carmen Sonne). This is the type of movie where it’s hard to talk much about the plot without spoiling the experience, so I’ll avoid specifics – but through a series of unfortunate events, Karoline ends up with a baby she doesn’t want and lacks the resources to take care of. By chance, she encounters a mysterious older woman named Dagmar (Trine Dyrholm) who runs an underground adoption agency that finds foster families for unwanted babies.

Karoline gives her baby to Dagmar and starts working for her as a wet nurse, with the two women developing a close bond during their time together. But it isn’t long before Karoline starts to grow suspicious about the work they’re doing, leading to a shocking revelation that will change both women’s lives forever.

At just under two hours, the film is perfectly paced and doesn’t waste a moment, with every seemingly minor detail eventually producing a satisfying payoff. Sonne and Dyrholm are both terrific, communicating multitudes about their characters merely through their eyes and facial expressions. Von Horn’s direction is exceptional, displaying a fully-formed vision and command of craft that has me very excited to see what he’ll do next.

Though it may be an unpleasant and difficult watch, The Girl with the Needle is never even remotely boring or tedious. Every frame of the film feels gloriously alive, immersing you completely in its grim, gothic atmosphere. And while the story is undeniably disturbing and sad, Von Horn chooses to end his film with a glimmer of hope. As Dagmar puts it: “The world is a horrible place – but we need to believe it isn’t so.”

4. Terrifier 3 (Damien Leone)

Unlike other slasher franchises that get dumber and duller with each sequel, the Terrifier films manage to keep raising the bar. This is thanks to the singular vision of writer/director/editor Damien Leone, a vision that he’s been able to maintain total control of by making his movies outside of the studio system. These films are made by slasher fans for slasher fans, with the passion and enthusiasm of everyone involved evident in each frame.

Terrifier 3 begins with an immaculately crafted opening scene that features Art the Clown in a Santa suit, invading a family’s home and mercilessly slaughtering them one by one. It’s shocking and disturbing, but undercut with a twisted sense of humor – like when Art takes a break to enjoy some milk and cookies. After this jolt of a start, we catch up with Sienna Shaw, who has been in a mental institution suffering from paranoia and hallucinations. When she checks out to visit her aunt and uncle for Christmas, it isn’t long before Art returns to wreak havoc, destroying any chance she has of moving forward with a normal life.

David Howard Thornton gives his best performance yet as Art, cementing the character as a slasher icon and villain for the ages. Genuinely creepy and formidable but also oddly charming and hilarious, Thornton’s Vaudevillian silent act is unforgettable. Despite this, he’s upstaged at times by Samantha Scaffidi as Victoria Heyes, his demonically possessed partner-in-crime. Her chilling, maniacal presence is a constant delight and justifies Leone’s decision to keep the character around this long.

But above all, it’s Lauren LaVera who anchors the film and makes it work. After leaving a strong first impression in Terrifier 2, she proves beyond a doubt that she’s a bona fide star by delivering one of the best performances of the year in any genre. It’s no easy task to be achingly vulnerable in one scene and a fearless warrior in the next, but LaVera nails this difficult balancing act and ensures the audience is completely invested in what happens to Sienna every step of the way. In a just world, she’d be getting Oscar attention.

Moving at a relentless, breakneck pace from one insanely gory set piece to the next, Terrifier 3 rarely gives you a moment to breathe. It feels a bit rushed at times, but that’s nitpicking for a movie this deliriously fun. And any minor flaws are easily forgiven during an all-timer of a climax that had me ready to leap to my feet and applaud in the theater (Sienna and Art in a sword vs. chainsaw duel? Yes please!). I can’t wait to see what Leone has in store for the finale of this epic, blood-soaked saga.

3. Kinds of Kindness (Yorgos Lanthimos)

After achieving international success and major awards recognition, Yorgos Lanthimos returns to his absurdist dark comedy roots with Kinds of Kindness, his longest and perhaps least accessible film to date. If you’re not a fan of his previous work, this one won’t win you over. But if you’re an admirer, Kinds of Kindness is the ultimate Lanthimos film – wildly ambitious with an inimitable style that’s alternately hilarious and unsettling, but most of all, just plain weird.

Any attempt to summarize the plot (or plots) of this movie is pointless. The film is presented as a “triptych fable,” meaning it’s divided into three separate stories which are all told from beginning to end before shifting to the next chapter. The three parts have almost zero connections between them and focus on different characters, but in a stroke of brilliance, Lanthimos uses the same group of actors in each one. It’s an inventive structure that works beautifully, making the nearly three-hour runtime fly by and giving the cast ample opportunities to demonstrate their range.

And what a cast it is – of all the films released this year, Kinds of Kindness easily featured the best acting ensemble from top to bottom. Taking the lead in the first two chapters is Jesse Plemons, a great character actor who seizes the meatiest role(s) of his career and delivers a tour de force. Emma Stone, working with Lanthimos for the third time, aces supporting roles in the first two parts before taking the lead in the finale. Though not on the level of her performance in Poor Things, it’s still outstanding work that continues the incredible hot streak she’s been on recently.

Also returning from Poor Things are Willem Dafoe and Margaret Qualley. Dafoe is riveting as a domineering boss and a mysterious cult leader, while Qualley shines as a pair of identical twins who may or may not have special powers. Rounding out the cast are Hong Chau, Joe Alwyn, and Mamoudou Athie, who each make the most of small roles. Though she’s not part of the main ensemble, Hunter Schafer has a brief cameo in the final part and leaves a strong impression.

As the title implies, Kinds of Kindness explores the many different and often destructive ways that human beings can relate to one another, delving deeply and uncomfortably into lopsided power dynamics, sadomasochism, and cult mentality. Working with longtime collaborators Efthimis Filipou (co-writer), Robbie Ryan (cinematographer), Yorgos Mavropsaridis (editor), and Jerskin Fendrix (composer), Lanthimos maintains the unique cinematic style he’s known for without repeating himself, pushing his vision to bizarre and twisted new heights. With Kinds of Kindness, he’s delivered a knockout that proves experimental cinema is alive and well.

2. Red Rooms (Pascal Plante)

Here’s a film that doesn’t show a single moment of violence onscreen, yet left me feeling deeply disturbed with an immediate urge to take a shower afterward. A French-language Canadian thriller, Red Rooms focuses on the trial of Ludovic Chevalier (Maxwell McCabe-Lokos), a man accused of kidnapping three teenage girls and broadcasting their murders in a “red room,” a type of chat room hidden in the deepest corners of the dark web where audiences can pay to watch live snuff films.

We’re introduced to the case through the eyes of Kelly-Anne (Juliette Gariépy), a fashion model whose personal life is completely isolated and hyper-online. It quickly becomes apparent that she’s developed an obsession with Chevalier’s case for reasons that are unclear and remain so for most of the film. She sleeps outside the courthouse at night to ensure she gets one of the few seats open to the public each day and befriends a naïve girl named Clementine (a terrific Laurie Babin), who is adamantly convinced of Chevalier’s innocence.

Does Kelly-Anne also believe Chevalier is innocent, or are her motivations more sinister and complex? Maybe there’s something seriously wrong with this striking woman who appears so calm and controlled on the surface, yet spends her spare time surfing the dark web and destroying opponents in online poker games (“I love seeing them lose everything,” she says – yikes!). Gariépy gives a brilliant performance that’s both chilling in its ambiguity and genuinely frightening in its dead-eyed, perpetual numbness. Even in a year stacked with outstanding performances, hers is the one I can’t shake.

The lack of definitive answers to the many questions raised by the behavior of the characters may be frustrating to some viewers, but it’s also what makes the film so compulsively watchable. With its muted color palette and long, uninterrupted takes, Red Rooms is a slow, demanding, and deeply unpleasant experience – yet watching it, I can’t help but want to sink deeper into the rabbit-hole until I know and understand everything, an obsessive drive that mirrors the mental state of the film’s damaged and unforgettable lead.

1. I Saw The TV Glow (Jane Schoenbrun)

It’s exceedingly rare that a fresh and original cinematic voice emerges, delivering a film unlike anything seen before – Jane Schoenbrun is that rare filmmaker and I Saw The TV Glow is that rare film, a once-in-a-decade masterpiece that has rarely left my thoughts since I first saw it in theaters over eight months ago. I’ve since watched the film at home two more times, deepening my love and appreciation for it while discovering new layers and details with each viewing.

This is the kind of movie that’s best to know as little as possible about going in. The story starts in 1996 and centers around two socially isolated suburban teens, Owen (Justice Smith) and Maddy (Brigette Lundy-Paine). The two bond over an obscure TV show called The Pink Opaque, which depicts the adventures of psychic teens Isobel (Helena Howard) and Tara (Lindsey Jordan) as they battle Mr. Melancholy, a supervillain with the power to warp time who lives on the moon.

For Owen and Maddy, the show is such a powerful obsession that the lines between fantasy and reality eventually start to blur, as elements of the show begin to alarmingly mirror and cross over into their everyday lives. Is it possible The Pink Opaque could be more than just a TV show? “Sometimes the show feels more real than real life,” Maddy admits in a moment of aching authenticity. Owen isn’t convinced, but when Maddy suddenly disappears without a trace, he’s left alone to search for answers, struggling to find the courage to open himself up and see what’s inside.

To say anything more would spoil the journey and the many surprises this magical film holds in store. This is the kind of movie where you can tell even the smallest details were carefully considered – the script is loaded with subtle narrative clues and obscure 90’s pop culture references. Schoenbrun is an auteur with a fully-formed vision who knows exactly how to bring it to life, assisted by Eric K. Yue’s colorfully vibrant cinematography, Sofi Marshall’s crisp editing, and Alex G’s evocative score. A killer original soundtrack featuring Yeule, Caroline Polachek, and many more is the cherry on top.

Still, none of this would work without the two leads. Smith delivers a heart-wrenching portrait of loneliness and dysphoria, while Lundy-Paine stuns with her steely-eyed intensity and fearless commitment to the role. Both actors nail the film’s subtle build-up of emotions, culminating in a crescendo that left me shattered to pieces. Equal parts coming-of-age story, surrealist fantasy-horror, and an allegory for the trans experience, I Saw The TV Glow isn’t just the best film of 2024 – it’s one of the most haunting and moving experiences I’ve ever had at the cinema.

After two abysmal years for cinema to start the 2020s, last year’s slate offered a strong comeback. I really enjoyed putting my list together for 2022 and consider it one of the stronger groups in recent memory. Unfortunately, 2023 took a step back in the wrong direction, though it didn’t quite sink to the lowly depths of 2020 and 2021.

Based on the many lists and articles I’ve read, it would seem that lots of people disagree and think 2023 was a great year for cinema. I wish I felt that way, but for me, the year was characterized by missed opportunities and disappointments, often fueled by poor writing (particularly ironic in a year when a long strike by the WGA showed how little Hollywood cares for writers).

Going into December, I had given up on the idea of writing a top ten list for 2023 – there simply weren’t enough movies worth writing about. Ultimately, I decided there were just barely enough to justify the effort, even if I had to strain a bit to fill the last few slots. But even though this is a relatively weak top ten, every film on here is at least worth watching.

10. BlackBerry (Matt Johnson)

Remember when checking emails on your phone felt like a revolutionary thing? For a brief, shining moment in time, the BlackBerry was the peak of cell phone technology and made up almost 50% of the market – until the iPhone came along and made it obsolete practically overnight. From Canadian writer/director Matt Johnson (who also plays the goofy but kind-hearted co-founder Doug Fredin in the film), BlackBerry charts the quick rise and even more precipitous fall of the world’s first smartphone.

It’s not the most surprising or exciting story, as it basically amounts to how a good idea can be driven into the ground by a combination of greed, naiveté, and the unrealistic demands of the financial marketplace. But while the film feels lacking in drama and suspense, it still manages to leave an impression thanks to a solid lead performance by Jay Baruchel and an explosive supporting turn by It’s Always Sunny In Philadelphia star Glenn Howerton that’s worth the price of admission on its own.

9. Killers of the Flower Moon (Martin Scorsese)

This was my most anticipated film of the year, hands down. A compelling and little-known true story about the systematic robbing and murder of the Osage Nation directed by Martin Scorcese, starring Leonardo DiCaprio and Robert De Niro – how could it not be a masterpiece? But sadly, as much as I wanted to love this movie, I found it to be very disappointing.

Based on a book by David Grann, the film tells the story of the Osage tribe, who became extremely wealthy after discovering oil on their land. However, it wasn’t long before greedy, evil white people started scheming to steal all the wealth through a series of manipulative marriages and brutal murders, robbing the Osage of what was rightfully theirs and leaving them with nothing. The sinister plan is led by King William Hale (De Niro), who enlists his nephew Ernest (DiCaprio) to help by marrying a rich Osage woman named Mollie (Lily Gladstone).

It sounds like a great movie and it could’ve been, but the telling of this story is riddled with flaws, chief among them the regrettable decision (seemingly spurred by DiCaprio) to tell the story from Ernest’s perspective. Ernest is a dull, one-note character who becomes extremely tiresome over the course of such a long movie – Hale is similarly one-dimensional, a banal portrait of evil. Not only are they boring characters, but we know all the details of their plan from the beginning of the film, creating a feeling of repetitiveness and inevitability that robs the story of any tension or momentum.

This is especially problematic considering the gargantuan three-and-a-half-hour runtime, which frequently drags in a way that The Irishman didn’t. The film moves in fits and spurts, often feeling like it doesn’t prioritize the right things. For example, Ernest and Mollie’s relationship never feels like it makes sense and the FBI investigation that ultimately uncovered the crimes is completely glossed over.

This really should be Mollie’s story and Gladstone gives easily the best performance in the film, which makes it all the more frustrating that she’s left underdeveloped and sidelined for a large portion of the narrative. Overall, Killers of the Flower Moon is well-shot, well-acted, and features some powerful moments – it’s certainly not a bad movie, but it could’ve been so much better, making it hard to not see it as a missed opportunity.

8. Oppenheimer (Christopher Nolan)

Christopher Nolan is one of my favorite filmmakers and he’s made some genuine masterpieces (The Dark Knight, Inception, Memento) – however, I was left unimpressed by Dunkirk and outright hated the disaster that was Tenet. Oppenheimer represents a return-to-form of sorts for Nolan after two unsatisfying films in a row, but I still can’t say that I loved this movie the way most people seem to.

Part of the disconnect for me has to do with my own personal feelings – I simply do not care about J. Robert Oppenheimer, the man who invented a weapon that killed hundreds of thousands of innocent people, nor can I empathize with him. I was bored for most of the first half of this movie, as Nolan’s script gets bogged down in long explanations of theoretical physics and underdeveloped, passionless romances. The three-hour runtime feels significantly too long for this story and I can’t say I felt that I understood or cared about Oppenheimer as a person any more at the end of the movie than I did going in.

However, there is still much to praise about this film. For starters, Cillian Murphy is terrific in the title role and the supporting cast is filled with great character actors doing solid work, including Robert Downey Jr., Emily Blunt, and Benny Safdie. It’s also immaculate on a technical level, from its stunning cinematography and pitch-perfect set design to the jaw-dropping sound work and Ludwig Göransson’s pulsing, hypnotic score.

The sequence depicting the first test of the atom bomb is a master-class in suspense and the final hour of the film thankfully delves into the fallout and moral implications of what Oppenheimer did, ending the story on a chilling and thought-provoking note. Personally, I would’ve liked to see a lot more of that and a lot less about the creation of the bomb or the private hearing to revoke Oppenheimer’s security clearance. But even though I have some significant issues with the film and am not enthralled by it the way most people seem to be, it’s undeniably well-crafted and worth experiencing on the biggest screen you can find.

7. Sanctuary (Zachary Wigon)

Eroticism is a quality that I find to be sorely lacking in current cinema. For that reason, I found Sanctuary to be a refreshing and entertaining experience, despite its limitations. The bare-bones plot centers on Hal (Christopher Abbott), a shy and self-loathing man on the verge of inheriting the CEO position of a lucrative hotel chain from his recently deceased father. Knowing he’s about to be thrust into a position of power and fearing the public spotlight that will come with it, he attempts to end his long-time relationship with professional dominatrix Rebecca (Margaret Qualley).

Rebecca doesn’t take this casual dismissal well and demands compensation for helping Hal become the man he is today, saying he could never be a CEO without her. Things quickly get out of hand, escalating into blackmail and violence, as the intense power struggle between the duo threatens to upend both of their lives.

Sanctuary is about as simple and minimalist as a film can be, with all of the action taking place in a single room and only featuring the two main characters. However, it’s never boring thanks to the short runtime, clever script, and outstanding performances by the two leads. Qualley in particular is revelatory in a performance that’s sexy, frightening, and vulnerable all at once.

Ultimately, despite all the kinkiness that may make some viewers uncomfortable, Sanctuary is a genuinely affectionate love story between two broken people who are only right for each other. It’s not quite like any relationship I’ve seen onscreen before and I hope it inspires other filmmakers to push the boundaries of conventional romance.

6. Thanksgiving (Eli Roth)

Of the several fake trailers made for Quentin Tarantino and Robert Rodriguez’s iconic Grindhouse double feature experience, Eli Roth’s Thanksgiving was my favorite of the bunch. Now, over 15 years later, Roth has expanded the idea into a feature-length film and it’s easily his best work to date. Though not as sleazy and shocking as the original trailer, Thanksgiving is a gory, hilarious blast of a movie that gleefully pays homage to the glory days of slasher cinema.

Set in Plymouth, a small town in Massachusetts that takes great pride in its Thanksgiving celebrations, the film begins with a bang as chaos erupts at a superstore on Black Friday. It’s an alternately thrilling and hysterical opening sequence, making you cringe at the behavior of the characters and wince at the unhinged violence that follows. By the time the blood-red title card filled the screen, I already knew I was in for a treat.

The plot quickly jumps to the following year, with the town still reeling from last year’s riot, yet planning to carry on with the usual festivities anyway. But suddenly, bodies start dropping all over town, victims of a killer who conceals his face with a mask of original pilgrim John Carver. It quickly becomes apparent that the killer has some sort of personal grudge related to the riot, as he targets a group of teenagers who were all there that night and played a role in escalating the situation.

If you’re looking for a great mystery or a genuinely frightening horror film, this isn’t it. But if you like horror that’s self-aware and takes a more comedic approach to the material, this is one of the best examples in recent memory. Featuring its fair share of laugh-out-loud one-liners and some genuinely creative kill sequences, Thanksgiving is the most fun I had in a movie theater last year.

5. The Boy and the Heron (Hiyao Miyazaki)

The twelfth and most likely final film from legendary anime director Hiyao Miyazaki, The Boy and the Heron is yet another transfixing, fantastical journey from an animator who remains unrivaled in his ability to conjure sensations of child-like awe. Each of Miyazaki’s films, even the weaker ones, give you the feeling of being pulled into a vivid dream and this one is no exception.

After losing his mother in a hospital fire, a young boy named Mahito is forced to move to the countryside with his emotionally distant father, who quickly gets remarried to the sister of his deceased wife. Unsurprisingly, Mahito isn’t quick to warm up to his new mother and struggles to fit in at school. After a fight in which he’s seriously injured, strange things begin to happen, including frequent visits from a talking grey heron. Eventually, Mahito decides to follow the heron into a mysterious tower that seems to be the gateway to another world, pulling the boy into a hallucinatory odyssey that will teach him many things about himself and the mother he lost.

As viewers have come to expect from Miyazaki, the quality of the animation is top-tier and the sheer imaginativeness of the world-building is staggering. It’s probably one of the most beautiful-looking animated films that I’ve seen and features a mature, complex story to go with it. In fact, the film is layered with personal meaning to the point that I know I’ll need a second viewing to fully absorb it.

Released in Japan under the much-cooler and more appropriate title How Do You Live?, the 83 year-old filmmaker uses this dark fable of a movie to reflect on his own legacy and challenge his audience with that very question. In a world filled with darkness and despair, is it possible to build a reality that’s pure and untouched by evil? According to Miyazaki, the best way to start is to embrace the people you have in your life, learning to love and accept them for who they really are.

5. Anatomy of a Fall (Justine Triet)

The Palme D’Or winner at last year’s Cannes Film Festival, Anatomy of a Fall is a ruthless and riveting French courtroom drama that puts a fractured relationship on trial after the husband (Samuel Theis) suspiciously falls to his death. When his body is discovered by the couple’s blind son Daniel (Milo Machado Graner), it triggers an investigation that quickly casts suspicion on Sandra (a terrific Sandra Huller) and results in her indictment, with the lengthy trial leaving no stone unturned in the couple’s tumultuous past.

A successful writer who’s known for crafting fictional narratives that draw heavily from her real-life experience, Sandra is almost immediately vilified by the public and the prosecution, as details in her story fail to add up and surprising new evidence is discovered. From the beginning of the film, it’s easy to jump to the conclusion that she’s guilty – but is the case really that simple? Writer/director Justine Triet, along with her co-writer and real-life husband Arthur Hararri, dole out information slowly and methodically, casting doubt on what really happened and never offering a definitive answer.

Some viewers may find the ambiguity frustrating, but for me, it’s what makes the film a memorable and thought-provoking experience. Instead of a typical whodunit murder mystery, the script is more interested in how quickly people form assumptions without knowing the full context behind events, and how the process of being tried can irreparably shatter people’s lives regardless of what the verdict ends up being. When it’s impossible to ever know the truth of something, how do we decide what the truth is for ourselves? After giving us all the known details of the case, Anatomy of a Fall poses this difficult question to the viewer and asks them to form their own opinion.

3. Dream Scenario (Kristoffer Borgli)

Featuring the most bizarre and mind-bending narrative of the year, Dream Scenario mixes elements of science fiction, absurdist comedy, social satire, and even a bit of psychological horror into an unforgettable experience that stayed in my thoughts well after the credits rolled. Touching on themes including the fickle nature of celebrity, the cynicism of advertising, the hive mind effect of social media, and more, it’s a movie that gives the audience a lot to think about while also never failing to entertain.

Nicholas Cage gives one of the best performances of his career as Paul Matthews, a sad sack college professor who doesn’t seem capable of commanding much attention or respect from anybody. Suddenly, everything changes when people start claiming that he’s been appearing in their dreams, including many who he’s never met. This bizarre and inexplicable phenomenon (the script wisely never offers a reason why it’s happening) thrusts Paul into the spotlight and turns him into a celebrity almost overnight.

Rather than acting cautiously or questioning the situation, Paul revels in the newfound attention, seeing it as a springboard to help him achieve his unfulfilled professional ambitions. Before long, his presence in others’ dreams evolves from a passive bystander into an active participant, with results that range from hilarious to deeply disturbing as Paul quickly learns that fame doesn’t come without consequences.

To say anything more would be revealing too much – this is an unpredictable film that holds many surprises in its clever, intricate script. Filmed in an unconventional, surrealist style that blurs the line between what’s real and what’s imagined, Dream Scenario repeatedly disorients the viewer all the way up to its bittersweet and moving conclusion – a final scene that suggests if there are no happy endings in real life, at least we can create one in our dreams.

2. Poor Things (Yorgos Lanthimos)

Yorgos Lanthimos is undoubtedly one of the most unique filmmakers working today, though I mostly haven’t been a fan of his previous films. He finally won me over with Poor Things, a demented comedy and witty feminist parable that’s unlike any other film I’ve seen. With its gorgeous cinematography that evolves from stark black-and-white to eye-popping color and its inventive set design that blends Victorian era society with a sci-fi steampunk aesthetic, it’s the most visually striking movie of the year.

But as stunning as the craftsmanship behind this film is, what really makes Poor Things a memorable experience are the delightful characters, impeccably brought to life by some phenomenal actors. Emma Stone gives the best performance of the year (and her career) as Bella Baxter, an adult woman with the brain of an infant child. It’s an incredibly challenging role that requires the star to fearlessly bare her body and lose all recognizable traces of herself, from her voice to her appearance to the way she moves, as Bella gradually learns about the world and her place in it.

Willem Dafoe is brilliant as Godwin, who Bella amusingly calls “God”, the mad but tender-hearted scientist who gave Bella life and desperately tries to protect her innocence. But when Bella becomes aware that there’s a whole world outside of the carefully maintained bubble she’s been kept in, she insists on seeing it for herself and embarks on an odyssey of self-discovery that opens her eyes to the joys of sexual pleasure and friendship, as well as more serious topics including the horrors of patriarchal society and the injustice of economic inequality.

Joining Bella on this journey is Duncan (Mark Ruffalo), a shallow and manipulative womanizer who only grows more loathsome and pathetic throughout the film as he realizes that the seemingly innocent and naïve Bella isn’t so easy for him to control. Ruffalo strikes comic gold in a role that seems way against type for him, completing a trifecta of award-worthy performances from this stacked ensemble. Offering a rare combination of rich characters, dreamy visuals, sharp social commentary, and gut-busting laughs, Poor Things is an enchanting fairytale that you won’t forget.

1. Monster (Hirokazu Kore-Eda)

Who’s the monster? The newest film from acclaimed Japanese director Hirokazu Kore-Eda (Shoplifters) asks that question repeatedly over the course of its runtime without ever providing an answer – it’s up to the viewer to decide for themselves and your answer is likely to change several times. One could even argue that there isn’t a monster in this story at all, as the deceptively layered script shifts perspectives throughout, revisiting scenes through the eyes of different characters to give them new meaning until the whole truth is finally revealed.

The plot centers on Minato (Sōya Kurokawa), a young boy who has lost his father and seems to have emotional issues of some sort. His mother Saori (Sakura Andō) grows suspicious of her son’s strange behavior and when she finally confronts him, he reluctantly admits that he’s being abused by his teacher, Mr. Hori (Eita Nagayama). Saori complains to the school about her son’s abuse and is outraged when Mr. Hori suggests that Minato isn’t a victim at all, but has in fact been bullying another student, a social outcast named Yori (Hinata Hiiragi).

To say anything more would spoil the film, as the story keeps you questioning who’s telling the truth and what’s really going on until the very end. Perhaps the real monster is the audience, as we’re quick to judge the characters and form conclusions about what’s happening before we really know the motivation behind their actions. Wonderfully acted and backed by a gorgeous piano score from the legendary Ryuichi Sakamoto (his final film credit), Monster is a quietly devastating, deeply human film with a haunting conclusion that lingered in my thoughts for days.

For the second year in a row, we were blessed with an incredible slate of new releases from some of my favorite artists. There were plenty of exciting projects to look forward to throughout 2023 and most of them lived up to expectations, resulting in a stacked list that wasn’t easy to determine the final ranking of.

In fact, it was such a strong year that I couldn’t fit everything I liked into ten slots. However, amongst difficult competition, the albums listed below are the ones that impacted and stuck with me the most this year.

10. Colin Stetson – When We Were That What Wept For The Sea

Colin Stetson is an experimental musician who uses the saxophone in ways I’ve never heard before. On this album, he builds an immersive world of sound through his instrument, incorporating rhythmic breathing, spoken word poetry, and more into his usual approach. The album has a nautical theme to it, evoking imagery of a mysterious lighthouse beaming its signal through a thick blanket of fog.

This is an ideal late-night listening record, the kind of album that will make you space out to the point you forget what you’re listening to. At 70 minutes, it feels a bit longer than it needs to be, but Stetson’s brilliant playing and distinctive style are enough to keep the experience engaging from start to finish.

9. Tim Hecker – No Highs

Tim Hecker is a model of consistency – all of the ambient drone master’s records offer an intoxicating experience, pulling the listener deep into a meditative trance with subtle melodies and textures that seem to emerge directly from the subconscious. On No Highs, he incorporates horns for the first time in his discography (including a guest appearance by Colin Stetson), adding a dynamic new layer to his singular ocean of sound.

Coming on the heels of three consecutive masterworks (Virgins, Love Steams, and Konoyo), this album doesn’t quite reach the same level. The transitions between tracks aren’t his smoothest and the sound palette doesn’t feel as unique as those recent triumphs. Still, tracks like “Monotony,” “Lotus Light,” and “Living Spa Water” are mesmerizing soundscapes, offering a potent reminder that no one else can do what Hecker does.

8. Mndsgn – Snaxxx

Mndsgn is one of the most skilled producers working today, shifting between Dilla-esque beat collages and more traditional R&B music that showcases his soothing vocals. On Snaxxx, the final and best installment of a trilogy that began in 2018, he blends it all together into a psychedelic swirl that offers a little bit of everything I love about his music.

With a runtime just under 30 minutes, Snaxxx doesn’t allow any melody or idea to overstay its welcome, gently guiding the listener from track to track with smooth transitions. It has the loose feel of a beat tape, but also incorporates lots of vocal hooks and features some of the musician’s best songwriting to date. Whether you’re bumping it in the car, listening on headphones, or blasting it with friends, Snaxxx provides an instant mood lift that will leave you hungry for more.

7. George Clanton – Ooh Rap I Ya

George Clanton has been making music under a variety of aliases for over a decade now, but his popularity has increased significantly over the last few years, with many listeners such as myself stumbling across his unique brand of hypnagogic pop and quickly becoming fans. The charmingly-titled Ooh Rap I Ya is his first album in five years and finds the singer/songwriter/producer pushing his signature sound in a more psychedelic direction.

Tracks such as “Vapor King/SubReal” and “You Hold The Key And I Found It” eschew traditional song structures, entrancing the listener with glossy synth textures, bouncy percussion, and abstract vocal hooks that are practically dripping in reverb. For listeners who find these songs too spacey, there are more accessible tracks spread throughout the record, most notably “I Been Young,” which features possibly the most anthemic hook that Clanton has written to date.

Every track here is enjoyable, but it’s the final two songs that really solidify this record among the year’s best. “Ooh Rap I Ya” features arguably Clanton’s best vocal performance, building up to a rhythmic chant that explains the album’s enigmatic title over an explosive, head-bopping beat. Finally, closing track “For You, I Will” ends the listening experience on a triumphant high, with ethereal guest vocals from Australian musician Hatchie mixing seamlessly into a shoegaze-meets-vaporwave symphony that makes me feel like I’m soaring through the air.

6. Lavarr The Star – Illusions Ago

Ishmael “Ish” Butler is, without a doubt, my favorite rapper alive. After establishing himself in the 90’s with Digable Planets, he reinvented his sound over the last decade-plus as Shabazz Palaces with instant classics such as Black Up and Lese Majesty. Now, he’s back with yet another alter-ego that finds him singing more than rapping, often with heavy effects on his voice. I wasn’t sure what to expect from this project, but as it turns out, Illusions Ago is my favorite new release from him in a while.

The record is short but sweet, taking the listener on a half-hour journey that will leave you eager to dive right back in. Opening track “Luxury Us Love” establishes the mood beautifully, with auto-tuned vocal harmonies swimming in layers of sci-fi synths and bass tones that are sure to rattle the walls when played through a good speaker system.

Other highlights include “Mind Glow Rodeo,” showcasing Ish’s buttery-smooth flow and knack for iconic one-liners over a woozy beat that eventually explodes into disco-funk ecstasy; “Real Frenz,” a heartfelt tribute to the people you can count on in your life with a killer hook; and “Glass Top Roof (The One),” a bass-heavy romantic ballad that feels like the sonic equivalent of a lover’s embrace. Whether he continues to use this alias or not, I’ll always look forward to whatever Ish is working on.

5. ML Buch – Suntub

ML Buch is a Danish singer/composer/producer whose music defies easy description, existing in the same realm as shoegaze and dream pop but performed in a unique style that feels fresh and original. Suntub is a massive leap forward from her previous work, with its intricately crafted melodies and lush production immersing the listener completely in its world.

Opening track “Pan Over the Hill” sets the tone for the experience perfectly, its whooshing synths and moody guitar tones swirling together into a dreamy haze with Buch’s airy, reverb-drenched vocals soaring over the top. The lyrics evoke memories of relaxing outside on a golden sun-kissed afternoon, with the sights and sounds of nature coming to life around you. Adding to this impression is the album’s unique recording process, which involved Buch performing her vocals in various cars while driving along the Danish coast.

A double LP running nearly an hour in length, Suntub is a grower that takes its time to achieve full impact. After my first listen, I wasn’t particularly impressed, but I found myself returning to the album again and again. The vocals are soothing, the imagery is serene, and the production is top-notch. Perhaps most impressive of all, Buch builds the foundation of her record around an overused instrument (the electric guitar) and makes it sound exciting again. Suntub will be a difficult act to follow, but I can’t wait to see what she does next.

4. Avey Tare – 7s

Released almost ten months ago, this fourth full-length solo effort from Animal Collective frontman Avey Tare has remained in my top five all year long. While I don’t think it quite measures up to his best albums (Down There, Eucalyptus), it’s another brain-melting journey that takes the listener through a whirlwind of sonic universes, each of the record’s seven tracks standing on its own as a crowning achievement.

Opener “Invisible Darlings” finds Avey at his most unabashedly sentimental, with beautiful lyrics that alternately thank and comfort the listener, his unmistakable voice morphed through swampy effects over an outrageously catchy piano loop. “Lips At Night” is a wistful love song built on acoustic guitar strums accented with unusual percussion, such as the sound of a baseball thumping into a catcher’s mitt. “The Musical” is a song about the love of music itself, featuring Avey waxing poetic about what drew him to become a musician in the first place as layers of guitar, bass, keyboards, and drums build to a stunning crescendo.

As good as the first three tracks are, the second half of the album is even better. “Hey Bog”, the record’s nearly ten-minute centerpiece, feels like a perfect example of everything Avey does well, swirling layers of textures and melodies together into a psychedelic stew that invites you to sink in and melt away. The end of the song flows right into “Sweeper’s Grin,” another long track that disorients the listener with a hypnotic structure that seems to keep building upon itself.

Yet another seamless transition brings the album to “Neurons,” an explosion of sound with an addictive hook that features Avey playing the Kalimba (a small, wooden piano originating from Africa that’s played with your thumbs). Finally, “Cloud Stop Rest Start” ends the album on a haunting note, with Avey’s tender vocals reassuring the listener as a restlessly droning synth seems to signal imminent doom. Overall, 7s is the most sonically diverse record to date from one of the most unique and talented musicians on the planet – don’t sleep on it.

3. Oneohtrix Point Never – Again

Oneohtrix Point Never is one of my favorite musicians, but I have to say I felt a bit underwhelmed by his last two efforts. Thankfully, Again is a triumphant return to form that digs back through his large discography to re-explore the many sounds that made me fall in love with his music in the first place.

This isn’t his most unique or cohesive effort, with most of the album reminding you of previous things he’s done and none of the tracks seeming to connect to each other in any sort of meaningful way. This is my one complaint about the record that leaves it just short of reaching masterpiece status for me – with thirteen borderline structureless tracks that feature a multitude of starts and stops and run nearly an hour combined, it’s a bit of an exhausting listen that I find difficult to absorb all at once.

However, this feels like nitpicking considering how incredible nearly every song on here is individually. The title track mesmerizes with its glitchy vocal samples pitching up and down over a wall of siren-like synths that suck the listener down into a bottomless rabbit hole. “Locrian Midwest” conjures powerful swells of emotion and nostalgia with its arpeggiated chords tinged with lush textures, while “Plastic Antique” jars the listener with unpredictably shifting rhythms before dissolving into a massive sea of swelling synths, one of the most gorgeous and awe-inspiring moments in his entire discography.

Other highlights include “Gray Subviolet,” with its overwhelming blend of strings, piano, and choral vocals that merge together into a glorious cacophony, and “Memories of Music,” an electro-prog jam that evokes what the band Yes might sound like if they were active today and utilized modern production methods. Closing track “A Barely Lit Path” ends things on a fittingly epic note, running back through all the sounds of the record in what feels like a well-earned victory lap for one of the most accomplished producers making music today.

2. Alan Palomo – World Of Hassle

Alan Palomo (better known as chillwave pioneer Neon Indian) hadn’t released a new album in eight years, a long enough gap that longtime fans like me worried he might be gone for good. Thankfully, he made a glorious and triumphant return this year with World of Hassle, the first record he’s released under his real name and his most accomplished work to date. With its combination of irresistible hooks, danceable rhythms, and flawless production, all filtered through Palomo’s lovably idiosyncratic personality, this is an immensely gratifying listening experience that offers a little bit of something for everyone.

Opening track “The Wailing Mall” kicks things off with a sound palette that somehow feels both retro and modern at the same time, blending seductive saxophone passages with melodic synth pads and booming bongos as Palomo weaves an amusing tale from a childhood memory of being lost in the mall. “Meutrière” makes me feel like I’m in a classic giallo film (shoutout Dario Argento), with its club-ready beat offering a perfect backdrop for guest vocalist Flore Benguigui to serenade the listener in French.

Continuing the multicultural vibes, “La Madrileña” and “Nudista Mundial ’89” are both absolute bangers that feature Palomo singing in Spanish for the first time in his career. From there, the mood shifts to disco-jazz fusion with “The Return of Mickey Milan,” “Stay-At-Home-DJ,” and “Club People,” all of which offer unforgettable hooks and rhythms that may lead you to discover new dance moves you didn’t even know you were capable of.

Palomo gives his listeners a much-needed breather with “Alibi For Petra,” a laid-back instrumental interlude that transitions seamlessly into “Nobody’s Woman,” a dub-inspired jam that gives new meaning to the word smooth. “Is There Nightlife After Death?” is a slow, sax-heavy groove that finds Palomo questioning the existence of party culture in the afterlife, while he uses “Big Night of Heartache” to transform a painful memory of romantic rejection into humorous, self-deprecating lyrics sung over alluring keyboard washes punctuated with trippy, pitch-shifted vocal samples (“I’m not crying, it’s just the spice”).

“The Island Years” begins with the gentle sound of ocean waves before launching into a tropical beach bop in which Palomo invites a lover to escape with him into sexual bliss and live out the rest of their days in paradise. Just as the track feels like it’s peaking with a crescendo of synths, flute, and percussion, it suddenly cuts out, giving the impression that perhaps this has all been just an elaborate romantic fantasy and now reality has crashed the party.

The sound of the ocean carries the listener along into “Trouble in Mind,” a short instrumental outro that brings the album full circle and ends the experience with an exclamation point. While I sincerely hope Palomo never goes eight years without releasing music again, the long wait was well worth it for a masterwork like this.

1. Animal Collective – Isn’t It Now?

After tiding us over with the remotely-recorded Time Skiffs (released in February of last year), Animal Collective are back with their longest studio album to date, finally releasing the remainder of the new songs they’ve been playing live since 2019 and bringing this pandemic-marred era to a close. Even with the far-from-ideal recording process, Time Skiffs turned out great and felt like the group’s strongest effort in a while. But as much as I loved that record, Isn’t It Now? absolutely blows it out of the water and ranks among my favorite albums they’ve ever done.

The hour-plus journey begins with “Soul Capturer,” a warm hug of an opener that slowly lulls the listener into a deep trance with its repetitive rhythms and flawless harmonies, climaxing with a mind-blowing transition that makes me feel like I’m slipping through a portal into another universe. On the other side of the portal is “Genie’s Open,” a subtle and mysterious epic that dazzles the listener with gorgeous vocals and a complex structure that takes you through a variety of moods, finishing with a bouncy tropical jam that never fails to put a smile on my face.

After two longer tracks, “Broke Zodiac” offers a perfect breather with its surprisingly simple construction, building to a sugary hook that will have you instantly humming along. From here, things cross back into epic territory with the nearly-ten-minute “Magicians From Baltimore,” an absolute stunner of a track that evolves from a spacey, ambient intro laden with effects to a head-banging psych-rock jam, complete with soaring harmonies, wailing guitar riffs, and a honky-tonk piano solo.

Up next is the album’s 22-minute centerpiece, “Defeat,” a true epic in every sense of the word. Consisting of two long, slow sections with a short, upbeat interlude in the middle, it feels like a mini-album of its own, taking the listener on a sonic journey that reaches a breathtaking crescendo. The emotional power of this song is nothing less than staggering, to the point I have to take a deep breath when it’s over – even after dozens of listens, I still find myself getting chills and tearing up nearly every time. I don’t think it’s hyperbole to say it’s among the most brilliant and affecting pieces of music I’ve ever heard in my life.

Moving into the final stretch of the record, “Gem and I” provides a much-needed pick-me-up after the emotional odyssey of “Defeat,” with its jaunty rhythms and addictive chorus delivering an instant serotonin boost. “Stride Rite” slows things down again with raw, earnest vocals over a lovely piano riff backed with jazzy percussion.

“All The Clubs Are Broken” is a short loop that feels like a barbershop quartet on acid, complete with hand claps and doo-wop backing vocals. Though it may feel out of place to some listeners, I think the jarring effect of the track is intentional, acting as a warning that it’s almost time to leave the vast musical universe of the album and return to reality.

As you reckon with these thoughts and the accompanying sadness of realizing the journey is coming to an end, “King’s Walk” closes the album on a transcendent note with goosebump-inducing three-part harmonies over a backdrop of eye-popping sound effects and acoustic guitar strums. The final lyric of the record perfectly expresses the primal terror of living in the modern world while retaining a spirit of optimism: “This old world is almost getting cooked, this old world is tougher than it looks.”

How many bands continue to experiment with their sound and try new things over twenty years into their career? The answer is very few, and I would argue that no group has done it as successfully as Animal Collective. Every member feels at the peak of their powers here, with this collection of songs allowing each of them to shine individually while simultaneously showcasing their unparalleled chemistry. Given the chance to all record together in person for the first time in over a decade, the sense of love and gratitude on this album is palpable.

Though they’ve reached the age when many bands start winding down, content to coast on old songs and fan nostalgia, Animal Collective feel like a group that’s still restlessly exploring the limits of their capabilities. After a relatively slow decade that saw each member more focused on solo releases and side projects, Isn’t It Now? offers a resounding reminder that this band hasn’t lost a step at all – and they aren’t anywhere close to being finished yet.

In 2001, Cartoon Network changed the world of animation forever with the debut of its late-night programming block Adult Swim. Featuring original series with mature content that’s not appropriate for younger viewers, Adult Swim played a huge role in transforming the short-sighted perception that cartoons are only for kids.

Over the course of the last twenty-plus years, Adult Swim has become a thriving institution that’s produced close to one hundred original series. Their scope has expanded beyond animation, proving that live-action shows can be just as strange and surreal as cartoons. All of this adds up to a staggeringly diverse and bizarre collection of programming that feels more like a curated art gallery than a television network.

I’ve been a fan of Adult Swim since I was a teenager and my love for the channel has only increased over the years as streaming has made their incredible library of content more accessible than ever. I’ve seen at least snippets of just about every show they’ve produced and I’ve watched at least twenty-five Adult Swim series in their entirety.

With so many memorable and unique shows to consider, it wasn’t easy narrowing things down to a top ten. In fact, it was so difficult that I had to include two honorable mentions. But if you’re a fan of animation, hallucinatory visuals, and absurdist comedy, then every single one of these series should be on your watch list.

Honorable Mentions

4. Metalocalypse

I didn’t expect to like this show since I’m not a fan of metal music. As it turns out, Metalocalypse is one of the funniest and most addicting cartoons that I’ve seen. And while I generally wouldn’t listen to it outside the context of the show, I’ve even grown to appreciate the ultra-heavy original songs that pop up throughout the series.

Metalocalypse tells the story of the fictitious metal band Dethklok, a group that has achieved such overwhelming international success that they’re described as the seventh largest economy in the world and are allowed to maintain their own police force. Their fans are so devoted that they sign pain waivers before entering a show, legally absolving Dethklok of any injuries or deaths that occur. Despite this immense power and influence, the members of the band are unimaginably stupid and tend to unleash disaster and destruction wherever they go.

The concept is undeniably silly, but the show commits to it admirably and never lets the humor get stale. Most importantly, all 5 band members are iconic: singer Nathan Explosion, lead guitarist Skwisgaar Skwigelf, rhythm guitarist Toki Wartooth, bassist William Murderface, and drummer Pickles. Rounding out this classic group of characters is the band’s manager and financial advisor Charles Foster Offdensen (CFO), who’s frequently exasperated by the group’s antics but remains tirelessly dedicated to protecting them.

While Metalocalypse can easily be enjoyed as just a pure comedy, it became more plot-driven over the course of the series, developing a surprisingly complex and mysterious mythology around the band involving an ancient prophecy about the end of the world and a vicious monster called Salacia. Criminally, the story was left unfinished when the show was canceled in 2013 – but ten years later, we finally got a definitive conclusion in the form of a movie called Army of the Doomstar.

I can’t say that the film is the home run finale I’d hoped for, as it suffers from some pacing issues and feels lacking in the signature humor that defined the series. However, it accomplishes the most important goals of tying up loose ends in the plot and giving the show’s loyal fanbase some much-needed and well-deserved closure for these dumb, toxic characters who we all grew to love so much.

3. The Boondocks 

One of the most shocking and daring satires to ever air on television, animated or otherwise, The Boondocks is bound to offend people with its unapologetically honest take on racism in America. A casual viewer coming across the show will likely feel horrified by the constant N-bombs and outrageous stereotypes on display. But if this viewer were to stop and actually watch the show, they’d see the larger purpose of what creator Aaron McGruder and company are doing.

The Boondocks is deliberately over-the-top and offensive in order to rub your nose in the ugliness of racism – but it doesn’t do this in a way that feels preachy or lecturing. Instead, the show’s perspective feels authentic and insightful, managing to find humor in even the most horrible issues while still forcing you to think about them.

The series is largely plotless in following the exploits of the Freemans, a Black family that moves into a wealthy and mostly White suburb called Woodcrest. The main characters are brothers Huey and Riley (both voiced by Regina King), who live with their grandfather Robert (John Witherspoon). Huey is a deep-thinking political revolutionary who acts as the voice of reason on the show, while Riley is an ignorant wanna-be gangster and Robert is a former civil rights activist who just wants to take it easy in his final years.

Also part of the unforgettable cast are whitewashed district attorney Tom DuBois, moronic rapper Thugnificent, and best of all, crusty old racist Uncle Ruckus – one of the most complex and hysterical characters ever created. These characters, along with the searing political commentary and anime-inspired visual aesthetic, make The Boondocks a cartoon for the ages.

2. Aqua Teen Hunger Force 

Aqua Teen Hunger Force is one of the earliest and longest-running series to air on Adult Swim. Though the show was canceled in 2015 after eleven seasons and a theatrical film, it remains one of Adult Swim’s most popular shows and was recently revived for another movie (the fun but somewhat forgettable Aqua Teen Forever: Plantasm), with a twelfth season now supposedly on the way.

The show follows the exploits and misadventures of three talking fast food items that live together in a small house in New Jersey. They are the shallow and narcissistic Master Shake, the intelligent and practical Frylock, and the innocent but naïve Meatwad. The trio is frequently joined by their human neighbor Carl, a pathetic loser who appears to spend all of his time masturbating and watching sports. All four of these characters are immediately lovable and hilarious.

To say that the show makes no sense is an understatement. Beyond a lack of continuity between episodes, there’s no real rules or sense of logic even within a given episode. For example, characters often die brutally before reappearing without explanation and random objects frequently explode without warning for no apparent reason. This creates a thrilling and unpredictable dynamic where it truly feels like anything and everything can happen at any time.

In response to the detractors who argue this show has no purpose or merit, I would argue it is the best symbolic representation I’ve ever seen of the randomness of existence. Consider the ending of a season 2 episode when Master Shake is arguing with Carl and Carl’s head suddenly explodes. Meatwad asks, “Why’d he do that?” and Shake immediately replies: “Why wouldn’t he?”

I can’t think of a better scene to summarize the unique, surreal humor of this show – and I can’t think of a better show to start your journey into the wonderful world of Adult Swim.

1. The Venture Bros.

Arguably the most ambitious and well-written American cartoon ever made, The Venture Bros. maintained an astonishing level of consistency and continuity throughout its seven-season run. The show features an overwhelmingly large group of characters in a highly-detailed universe that feels like it’s always expanding. In fact, the history and lore of the show’s world are so impressively established from the beginning that it feels like the series has been on forever, even when you just start watching it.

While it’s fruitless to try to summarize even a fraction of the characters and plotlines in The Venture Bros., the show focuses on Dr. Thaddeus “Rusty” Venture and his twin sons, Hank and Dean. Dr. Venture is essentially a projection of who Jonny Quest might’ve become as an adult after a childhood of being dragged around the globe on death-defying adventures with his selfish and abusive super-scientist father. Meanwhile, Rusty is now unwittingly damaging his own sons in the same way that he was traumatized as a child.

Other noteworthy characters include the Venture family’s ultra-violent bodyguard Brock Samson (voiced by Patrick Warburton in arguably his best role), butterfly-themed super-villain The Monarch, his sexy but deep-voiced partner Dr. Girlfriend, and theatrical necromancer Dr. Byron Orpheus. These characters represent just the tip of the iceberg, as the story seemingly introduces someone new every episode.

The Venture Bros. is a difficult show to describe or make sense of to a newcomer. The series is ultimately a loving deconstruction of cartoons, comic books, and pretty much everything pop-culture obsessives like me were raised on. In a way, it re-contextualizes your childhood from the perspective of an adult, creating moments of powerful emotion and nostalgia in the midst of non-stop laughs.

I was heartbroken, along with many other fans, when the series was cancelled in 2020. But thankfully, creators Jackson Publick and Doc Hammer were given the opportunity to conclude their story with a movie released earlier this year, given the phenomenal title Radiant is the Blood of the Baboon Heart.

While a proper final season would’ve obviously been ideal, the movie maximizes every second of its 84-minute runtime to deliver just the right balance of action, humor, surprising revelations, and emotional closure. It may not be how the creators planned to wrap up their show, but it feels like a near-perfect ending regardless and solidifies The Venture Bros. as a classic that will stand the test of time.

It wasn’t until the late 90’s that HBO began to seriously invest in developing original series, but it didn’t take long for some of these shows to catch fire, starting a revolution in the industry that completely transformed the perception of TV in our culture. To that point, TV was considered the most restricted and dumbed-down medium for artists to work in – thanks to HBO, the possibilities of what you could do on TV suddenly felt limitless.

Now, more than 25 years since that revolution began, HBO is no longer the only destination for challenging, high-quality television. However, their library of original content remains unrivaled in its depth of unforgettable shows that left an indelible mark on pop culture. Beyond that, the brand of HBO still carries a certain air of prestige that no other network can hope to match – after all, as the network’s slogan says: “It’s not TV. It’s HBO.”

Of course, with such a diverse roster of shows, it isn’t easy to decide on ten favorites, much less rank them. But as a longtime HBO fan and an obsessive-compulsive person who loves making lists, I’ve decided to do just that. If you’re a newcomer to the world of HBO, this will give you helpful suggestions where to start. And if you’re a longtime viewer like me, hopefully the list will inspire some fun debates trying to answer the ultimate question – which is the greatest HBO series?

Honorable Mention (Best Miniseries)

I decided not to consider miniseries for this top ten list, as it didn’t feel fair to compare single-season shows to ones that ran for multiple seasons. But even if they don’t qualify for this list, HBO has produced its fair share of excellent miniseries that shouldn’t be overlooked, some of which include Mare of Easttown, Sharp Objects, The Night Of, and Chernobyl.

Best of all is Damon Lindelof’s interpretation of Alan Moore’s seminal graphic novel Watchmen, a radical alternate take on the story’s themes that imagines the future of some of its characters while also inventing entirely new characters and plot lines that take place in the same world. Not an adaptation or a straightforward continuation, it’s more like a remix that retains the essential themes of the book and shows how resonant they remain today, even if the issues plaguing our current headlines are a bit different.

The wildly ambitious narrative finds time to include, among other things, the Tulsa race massacre of 1921, the psychological fall out from the giant squid attacks that concluded the novel, a group of white supremacists who wear Rorschach masks, the ever-resilient Adrian Veidt (Jeremy Irons, having a ball) plotting to escape interstellar imprisonment, and a downright brilliant depiction of how the God-like figure Dr. Manhattan experiences time. It’s a borderline sacrilegious idea that absolutely should not have worked, yet it somehow all comes together beautifully.

Top Ten Series

10. The Wire (2002-2008)

One of the most ambitious and multi-faceted drama series to ever air on television, The Wire is a show unlike any other. Over the course of five seasons, creator David Simon and company delve deep into the city of Baltimore to dissect the problems that lay at the root of virtually every major institution in modern America.

At its best, the show is thought-provoking and heartbreaking in equal measure, showing how our society runs on a self-perpetuating system that’s fundamentally incapable of change. Dividing its time between the law, organized politics, public education, and the media, The Wire argues that even those with the most noble intentions are inevitably ground into dust by the immovable system they all have no choice but to serve. This rare level of thematic depth and searing political commentary is why it’s often cited by critics as the best TV show ever made.

So why is it only number ten on my list? While I appreciate the uniqueness of the structure and thought the series hit some tremendous high points (especially in seasons 3 and 4), I can’t say that it lived up to the hype overall for me. I found the pacing to be almost unbearably slow at times, while some characters and storylines just didn’t interest me at all (the dock workers in season 2, the newsroom in season 5, most of the cop characters throughout the series). As a result, it was somewhat of a slog for me to get through.

However, there are other characters from the show who will undoubtedly stick with me, such as the struggling addict Bubbles (Andre Royo), pragmatic drug dealer Stringer Bell (Idris Elba), and fearless stick-up man Omar Little (Michael K. Williams). Furthermore, as the institutions we depend on continue to crumble around us, the thesis of The Wire rings as loud and true as ever.

9. Succession (2018-2023)

The show that it feels like everyone has been talking about for the last few years, Succession is a timely examination of the corrupting power of wealth and how dangerous it is to let any individuals (i.e. billionaires) possess too much power and influence in our society. The story focuses on Logan Roy (a ferocious, terrifying Brian Cox), the head of a massive media empire who begins to suffer from health problems, leaving the question of which of his children will succeed him.

The problem is all of his kids are emotionally stunted narcissists and Logan himself is not exactly eager to give up the keys to the kingdom, no matter his physical or mental condition. This leads to four seasons’ worth of devious plotting, scheming, and double-crossing, as the egomaniac Kendall (Jeremy Strong), emotionally weak Roman (Kieran Culkin), and ice-cold Shiv (Sarah Snook) all struggle to show their dad that they’re capable of being just as ruthless as he is.

There’s also their half-brother Connor (Alan Ruck), the sibling who no one really pays attention to or takes seriously, even when he decides to run for President. Best of all is the comic dream team of Shiv’s power-hungry, status-obsessed partner Tom (Matthew Macfayden) and the siblings’ cousin Greg (Nicholas Braun), a bumbling fool who proves over time to be just as conniving and morally bankrupt as anyone else in the show.

Considering its depressing themes and loathsome characters, Succession was a very difficult watch for me. There’s an almost sickening feeling when you spend too much time with these people, any one of whom I would be happy to see drive off a cliff in real life. At the same time, the series is so well-written and brilliantly acted that it’s hard to turn off, and its unflinching examination of the failures of capitalism feels like a message that needs to be heard right now.

8. The Deuce (2017-2019)

It might seem crazy to place The Deuce, David Simon’s third HBO series, ahead of his first (The Wire) – but this is my list and I’m ranking these shows based solely on how much I enjoyed them. Co-created with George Pelecanos (who wrote many of the best episodes of The Wire), The Deuce is a period piece set in New York City during the ‘70s and ‘80s, depicting the rise of the porn industry and how Times Square transformed from the seedy underbelly of the city to the corporate playground for tourists that it’s become.

Much like The Wire, the story casts a wide net to include all sorts of fascinating characters and show how everything is connected – from the pimps to the prostitutes to the cops to the mafia and even the government. The show features a terrific ensemble cast including James Franco as twin brothers Vincent and Frankie Martino, Maggie Gyllenhaal as street girl turned auteur filmmaker Candy Renee, and Emily Meade as Lori Madison, a naïve girl from Minnesota who falls under the thumb of a ruthless pimp named C.C. (Gary Carr).

This description represents just the tip of the iceberg, as the series is packed with colorful characters and award-worthy performances. It’s also one of the most gorgeously shot and impressively designed shows you’ll ever see, seamlessly immersing the audience in the time period to the point that you’ll feel like you’ve actually been there. With its eye-popping visual style, rich characters, and deeply layered narrative, The Deuce is easily one of the most underrated and affecting dramas in recent memory.

7. The Righteous Gemstones (2019-present)

I’m guessing this ranking will seem shockingly high for many readers, but what can I say? I love Danny McBride and his singular style of humor. I enjoyed his first HBO series, Eastbound and Down, though I found it to be inconsistent. After that, he teamed up with Walton Goggins for Vice Principals, a perfectly paced and hysterical series that doesn’t get enough love in my opinion. But The Righteous Gemstones is easily his best work to date, featuring a stacked ensemble cast and impressive sense of scale that elevates it far beyond mere silliness.

The story focuses on the Gemstone family, led by patriarch Eli (John Goodman). He’s frequently appalled by the antics of his three spoiled, incompetent children, played by McBride, Adam Devine, and Edi Patterson. At the same time, he recognizes that he’s getting old and it will soon be time to pass down the reins of the Gemstone family’s lucrative mega church business (yes, there are some obvious thematic parallels to Succession here, but don’t make the mistake of lumping the two shows together – they couldn’t be more different in their approach).

Whether the over-the-top style of The Righteous Gemstones works for you will depend largely on your sense of humor and how much you enjoy the performances of the cast members. McBride, Devine, and Patterson are all comic marvels in their respective roles, while Goodman brings a much-needed sense of gravitas to the material. Best of all is Walton Goggins as Uncle Baby Billy, one of the most riotous characters to ever appear on screen – it’s not an exaggeration to say that Goggins steals every scene he’s in.

The show features even more great characters than the ones mentioned above, and the plot and structure are far more ambitious than you might imagine for a series of this nature. Over the course of its three seasons to date, The Righteous Gemstones has given us eye-opening plot twists, thrilling shootouts and car chases, toe-tapping musical numbers, and more. It’s about as close to a cartoon as a live-action show can get and will inevitably turn some viewers off with its crudeness. But if you can get on McBride’s wavelength, this is the funniest show on TV right now.

6. Veep (2012-2019)

A clueless, self-centered, toxic politician rising all the way to The White House seemed like an absurd concept when Veep debuted in 2012. Just four years later, Donald Trump was in office, making it seem like this show had predicted our future. In hindsight, none of us should’ve been as surprised as we were – the whole point of this show is that people who have no business being in charge of anything can and frequently do rise to power in American politics. And barring huge structural changes to our political process, they will continue to do so.

This may sound like a bummer, but Veep is an absolute blast to watch. Focusing on incompetent Vice President Selina Meyer (Julia Louis-Dreyfus) and her devoted staff, the show is a razor-sharp satire packed with unforgettable performances and some of the most hysterical one-liners you’ll ever hear. It also moves at a breakneck pace, never slowing down throughout its seven-season run while finding time to skewer just about every aspect imaginable of contemporary politics.

Louis-Dreyfus feels like she was born to play Selina Meyer and it’s no surprise that she won six consecutive Emmys for the role. However, it’s the supporting cast that really makes this series shine for me, including Selina’s extremely loyal assistant Gary (Tony Hale), her shockingly lazy communications director Mike (Matt Walsh), savant-like campaign aide Richard (Sam Richardson), and delusional White House liaison Jonah Ryan (Timothy Simons).

All of these characters and more cement Veep as a classic comedy series that’s unlikely to lose any of its bite over time, as our political leaders seem hell-bent on proving they can make the real world just as ridiculous as anything on TV.

5. Oz (1997-2003)

When people talk about the rise of HBO, they tend to cite The Sopranos or Sex and the City as the series that started it all. But even before those shows, there was Oz, the very first original drama series produced by HBO. Premiering in 1997, Oz was downright shocking in its gritty, unrestrained depiction of life in American prisons, featuring scenes of graphic violence and sexual content unlike anything seen on television to that point.

Even by today’s standards, the show is a brutal watch, with its pilot episode alone featuring a major character getting burned to death and another one being dominated into submission by a white supremacist who ultimately brands him with a swastika. But don’t make the mistake of dismissing Oz as cheap exploitation – this is a sophisticated piece of dramatic storytelling, using the prison system to explore societal issues including addiction, healthcare, racism, homophobia, religious extremism, and much more.

The show takes place in a fictional prison called Oswald Correctional Facility, with most of the action occurring in an experimental unit called Emerald City. The cast is as large and diverse a group as you’ll ever see on TV, with standouts including the radical Islamist activist Kareem Said (Eamonn Walker), swaggering sociopath Simon Adebisi (Adewale Akinnuoye-Agbaje), vicious Nazi leader Vern Schillinger (J.K. Simmons), and wheelchair-bound inmate Augustus Hill (Harold Perrineau, who also narrates the show and provides thematic context for the audience).

Perhaps most important of all is Tobias Beecher (Lee Tergesen), a mild-mannered attorney who winds up in Oz after killing a young girl while driving drunk. Watching what Beecher goes through and how he’s forced to transform in order to survive within this world will make you question how sending someone to prison could ever possibly make them a better person.

This only scratches the surface of the many fascinating characters and heartbreaking stories that unfold inside Oz over the course of six seasons. The show arguably ran a bit too long, with the quality showing signs of decline towards the end, but it still concluded on a solid note. And even with the occasional narrative stumble, the show never failed to be riveting and emotionally devastating. By the time you get to the end, you’ll feel like you’ve been locked up alongside these characters and suffering with them, struggling to remember the last time you felt the warmth of the sun.

4. Boardwalk Empire (2010-2014)

For whatever reason, Boardwalk Empire is rarely talked about as one of HBO’s finest achievements. I’m not sure why, as it’s got everything you could want in a drama series: unforgettable characters, terrific writing, expansive world-building, constant conflict, and to top it all off, an immersive period setting rendered in stunning technical detail. Sure it moves at a methodical pace, but the series consistently rewards your patience by ensuring the details add up in surprising and satisfying ways, all the way up to a series finale that feels poetic and perfect in the way it brings the narrative full-circle.

The story takes place in Atlantic City in the 1920s, during the height of Prohibition. Treasurer Nucky Thompson (a brilliant Steve Buscemi) is one of many people in power using the demand for illegal booze to make himself a fortune. The scope of the series seems to be forever expanding, casting a wide net to include politicians, gangsters, prohibition agents, and more. It’s a world where everything is connected and no one is innocent, not even Nucky’s progressive-minded wife Margaret (Kelly Macdonald).

The cast is impeccable, a dream team of veteran actors given the chance to run with wonderfully-written, complex roles. Just a few of the many great characters who populate the world of the show include African-American kingpin Chalky White (played with incomparable swagger by Michael K. Williams), brutally disfigured ex-soldier Richard Harrow (a soulful Jack Huston), and humorless Prohibition agent turned criminal Nelson Van Alden (Michael Shannon in the performance of a lifetime). The story also makes room for real historical figures like Arnold Rothstein (Michael Stuhlbarg) and Al Capone (Stephen Graham).

With its expensive set design and mesmerizing cinematic style (Martin Scorsese directed the pilot), Boardwalk Empire might be the most gorgeous show to ever air on television. Few, if any shows, can boast the kind of immersive atmosphere and technical craftsmanship on display here. Combined with the top-notch performances and consistently excellent writing, it’s easily one of my favorite drama series that I’ve watched and among HBO’s crown jewels.

3. Barry (2018-2023)

When Barry debuted in 2018, I found myself in almost immediate awe of it, recommending it to anyone I talked to. With its unique tone of outrageous, borderline Looney Tunes-esque comedy that can erupt into genuinely disturbing violence at a moment’s notice, it’s certainly not a show for everyone. But if you have a dark (really dark) sense of humor, you might find yourself tearing up from laughing so hard – and eventually, as the characters make poor choices and unravel into despair, the tears will come back for very different reasons.

Barry Berkman (Bill Hader in a tour-de-force performance) is a former U.S Marine who now uses his military skills to work as a professional hitman, carrying out dangerous assignments for his mentor and father figure Monroe Fuches (a despicably hilarious Stephen Root). While tracking a target, Barry accidentally stumbles into an acting class led by pompous teacher Gene Cousineau (Henry Winkler, never better) where he quickly becomes smitten with one of the students, Sally Reed (a terrific Sarah Goldberg).

Complications continue to stack up from here, as Barry’s desperate attempt to reinvent himself as an actor and win Sally’s affection creates dangerous ripples that affect the lives of everyone around him, many of whom are innocent. The premise of the series starts as something that sounds like a bad sketch idea (what if a hitman became an actor?) and evolves into a thought-provoking examination of whether human beings are really capable of changing their true nature.

Yet for all the weighty subject matter, Barry is also a show that gives plenty of screentime to a gay albino Chechen mobster named NoHo Hank (a hysterical Anthony Carrigan), one of the most absurd and ridiculous characters to ever appear on television. A show that veers between biting Hollywood satire, goofy slapstick comedy, and emotionally traumatizing violence shouldn’t work – but somehow, thanks to the singular vision of Hader and his collaborators, the show never falls apart.

It also moves at a blistering pace, with a total of just thirty-two half-hour episodes, ensuring the story and characters never have time to grow stale. After a roller-coaster ride of murders, betrayals, identity changes, and more, it all culminates in a stunner of an ending that left me thinking about it for days.

2. Deadwood (2004-2006)

“Every fuckin’ beatin’ I’m grateful for. Every fuckin’ one of them. Get all the trust beat outa you. And you know what the fuckin’ world is.” – Al Swearengen

“Every day takes figuring out all over again how to fuckin’ live.” – Calamity Jane

“Announcing your plans is a good way to hear God laugh.” – Al Swearengen

These are just a few short examples of the endlessly quotable dialogue in Deadwood, a show that will surely never be topped in the richness and inventiveness of its language, not to mention its gleeful profanity. As written by David Milch, the characters in Deadwood never stop talking and rarely feel the need to resort to physical violence, when a perfectly-worded insult can achieve the same effect.

Despite taking place in the old west, you can count the noteworthy brawls and shootouts in the series on one hand – this is not a show you watch for action, or plot for that matter. The joy of Deadwood is simply basking in its primitive world and savoring your time with its deeply flawed but lovable characters, brought to life by a brilliant ensemble cast in which nearly every member gives the best performance of his or her career.

This is especially true of Ian McShane, who tears into the role of saloon owner Al Swearengen with the gusto of an actor who knows he’s stumbled into a once-in-a-lifetime role. But there are many more classic characters and performances on display here, from Timothy Olyphant as temperamental sheriff Seth Bullock to the great Powers Boothe as Swearengen’s rival Cy Tolliver. I could keep listing characters and raving about the cast all day, but we’d never reach the end of this article.

So what is Deadwood really about? It’s about a town of disparate outsiders (prospectors, criminals, prostitutes, etc.) coming together against all odds to form a functioning community, all while fighting against the inevitable hostile takeover of big capital (embodied to loathsome perfection by Gerald Mcraney’s George Hearst). It’s a story that finds nuggets of beauty and human kindness in an ugly world that’s ruled by greed.

The show was left criminally unfinished when HBO canceled it after season 3, but thanks to demand from the fans, we finally got a movie to wrap things up in 2019, nearly 15 years after the original series ended. While it should never have taken that long, most viewers will agree it was worth the wait.

1. The Sopranos (1999-2007)

What is there left to say about The Sopranos? If you haven’t watched it yet, you undoubtedly have encountered many people in your life already who have told you it’s the greatest show of all time and you really need to watch it. And you may be skeptical, or turned off by the length of the series, but they’re absolutely right. The Sopranos is the rare pop culture phenomenon that lives up to the hype, a universally praised work of art that deserves every accolade it’s received and maybe more.

So what makes it so great? Start with the characters, led by James Gandolfini as Tony Soprano in arguably the single greatest performance in TV history. Tony’s a husband and father, making tons of money and living a cushy suburban lifestyle while secretly wondering what the point of it all is and why none of the luxuries he’s achieved in life seem to bring him any happiness. This is a condition at the heart of modern life that will make him instantly relatable to most viewers.

The thing is, Tony is also a mob boss, a sociopathic criminal who takes whatever he wants and doesn’t hesitate to kill whoever stands in his way. And he also has to deal with his nagging mother (a hilarious Nancy Marchand) and cranky uncle Junior (an exceptional Dominic Chianese), who may or may not be in cahoots to have Tony whacked.

Furthermore, his relationship with his wife Carmela (Edie Falco in another all-timer performance) seems to grow more and more strained by the day. With all this going on, it’s no wonder he starts having panic attacks that land him in therapy with the ever-patient Dr. Melfi (Lorraine Bracco, bringing a touch of mob movie royalty).

What I’ve described so far is basically just the events that kick off season 1. I would need a whole book to talk about the endless plotlines, characters, and themes that emerge over the course of eighty-six episodes. Hell, I could write a whole article just about the side-splitting antics of Tony’s nephew Christopher (a sensational Michael Imperioli) and veteran crew member Paulie Walnuts (an unforgettable Tony Sirico). As the series evolves, characters and stories come and go, but the world of the show is so vast and vividly realized that you feel like it could just keep on going forever.

It doesn’t, of course – by now, it’s no spoiler to talk about the ending, possibly the most endlessly discussed and debated conclusion to a series ever. While many were infuriated by the sudden cut to black, leaving the fate of Tony and his loved ones in a permanent state of mystery, I was profoundly moved by the ending. It’s surprising, it’s impossible to predict, it avoids easy resolution or definitive closure, and it forcefully snaps you out of the world of the show back to reality, forcing you to start thinking about your own life and the choices you’ve made.

Something may have happened in that diner, or nothing may have happened – Tony could be dead facedown on the table, or he could simply be enjoying a basket of onion rings with his family. Either way, the point is that life is precious and we should enjoy every moment of it that we can because at any second, without warning, it could all be taken away from us.

After two years that saw cinema hit its lowest point in my lifetime, 2022 was a strong comeback. I’ve seen lots of people bemoaning the lack of good movies this year and I would argue there were plenty – you just had to put in a little effort to find them.

This is why my annual tradition of writing a top ten list remains so important to me. In a time when it’s more difficult than ever to decide what to watch, top ten lists serve as a helpful guide to point people in the direction of noteworthy films they may have missed during the year. Beyond that, crafting a top ten list is a personal statement, a subjective exercise that reveals parts of who you are and what you seek out as a filmgoer.

So in that spirit, consider this list my humble contribution to processing the moviegoing experience in 2022.

10. The Whale (Darren Aronofsky)

Easily the biggest tear-jerker of 2022, The Whale is a somewhat shallow and one-note film – but it’s also a morbidly compelling and emotionally moving watch that’s designed to function as a test of the audience’s empathy. The story centers on Charlie (Brendan Fraser), a man who is so morbidly obese that he can’t even stand up and move around without assistance. He stays isolated in his dingy apartment, teaching college writing courses online while lying that his camera is broken in order to keep his appearance hidden from the students.

Charlie has been binge-eating himself to death since the loss of his partner, a man he loved so much that he left his own wife and young daughter to be with him. His only friend is Liz (Hong Chau), a nurse who cares deeply for Charlie to the point that she can’t decide whether to yell at him or comfort him. When Charlie’s blood pressure rises to a level that signals imminent death, he attempts to reconcile with the daughter he abandoned (Sadie Sink) before it’s too late.

Those are the broad strokes of the plot, but Samuel D. Hunter’s script (adapted from his own stage play) does a good job of slowly layering details to fill in the spaces of these characters’ lives – even if some of the connections and conversations between them feel overly theatrical and contrived. Darren Aronofsky’s direction is unusually subtle and restrained by his lofty standards, but no less effective. In a nearly two-hour movie that all takes place in one apartment with just five characters appearing, he maximizes the claustrophobic atmosphere without ever letting the momentum of the film stall.

Brendan Fraser delivers by far the best performance of his career, a devastating tour-de-force that most people probably didn’t think he had in him (I’ll admit that I certainly didn’t). Buried under layers of prosthetics, he never loses sight of the character’s humanity, sometimes carrying entire scenes with just his eyes and facial expressions. Without a doubt, he deserves to win an Oscar for this role. Hong Chau and Sadie Sink are also excellent as the two most important people in Charlie’s life.

Aronofsky is possibly my favorite filmmaker and while this is far from his best work, he’s delivered yet another memorable experience with The Whale. The magic trick of this movie is that it portrays a character so outwardly repulsive, your natural instinct is to turn away – but by forcing you to spend time with that character and see life through his eyes, the beauty of the person underneath is gradually revealed.

9. Men (Alex Garland)

Alex Garland’s Men was one of the more divisive movies this year, turning many viewers off with its inflammatory subject matter and head-scratching conclusion. Count me among the film’s limited admirers – though the script is frustratingly obtuse at times, the technical craftsmanship on display is impeccable and I was riveted from beginning to end.

Jessie Buckley is terrific as Harper, a young woman who carries deep scars from a previous relationship with a mentally ill man that ended with him committing suicide right in front of her. In an attempt to get out of her own head, Harper retreats to an isolated rental home in the English countryside, but soon finds herself being stalked by a variety of creepy men who all seem to be subtly gaslighting her. Harper is the only woman around, surrounded by men who all want something from her – so who’s going to believe her when she says she’s in danger?

In a brilliant touch, Rory Kinnear plays all of the men stalking Harper. At one point, his face is even superimposed over a child’s body to unnerving effect. He does an excellent job imbuing all the different characters with distinct personalities, ensuring that each role stands on its own. The outstanding performances from Kinnear and Buckley, along with the striking cinematography and haunting score, are enough to make the film worthwhile on their own.

Though the script does an admirable job of exploring interesting questions and themes, the ending of this movie is baffling, to say the least. I left the film confused and a little frustrated by its conclusion. Yet, at the same time, I continued to think about Men long after it was over and certain images from the film have remained lodged in my brain. To me, that’s the sign of a successful movie, even if I wish it ended on a stronger note.

8. The Menu (Mark Mylod)

I didn’t expect to enjoy this movie nearly as much as I did. The Menu is yet another in a long line of recent films that skewer the wealthy and I couldn’t help but worry that it would be too safe and predictable, content to coast on easy jokes about the uber-rich without offering memorable characters or genuine suspense. I was wrong, as The Menu is one of the most sharply-written and purely entertaining movies I saw last year.

The film makes the most of a simple setup, stranding a bunch of pretentious elites on an exclusive dining cruise where the renowned chef (Ralph Fiennes) has decided that he’s had enough of serving these soulless bores. But a wrinkle is thrown into his meticulous plan by the unexpected presence of Margot (Anya Taylor-Joy), a mysterious passenger who doesn’t seem to fit in with the rest of the guest list. What starts as a social satire gradually evolves into a thriller, though the movie’s primary weapon remains humor from beginning to end.

Fiennes’ performance is nothing short of outstanding, turning a role that could’ve been a laughable caricature into an unforgettable villain who toes the line between hilarious and chilling. Taylor-Joy is the perfect counterpart, strong and feisty enough to stand up to the chef, but also vulnerable and relatable enough to make the audience root for her.

It’s true that the commentary on wealth and privilege is mostly surface-level stuff that we’ve heard before, but that’s okay – the main goal of this movie isn’t to make a thoughtful political statement. Instead, The Menu accomplishes the arguably even more difficult goal of injecting relevant, provocative commentary into a fun, crowd-pleasing thriller, offering a little bit of something for everyone.

7. The Sadness (Rob Jabbaz)

One of the most shockingly brutal, unrelentingly intense, and downright sickening horror films I’ve ever seen, it would be an understatement to say that The Sadness is not an easy watch. Set in Taiwan, the story focuses on the sudden emergence of a new virus that causes the scientific community to sound the alarm, while the government does nothing and the general population fails to take it seriously. Early in the film, characters shrug off ominous news reports, insisting that the virus is a hoax or part of some large conspiracy theory.

Obviously, this subject matter feels all too relevant, no matter what part of the world you’re living in. But unlike COVID-19, the virus in this movie doesn’t make people sick or die – it shuts down the part of their brain that governs aggression with reason, leading those who get it to lose all traces of decency and self-control. They essentially become feral animals, raping, killing, and mutilating any victims unfortunate enough to cross their path.

As the virus spreads, the city turns into a full-on battlefield, with nowhere safe to hide. In the midst of this chaos, two lovers desperately try to survive and make their way to one another before it’s too late. It’s a simple but effective premise, with the script offering just enough development to make us care about the main characters and feel invested in their survival. But after a quick setup, it’s nothing but balls-to-the-wall mania, keeping you pinned to the edge of your seat all the way through the gut-wrenching climax.

Please be advised, this movie is not for the faint of heart. The gore is jaw-droppingly graphic at times, while the scenes of cruel sexual violence and abuse will offend or upset many viewers. But if you’re like me and find most modern horror films to be too safe and predictable, this is the batshit crazy bloodfest you’ve been waiting for.

6. X and Pearl (Ti West)

I know I’m cheating a bit by having two films share one spot, but the viewing experiences of X and Pearl are so inextricably linked to one another that it feels impossible to evaluate them separately. Filming and releasing two wildly different but thematically connected horror films back to back in the same year, writer/director/editor Ti West took a big swing that ended up paying dividends.

Set in 1979, X is a loving homage to 70’s grindhouse exploitation cinema, especially Tobe Hooper’s masterpiece The Texas Chain Saw Massacre. It follows a group of ambitious young people who set out to make a porn movie, planning to film it secretly in an isolated barn on the property of an old couple who have no idea what their guests are up to. Naturally, their hidden agenda is discovered by Pearl (the elderly woman), and to say that complications ensue from there would be an understatement. West takes his time getting to the climax, building tension slowly and methodically before finally letting things explode in a symphony of carefully choreographed bloodshed.

A massive departure from its predecessor, Pearl backtracks all the way to 1918, showing us how a beautiful young woman with dreams of stardom devolved into the sad, decrepit killer we meet in X. By showing us how Pearl is smothered and denied happiness, living on an isolated farm with her cruel mother and infirm father while her husband fights in World War 1, the film achieves a very rare thing – it makes us feel empathy for the villain.

Both films are stunning on a technical level, with the gorgeous cinematography and pitch-perfect costumes evoking their respective time periods flawlessly. X really looks and feels like a lost drive-in movie from the 1970s, while Pearl captures the dreamy aesthetic of old Technicolor classics like The Wizard of Oz.

But even more than the intoxicating style, what really sets these films apart is the star-making acting on display from Mia Goth. She pulls double-duty in X, playing cocky young porn star Maxine in addition to the elderly Pearl. Though she demonstrates a commanding screen presence in both roles, it’s her work as young Pearl in the sequel that you won’t be able to shake. Watching her mentally unravel in the climax, including an unbroken nine-minute monologue and a final close-up of her face that lingers through the credits, is absolutely riveting and deeply unsettling.

Taken on their own, these are both solid and memorable horror films that would each be worthy of inclusion on this list. But evaluated together, X and Pearl make for one hell of a double feature – once you’ve watched both, the experiences retroactively enrich and enhance one another, encouraging repeat viewings. West has already announced that he’s developing a third chapter of the story, MaXXXine – I’m not sure if it’s needed, but I know I’ll be at the theater opening night anyway.

5. Decision To Leave (Park Chan-Wook)

The latest work from legendary Korean director Park Chan-Wook, Decision To Leave is a surprisingly low-key film. The shocking violence of Oldboy and lusty eroticism of The Handmaiden are nowhere to be found here. Instead, the movie is a quiet and haunting love story, focusing on a homicide detective (Hae il Park) who becomes gradually drawn to a Chinese immigrant (Tang Wei) as he investigates the suspicious death of her husband.

Naturally, things quickly grow complicated, as our protagonist becomes torn between the legal obligations of his job and his increasingly strong feelings for this mysterious woman who may or may not be dangerous. The film is more of a slow-simmering romance than it is a murder mystery, but the script does contain some nice surprises that keep the viewer guessing as to the characters’ true intentions. It all culminates in a haunting conclusion that stuck with me long after the credits rolled.

Park and Wei give excellent performances as the film’s two leads, effectively conveying the loneliness and desperate sense of longing between their characters. The film also benefits from expert direction and some of the most striking imagery seen on screen this year. Though Decision to Leave isn’t Park Chan-Wook’s best work, it’s a beautifully-shot and well-written piece of classical storytelling, the kind of movie we see all too rarely these days.

4. Terrifier 2 (Damien Leone)

I thoroughly enjoyed 2016’s Terrifier, as well as the 2013 anthology film All Hallows Eve that first introduced audiences to Art the Clown. But nothing could’ve prepared me for the bloody mayhem that writer/director/practical effects master Damien Leone unleashes in Terrifier 2, the most ambitious, entertaining, and unforgettable slasher film I’ve seen in ages.

The first Terrifier was a lean and mean movie that served almost entirely as a showcase for Art the Clown and Leone’s knack for crafting stomach-churning kill scenes. In Terrifier 2, there’s an actual plot and lots of time is spent developing the protagonists so the audience feels genuinely invested in them. This is a refreshing change of pace from the usual slasher formula of focusing on dull, generic characters who the audience won’t miss when they’re inevitably slaughtered.

The story centers on Sienna Shaw (Lauren LaVera), a troubled teenager dealing with emotional issues in the wake of her father’s death. Meanwhile, her younger brother Jonathan (Elliot Fullam) seems a little too fascinated with the details of the massacre that took place in their small town a year ago, and the siblings’ overprotective mother (Sarah Voigt) struggles to hold their dysfunctional family together. Before long, their already-complicated lives unravel into a full-fledged nightmare as Art the Clown returns to Miles County and targets Sienna.

While many viewers will complain about the nearly two and a half hour runtime, the epic length allows Leone to fully flesh out his characters and slowly build an elaborate mythology around Art The Clown. The kill sequences are also thrillingly unrestrained, incorporating brilliant prosthetics and practical effects to achieve some of the most gruesomely gory moments ever shown on screen.

Yet despite all the brutality, Terrifier 2 never fails to be an absolute blast, incorporating plenty of dark humor and a heightened tone that’s rarely seen in modern horror. The epic climactic battle between Sienna and Art is so over-the-top that it feels like you’re watching a supremely messed up superhero movie and is worth the price of admission alone.

Lauren LaVera is terrific as Sienna, a final girl for the ages – I can’t remember the last time I fell in love with a new character/actress so immediately. And once again, David Howard Thornton is brilliant as Art the Clown, solidifying his character as a modern slasher icon who is both hilarious and terrifying, all without making a sound. They’re the perfect stars to bring Leone’s demented vision to life, a vision that feels comfortingly nostalgic and refreshingly new at the same time.

The blood-spattered mania of Terrifier 2 will only appeal to a limited audience, but for hardcore slasher fans, this film is an instant classic. Now, bring on Terrifier 3!

3. RRR (S.S. Rajamouli)

Move over, James Cameron. In a year that was filled with huge blockbuster spectacles, only one of them stuck with me, and it wasn’t the new Avatar. That honor belongs to S.S. Rajamouli’s RRR, a Telugu-language film from India that is truly epic in every sense of the word. Over the course of its three-hour runtime, RRR relentlessly jolts the audience with massive action setpieces and infectiously exuberant song-and-dance numbers, injected into a narrative that’s equal parts mythical fable, tender bromance, and rousing anti-colonialism statement.

If that sounds like a lot of movie, it is – in fact, what primarily makes RRR such a thrilling experience is the sheer largeness of it all. It arguably runs a bit longer than it needs to, but the film is never dull for even a moment. The action is thrilling, the acting is solid, and the story is filled with heart. This is the kind of movie that feels constantly in danger of tipping over the edge into parody, but the passion and sincerity of everyone involved somehow manages to hold it all together. As a bonus, the musical numbers are incredible and that’s coming from a person who typically loathes musicals.

More than just a movie, RRR is an experience, one that’s best enjoyed with a group so you can all laugh, dance, and cheer together. Is it absurdly over-the-top to the point of being cheesy at times? Absolutely, but that’s part of the charm. Rajamouli never makes the mistake of taking himself too seriously, ensuring that RRR is a blast from beginning to end. So round up your closest friends, find the biggest screen you can, and get ready to Rise, Roar, Revolt.

2. Everything Everywhere All At Once (Daniel Kwan & Daniel Scheinert)

When I saw this movie in theaters all the way back in March, I knew that it would be tough to top. And while 2022 turned out to be a strong year with some excellent competition, my prediction that this film would remain at or near the top of my list proved correct. Rarely have I seen a movie that makes me laugh and cry in equal measure, but this mind-bendingly original creation from the Daniels (Daniel Kwan and Daniel Scheinert) manages to achieve exactly that.

The story focuses on Evelyn Wang (Michelle Yeoh), a Chinese immigrant who disappointed her father (James Hong) by marrying the sweet but bumbling Waymond (Ke Huy Quan) and moving to America. At the start of the film, Evelyn is trying to hold her struggling Laundromat business together in the midst of an IRS audit and organize a party for her visiting father. Meanwhile, her marriage with Waymond is falling apart and her relationship with her daughter Joy (Stephanie Hsu) is even worse.

In the midst of this stressful and chaotic time in her life, Evelyn finds herself sucked into an inter-dimensional battle that threatens the fate of every reality in the infinite multiverse. As a middle-aged woman who has achieved none of the goals she set for herself in life, Evelyn will have to harness every forgotten talent and unrealized ambition in her arsenal to become the best version of herself and save the world from irreversible destruction.

If you’re like me, that plot synopsis may leave you feeling skeptical. After all, haven’t we had more than enough of this multiverse stuff in recent years? Rest assured, you can brush any doubts aside as Everything Everywhere All At Once makes Marvel movies look like child’s play. The perfect blend of art and spectacle, this is the rare film that works both as an exhilarating roller coaster ride as well as an emotionally resonant, thought-provoking story with fully-fleshed out characters and relatable themes.

The cast is terrific from top to bottom, with Yeoh and Quan especially delivering award-worthy performances and Jamie Lee Curtis stealing every scene she’s in as a ruthless IRS agent. The film is also immaculate on a technical level, as everything from the costumes to the production design to the editing feels carefully considered and masterfully executed. The script is among the most original and entertaining of any film in recent memory, while Kwan and Scheinert’s direction somehow manages to hold all of this chaos together with not a moment feeling wasted or out of place.

There’s a lot more I could say about this film, but I don’t want to spoil any fun surprises. Just know that you’ve never seen anything quite like it in your life, even if you think you have based on the plot description. An absurdist comedy, an ambitious sci-fi spectacle, a martial arts action extravaganza, a tender saga of a broken family, and a poignant rumination on the meaning of existence – this wonderful movie somehow manages to be all of these things, all at once.

1. Bardo, False Chronicle of a Handful of Truths (Alejandro Gonzalez Iñárritu)

The latest film from Alejandro Gonzalez Iñárritu features, among other things, a man attempting to fly, a flood on a Los Angeles Metro car, a dramatic recreation of the Battle of Chapultepec, and a baby refusing to emerge from his mother’s womb because “the world is too fucked up” – and that’s all just in the first twenty minutes.

Sadly dismissed by most critics as overlong and pretentious, Bardo is a challenging and richly layered allegory of a film that finds its acclaimed director interrogating himself with unflinching honesty in an attempt to reckon with his own legacy. The plot rebels against any sort of traditional structure, transcending the chronology of time and even the laws of physics to recount the emotional odyssey of Silverio Gama (Daniel Giménez Cacho), a Mexican journalist turned documentary filmmaker who’s selected to receive a prestigious American journalism award in Los Angeles.

Silverio suffers from impostor syndrome and crippling self-doubt, the type of artist who strives to gain respect and recognition only to immediately withdraw the moment he receives it. Having left his native Mexico for the United States many years ago to escape artistic censorship, he’s now a man without a country – never accepted as a true American, yet at the same time “too gringo” to fit in with his friends and family back home. Often, he seems unsure whether to champion his home country for its rich culture or criticize it for its many shortcomings.

In this way, Silverio lacks a definitive identity, trapped between the conflicting narratives of how he sees himself and the person that everyone wants or imagines him to be. He’s the ultimate tortured artist, driven and possessed by the need to create, but unable to silence the nagging inner voice that tells him nothing he’s doing really matters. Cacho does a great job of bringing this conflicted protagonist to life, while Griselda Sicilliani, Ximena Lamadrid, and Iker Sanchez Solano all deliver strong supporting work as Silverio’s wife and children.

Iñárritu has demonstrated an exceptional command of craft throughout his illustrious filmography, but this may be his best work to date. If nothing else, Bardo is the most visually stunning film experience of 2022, every shot a masterful composition that deserves to be framed. The set design, sound work, editing, and music are all top-notch as well.

It’s hard to talk much about the plot of this movie without spoiling the journey, but despite what detractors may say, it does all make sense in the end – just don’t expect Iñárritu to spoon-feed you the meaning. If you’re looking for a simple, easy-to-digest narrative, Bardo is not the movie for you. But if you’re open to an unforgettable cinematic experience unlike anything you’ve seen before, this film will take hold of your imagination and never let go.

What a year! Music is a subjective art form so opinions may vary significantly depending on your taste – but for me personally, 2022 was the best year for new music in quite some time. Deciding on the final order of this list was especially challenging, with four instant classics competing for the top spot. But ultimately, the order I settled on is secondary to the fact that all of these records left a tremendous impact on me this year and have remained in heavy rotation since.

So without further introduction, let’s dive in.

10. Porcupine Tree – Closure/Continuation

When I was in middle school, I listened to almost nothing but progressive rock and Porcupine Tree was my favorite band. My taste has shifted quite a bit since then and I don’t listen to the group often anymore. However, I still have a deep respect and appreciation for their music, not to mention a powerful sense of nostalgia – throwing on one of their records instantly takes me back to the feeling of being a moody teenager.

So when I heard Porcupine Tree was unexpectedly reuniting after a thirteen-year hiatus, I was both excited and nervous. On the one hand, I would finally get to experience a new album and tour cycle from a band that meant a lot to me. On the other hand, I worried that their music wouldn’t feel relevant in 2022, or that the group would sound rusty after so many years apart.

I needn’t have worried, as Closure/Continuation is arguably the best record in Porcupine Tree’s large discography. It’s certainly their tightest and most well-produced album, running a perfectly-paced fifty minutes and layered with subtle textures from keyboardist Richard Barbieri. Meanwhile, Steven Wilson’s voice sounds as haunting and earnest as ever, while Gavin Harrison remains arguably the best drummer alive. Listening to this album, you would never know that the band had been apart for so long.

Opening track “Harridan” feels like a perfect summation of everything Porcupine Tree does well, taking the listener on an 8-minute journey that starts as a bass-heavy groove and explodes into an anthemic chorus, diverting into sections of head-banging heavy metal and gorgeous vocal harmonies before circling back to the hook. “Dignity” and “Chimera’s Wreck” showcase the band at their most classically prog-influenced, while “Walk The Plank” may be the weirdest and trippiest song they’ve recorded.

If you’ve never listened to Porcupine Tree, this is a great place to start. And if you’re a longtime fan of the band, have no fear – this album feels like coming home.

9. The Mars Volta – The Mars Volta

The return of The Mars Volta after a ten-year hiatus is one of the most significant musical events of my lifetime. Finally getting to see them live was a dream come true, and returning to their music after a long break allowed me to discover a whole new level of appreciation for their discography, elevating them into the top tier of my favorite artists. Albums such as Frances The Mute, Amputechture, and Deloused in the Comatorium are some of the most challenging, yet rewarding, pieces of music that have ever graced my eardrums.

Having said all of that, I can’t let my excitement about the band’s return factor into my evaluation of this new self-titled album. While it’s a strong effort that ranks among the year’s more enjoyable listens, it’s not a masterpiece like the records listed above. That seems largely by design – the dynamic duo deliberately challenged themselves to write short, concise songs with no frills, the exact opposite of what they’re known for and their fans expect. The fact that not a single track on here runs even five minutes long is downright shocking for longtime listeners, and honestly a bit disappointing.

At the same time, I salute Omar and Cedric for trying something new and refusing to allow anyone to define their sound. And when you consider this album in the context of its creators’ intentions, it’s pretty damn good. The hooks are infectious from beginning to end and none of the tracks are quite as simple as they first seem, with deceptively complex instrumentation and subtle production touches revealing themselves on repeat listens. The lyrics are also more direct and emotionally poignant than anything Cedric has written previously.

Though it doesn’t deliver the visceral energy and mind-blowing experimentation I’ve come to expect from The Mars Volta, this is still a beautiful record that hits hard when you’re in the right mood for it.

8. Domi & JD Beck – Not Tight

Keyboardist Domi Louna and drummer JD Beck are both absurdly talented musicians. They may look like they’re still in high school, but don’t be deceived – these two have the kind of chops that most veterans could never achieve even with decades of practice. To watch the two of them jam on stage can only be described as euphoric.

On their first album, the duo keep their jamming to a minimum, focusing on compact songs that often incorporate vocal hooks. As a result, the record doesn’t quite capture the excitement of their live shows. However, it’s still a work of dizzying musicianship that’s enhanced by a stacked list of guest stars.

Thundercat adds a smoldering bass solo to the title track, while Herbie Hancock lends his legendary presence to album highpoint “Moon.” Other guests include Anderson .Paak, Mac Demarco, Kurt Rosenwinkel, Busta Rhymes, and Snoop Dogg. With that kind of support, the future looks very bright for these two young and incredibly skilled musicians.

7. Shintaro Sakamoto – Like a Fable

The fourth solo album from Shintaro Sakamoto delivers more of the experimental lounge-pop fans have come to expect from him. Perhaps because his lyrics are all sung in Japanese, the singer/songwriter/multi-instrumentalist doesn’t have a very large following in the US. That’s a shame, since Sakamoto consistently delivers quality records and Like a Fable is no exception.

From the distorted trombone stabs of the opener to the sugary backing vocals on the title track, this is an album filled with subtle hooks that will slowly lodge in your brain. Sakamoto incorporates a diverse sound palette throughout featuring lap-steel guitar, flute, saxophone, and more. With its combination of uniquely layered instrumentation, funky grooves, and quality songwriting, Like a Fable offers a little bit of something to please everyone.

6. Panda Bear & Sonic Boom – Reset

This isn’t the first time that Animal Collective’s Panda Bear and Spacemen 3’s Sonic Boom have worked together, but it’s the first time they’ve released an official collaboration record. Thankfully, it doesn’t disappoint in the slightest, as Reset finds both of these modern psychedelic legends in top form, delivering an album that’s sure to please hardcore fans of both musicians.

The tracks are built primarily around looped samples from old soul and doo-wop songs, such as The Everly Brothers’ “Love Of My Life” and The Drifters’ “Save The Last Dance For Me.” This lends the record a sense of comforting nostalgia, taking the listener back to a time when life was simpler and happier. These loops offer the perfect backdrop for Panda Bear’s signature golden harmonies, resulting in arguably his most memorable release since 2011’s Tomboy (which Sonic Boom co-produced).

This isn’t a Panda Bear solo record, though. In addition to creating the loops that serve as the foundation of the album, Sonic Boom also sings with Panda on several tracks and even takes the lead on a few. It feels like a true collaboration, with both musicians making their stamp and contributing equally to the finished product. If your eyes don’t pop out of your head listening to the soaring harmonies of “In My Body” or the head-spinning vocal hocketing on “Danger,” you might want to double-check that your ears still work.

5. Toro Y Moi – Mahal

Toro Y Moi has been on a roll for several years now, consistently coming through with great albums that each sound totally different from one another. Mahal is yet another stylistic departure for the singer/songwriter/producer, combining elements of rock, funk, jazz, and more into a psychedelic stew that never fails to hold your attention.

Mahal is a concept album of sorts, taking the listener on a wild road trip that they won’t forget. The record flows seamlessly from top to bottom, with the sounds of a revving engine and distorted snippets of radio broadcasts serving as perfect transitions. It’s alternately the most diverse and cohesive Toro Y Moi release to date, rapidly flipping through genres while always maintaining its warm, laid-back mood.

This is an album that demands to be listened to all the way through, but some highlights include the bursts of saxophone on “Goes By So Fast,” the haunting vocal melodies on “Clarity,” and the explosive guitar solo on closing track “Days in Love.” With its memorable songwriting, dynamic instrumentation, and exceptional production, Mahal makes a strong case to be recognized as Toro Y Moi’s defining work.

4. Bjork – Fossora

It’s been a long five-year wait since Bjork’s last album (2017’s Utopia), but any amount of waiting would’ve been worth it for an album this good. From its opening note to its last, Fossora is a stunning experience that delivers a little bit of everything I love about her music.

You want pulse-pounding beats? Check. How about lavish orchestral arrangements? Yep, plenty of those too. You want chill-inducing vocal performances and raw, unfiltered emotion? This is Bjork we’re talking about, so of course there’s plenty of that. There’s also incredible production and mixing that allows every sound to come through in perfect clarity, with special attention paid to the low end. Whether you blast it through speakers or headphones, Fossora is a total-immersion experience.

The album is also deeply moving, incorporating universal themes of love, loss, and family. The record’s centerpiece, “Ancestress,” finds Bjork harmonizing with her son to pay tribute to her late mother while closing track “Her Mother’s House” is a stunning duet with her daughter. Best of all is “Allow,” one of the most stirringly beautiful pieces of music I’ve ever heard – seriously, just try listening to that song without getting goosebumps.

Fossora is far from Bjork’s most cohesive record, with some moments that feel a bit out of place or jarring within the context of the track list. Despite this, the peaks of the album reach such extraordinary heights that I would still rank it among her finer efforts. Nearly thirty years after the release of her seminal Debut, Fossora offers a potent reminder that this legendary artist will never stop experimenting and pushing her music forward into uncharted sonic territory.

3. Animal Collective – Time Skiffs

Time Skiffs is the first Animal Collective record to feature all four members since 2012’s Centipede Hz, a shocking ten years ago. It’s also the best album they’ve released since then, making up for what it lacks in wild experimentation with some of the band’s most clear and concise songwriting to date. Tracks like “Prester John,” “We Go Back,” and “Royal and Desire” would be an excellent place to start for new listeners, unusually accessible by Animal Collective’s standards but still sounding like no one else.

The album was recorded remotely during the pandemic, but you’d never know these four guys weren’t in the same room with each other. The chemistry and bond that makes their music so special is felt in abundance, while the production arguably sounds closer to the group’s live sound than any of their previous releases. I saw most of these songs performed at Desert Daze all the way back in 2019 and was thrilled to find they lost none of their power in the studio, even after the band had to wait so long to record them.

Animal Collective have such a large and diverse discography that it’s virtually impossible for them to please everyone. There are always going to be some fans who want them to repeat what they’ve done in the past, rather than continuing to experiment and embrace new sounds. But that’s not Animal Collective’s style and they have no interest in catering to fans who only like the old stuff – with this band, you’re either along for the ride or you aren’t. Having said that, if you can’t find something to love in the stirring vocal harmonies, intricate rhythms, and brain-tickling textures of Time Skiffs, then it’s hard to imagine how you ever became a fan in the first place.

2. Malibu – Palaces Of Pity

The second release from French singer/composer/producer Malibu (who also releases music as Belmont Girl and DJ Lostboi), Palaces of Pity is as beautiful and majestic as music gets. Inspired by the ceaseless ebb and flow of the ocean’s tides, Malibu’s music similarly washes over you in a way that feels both calming and overwhelming at once. Each track is built on endless layers of droning synths, swelling strings, and pulsing sub-bass, with her unfathomably angelic vocals soaring over the top.

This is the kind of music that can move a person to tears – it certainly has achieved that effect on me. There’s an emotional quality to the release that feels universal, like Malibu is tapping into all of our collectively shared grief and providing the perfect vessel to let it all out. But even though it’s tinged with sadness, Palaces of Pity is also a blissful and life-affirming record that provides a cathartic healing experience for the listener.

I just wish it was a bit longer – with a brief runtime of 25 minutes, it inevitably leaves me wanting more. On the other hand, the short length has ensured that I listen to it over and over again, marveling each time that the music never loses even a shred of its awe-inspiring power. After this stunning breakthrough, I can’t even begin to imagine what Malibu will do next – but I know I can’t wait to find out.

1. Merely – Sculpture

It’s very rare that I discover a musician and immediately become a diehard fan, but that’s exactly what happened with Merely. A Swedish singer/songwriter/producer who never stops exploring and reinventing her sound, Merely’s discography encompasses a wide variety of moods while managing to remain remarkably consistent. Sculpture, her fourth full-length album, is the artist’s most ambitious and refined work to date, highlighting everything she does well in one cohesive listening experience.

As always, Merely’s vocals are stunning from start to finish. She is a singer in complete command of her voice, conveying bottomless depths of emotion in every note and harmonizing with herself to awe-inspiring effect. Her songwriting is equally impressive – every track features infectious melodies and tremendous lyrics, filled with poetic imagery and aching authenticity that resonates with me on a deep level.

Co-produced with longtime collaborator Cotton Mouth, and with additional production on two tracks by Malibu, Sculpture is a marvel of sonic clarity and sensory immersion in which every sound is perfectly placed. There are always so many details to focus on, rich textures and subtle vocal layers that only reveal themselves with repeat listens.

I truly don’t have a single negative thing to say about this album. The vocals are gorgeous, the songwriting and production are immaculate, and the track list flows perfectly from top to bottom. It all culminates in “Book of Hours,” a ten-minute stunner of a closer that is so hypnotically mesmerizing and transcendently moving, the song feels like life itself by the time you reach the end of it. With Sculpture, Merely has created a masterpiece and solidified her place among my very favorite musicians.

When the pandemic all but canceled new movies in 2020, the following year seemed poised for a thrilling comeback, with a huge backlog of exciting films waiting to see the light of day. And despite the virus’ continued existence, movie theaters did remain open in most places throughout 2021, offering a reasonable amount of promising titles as the year went on.

The problem is that almost none of them were memorable. Considering how often I went to the theater last year, especially in the last three months, it’s remarkable how few of those movies left even a decent impression on me — and the streaming options weren’t much better. While it certainly wasn’t as dismal of a year as 2020, when the only film I saw in a theater was Christopher Nolan’s massively disappointing Tenet, 2021 featured far more letdowns than enjoyable experiences as a whole.

However, I don’t want to lose my faith in cinema, especially at a time when the industry is more challenged than ever. So in the spirit of optimism, I’ve waded through all the mediocrity to compile my list of the ten best films of 2021. And even though it’s a weaker list than most years, all of these movies are absolutely worth watching. Here’s hoping that 2022 will be a better year for film, and for the world in general.

10. Belfast (Kenneth Branagh)

A semi-autobiographical story about Branagh’s time growing up in Belfast, smack in the middle of violent conflict between the Catholics and the Protestants, Belfast is a simple but endearing look at a messy time and place in history through the innocent eyes of a child.

The cast is uniformly excellent with Ciaran Hinds, Jamie Dornan, Caitriona Balfe, Judi Dench, and newcomer Jude Hill all delivering nomination-worthy performances. The black-and-white cinematography with occasional splashes of color also works beautifully, lending the film a nostalgic quality that fits the aesthetic of childhood.

The script feels a bit light at times, leaving some supporting characters underdeveloped and not exploring the Catholics vs. Protestants conflict in as much detail as it could have. But ultimately, this is the story of a boy growing up and being forced to reckon with the possibility of leaving his childhood home, a theme that can resonate with almost anyone.

9. Malignant (James Wan)

One of the most purely entertaining films I saw last year, Malignant is a wild roller coaster ride of a horror movie with one of the most insane plot twists I’ve ever seen. It may or may not entirely make sense and you have to completely suspend your sense of disbelief, but if you’re able to do that, the film leaves a memorable impression. If nothing else, it’s never boring and will keep you guessing until all is revealed.

I don’t want to spoil any elements of the plot, so I won’t go into detail about the story. All I’ll say is that it involves a woman who’s tormented by horrifying visions of people being murdered and slowly realizes that these visions are happening in real life. It’s best not to know any more than that going into the movie.

The bottom line is this: if you prefer horror films that are more realistic and cerebral, you may want to avoid this one. But if you’re up for a blood-soaked, batshit-crazy experience, Malignant is worth a watch.

8. In The Earth (Ben Wheatley)

Made on a micro-budget with minimal cast and crew in the heart of the pandemic, Ben Wheatley’s In The Earth is a lesson to aspiring filmmakers on how to get the most out of limited resources. While it doesn’t reach the heights of his best works, A Field in England and Kill List, it’s more interesting and memorable than his last few efforts with a haunting quality that lingers in your mind.

The story focuses on two scientists in the midst of a pandemic who are sent to retrieve an important researcher from the heart of the forest. Naturally, complications develop and things get very weird, as the primal forces of nature exert their influence in mysterious and terrifying ways.

In The Earth is definitely a case of style over substance. The script provides some interesting themes and ideas, but leaves most of them unresolved or underdeveloped, and the characters aren’t particularly memorable either. However, the film is oddly mesmerizing even when little is happening, thanks to striking cinematography and a masterful score by Clint Mansell. When the movie veers into psychedelic territory towards the end, it achieves moments of spine-chilling transcendence.

7. Bad Trip (Kitao Sakurai)

He’s not necessarily a household name, but at least within a certain demographic, Eric Andre is one of the most unique and lovable figures in comedy. Primarily known for his wild late-night talk show parody on Adult Swim, The Eric Andre Show, Andre is a ruthless prankster and extreme performance artist who’s always pushing boundaries.

Bad Trip, a buddy comedy that incorporates lots of hidden camera pranks, is relatively tame compared to his show, but feels like the perfect vehicle to package Andre’s shtick for a more mainstream audience. The film is set up as a generic road trip/romantic comedy, with Chris (Andre) and his best friend (Lil Rel Howery) setting out for New York to pursue the girl of his dreams. Meanwhile, they’re pursued by Bud’s dangerous convict sister, played by a nearly unrecognizable Tiffany Haddish in a scene-stealing performance.

While I’m generally not a fan of the hidden-camera prank genre, Andre elevates messing with people to a higher art form. His stunts are so bold and outrageous, and performed with such apparent sincerity, that it’s easy to see why he’s able to pull so many unsuspecting bystanders into his whirlwind of chaos. Best of all, Andre doesn’t settle for the easy route of just pissing people off – in many cases, he’s actually bringing strangers together, thrusting them into the middle of beyond-uncomfortable situations that they’ll never forget.

As a result, Bad Trip is not only the funniest movie of the year by a long shot, but it’s also an oddly optimistic film that shows people are often much more caring and empathetic than we imagine them to be.

6. The Father (Florian Zeller)

Because of the way that COVID-19 screwed up the timeline for last year’s Academy Awards, Anthony Hopkins has already won an Oscar for his performance in this film, and deservedly so. But even if the Academy wants to call The Father a 2020 film, it wasn’t released until February of last year, which means it’s a 2021 film by my definition. And considering the general lack of competition, it had no problem staying on my list all year long.

Based on a play, The Father tells the story of an elderly man who’s losing his mind to Alzheimer’s disease, suffering from increasing confusion, hallucinations, and paranoia. The film is presented from his perspective, so the viewer is forced to suffer through all the confusion right alongside the main character, not knowing for sure which parts of the story are real or merely delusions. It’s an interesting technique that makes the film far more interesting than it otherwise would’ve been.

Overall, there isn’t much to The Father – it’s a small, simple film and most viewers will understand what it wants to communicate without even watching it. It’s also extremely depressing, especially if you have relatives who suffer from Alzheimer’s, as I do. Having said that, it’s worth a watch for Hopkins’ brilliant performance, and for the lingering emotional impact it leaves by forcing you to consider what it would feel like to lose control of your mind.

5. Nightmare Alley (Guillermo Del Toro)

At this point, I’ve accepted that Guillermo Del Toro will likely never again reach the heights of his 2006 masterpiece, Pan’s Labyrinth. However, he remains a talented filmmaker with a distinctive style and Nightmare Alley is as good, if not better, than anything else in his filmography.

A remake of a 1940s noir film, the story focuses on Stan Carlisle (Bradley Cooper), a lowlife who stumbles into a job at a traveling carnival and uses the tricks he learns from a clairvoyant there to become a lucrative conman. Before long, he’s enlisting the help of a mysterious therapist (Cate Blanchett) to expand the scope of his con and things get increasingly dangerous for everyone involved.

One of the most beautifully-shot and lushly designed films of the year, Nightmare Alley leaves a strong visual impression and does an outstanding job of maintaining its icy mood. The cast is also excellent from top to bottom, with Cooper, Blanchett, and Willem Dafoe leaving the strongest impressions. The pacing is a bit slow and a few elements of the story feel underdeveloped, but it’s an engrossing experience that comes to an appropriately dark and satisfying ending.

4. The Green Knight (David Lowery)

I’m not a fan at all of David Lowery’s previous films, so I went into The Green Knight feeling skeptical. I was both surprised and delighted to find myself immediately immersed, transported into a medieval fairy tale unlike anything I’ve seen before.

Based on a famous legend, The Green Knight tells the story of Sir Gawain (Dev Patel), an underachiever nephew of King Arthur’s who accepts a dangerous challenge to risk his life and confront the mysterious Green Knight in an effort to gain respect. Most of the film focuses on his strange and surreal journey through the forest, with some of his misadventures along the way including a costly run-in with a gang of thieves and a stop to help a woman retrieve her missing head from a pond.

If this all sounds like some sort of mythological vision quest, you wouldn’t be wrong. Audience members who are expecting thrilling sword fights and fire-breathing dragons will be sorely disappointed. The Green Knight is a slow and contemplative film, stuffed with literary symbolism and ambiguities. In fact, there are a few moments that I’m still scratching my head about. But I was never bored for a second, as the film’s gorgeous cinematography and enigmatic storytelling kept my eyes glued to the screen.

3. Last Night in Soho (Edgar Wright)

I’m really surprised this movie wasn’t able to generate any hype at the box office. A dark, stylish, and fast-paced thrill ride with a highly original concept, Last Night in Soho deserves far more attention and accolades than it’s received thus far. When you take into account the success of Wright’s previous films (Shaun of the Dead, Hot Fuzz, Baby Driver), it’s truly baffling that this movie flew under the radar.

The plot features several twists and turns that are best left unspoiled, so don’t read too much about the movie in advance. All you need to know is that it’s about an aspiring fashion student in London (Thomasin Mackenzie) who finds herself inexplicably transported back in time to the 1960s. While there, she discovers a mysterious connection between herself and a lounge singer (Anya Taylor-Joy), with consequences that begin to echo into the present.

It’s a killer concept, a story that I actually hadn’t seen before and couldn’t guess where it was going. The material is brought to life by vibrant cinematography, stellar production design, rapid-fire editing, and an excellent soundtrack. Mackenzie and Taylor-Joy are both perfectly cast, with strong support from veteran British character actors Diana Rigg, Rita Tushingham, and Terence Stamp. All of these elements combine to make Last Night in Soho a blast, easily the most fun experience I’ve had in a theater since the start of the pandemic.

2. Saint Maud (Rose Glass)

The first film from British writer/director Rose Glass, Saint Maud is one of the most impressive and unforgettable cinematic debuts in recent memory. Beautifully shot and breathlessly paced, backed by a pulse-pounding score and a clever script that expertly balances classic horror tropes with weighty religious themes, Glass’ vision arrives on screen fully formed.

The story focuses on Maud (Morfydd Clark), a nurse who quits her job at the hospital after experiencing a horrific trauma and subsequent religious epiphany. This leads to her taking a path of extreme devotion, shunning physical pleasures and companionship to get closer to God, whom she speaks to directly. In an effort to redeem her past sins, she takes a job as a private nurse and begins caring for a dying woman named Amanda (a terrific Jennifer Ehle), who doesn’t believe in God and fears that nothing waits for her on the other side of death.

Believing that this is God’s plan for her, Maud becomes singularly focused and determined to save Amanda’s soul from damnation. Amanda seems appreciative at first, as the two women appear to experience a sort of religious ecstasy together – but things grow increasingly tense and complicated as Maud’s initially pure intentions morph into an all-consuming obsession.

Clark gives a riveting performance as Maud, evoking sympathy and shudders in equal measure. She’s a tragic character who we’re never quite sure whether to feel sorry for or afraid of, maybe both. Her visions are presented with such clarity that they’ll have you questioning if she really can talk to God, no matter your personal beliefs. This disquieting ambiguity is expertly maintained all the way through the shocking, edge-of-your-seat climax, until the deeply unsettling final frame snaps reality all too clearly into focus, leaving the viewer shaken and speechless.

1. Titane (Julia Ducournau)

With Titane, Julia Ducournau has asserted herself as one of the most exciting emerging filmmakers in the world, more than following through on the promise shown in her unnerving 2016 debut Raw. That memorable film told the story of a young vegetarian woman who develops a craving for human flesh – yet, amazingly, Titane is an even more original, provocative, and demented vision.

The plot is difficult to summarize and some parts are better left as a surprise. All I knew going in was that it’s about a violent woman who develops an erotic obsession with cars after an accident as a child. That’s really all you need to know and if you’re not even remotely intrigued by that description, it’s probably not worth digging in deeper. However, it’s worth noting that beyond the graphic violence and sexual content, this movie does offer some fascinating ideas about identity, gender, sexuality, and the importance of family (biological or otherwise).

Titane is the kind of film that will have many audience members sprinting for the exits by the fifteen-minute mark, and understandably so. It’s unrelentingly dark, twisted, disturbing, and just downright bizarre from the opening frame. It’s also, in my opinion, the best and most original film of 2021. I was riveted from beginning to end, at times literally gaping at the screen in reaction to what was happening.

Films this wildly unrestrained just don’t come around often, and while they’re certainly not for everyone, I think it’s important to embrace them. In a literal sense, I couldn’t always make sense of what was happening during Titane, but I didn’t care because I was too busy being swept away by Ducournau’s singular vision. In a year that was light on major contenders, Titane stands tall above the crowd – perversely erotic, shockingly violent, never predictable, and ultimately unforgettable.

Like virtually every other industry, the music business was hit hard by the COVID-19 pandemic in 2020. Recording studios were forced to close, many artists had to abandon their plans for releasing albums, and live shows were nonexistent.

While it’s far from the most urgent issue that’s resulted from the virus, not being able to attend concerts or enjoy the steady stream of new releases that I’m accustomed to this year was a depressing and eye-opening experience. Whenever the music industry is able to come back in full force and we’re blessed with the opportunity to dance together in packed spaces again, I know I won’t take it for granted.

With all that being said, 2020 still delivered some great records that offered comfort and inspiration when I needed it most during this difficult year.

10. Squarepusher — Be Up a Hello

Squarepusher is a master of frenetic drum-n-bass electronic music who peaked in the late 90s and early 2000s with his seminal releases Hard Normal Daddy and Go Plastic. Though he’s continued to release new projects since then, Be Up a Hello feels like a return to form for the IDM legend.

The album consistently delivers hard-hitting beats and inventive, unpredictable arrangements that manage to counteract the intensity of the rhythms with warm, sweeping melodies. Tracks such as “Oberlove,” “Hitsonu,” “Vortrack,” and “Terminal Slam” rank among the artist’s best songs to date. Be Up a Hello may not break any new ground in the electronic genre, but it does a great job of making old tricks feel new again.

9. Plum – StreetView

Chaz Bear, best known as Toro Y Moi, is one of the most talented musicians and producers of recent years. Over the last decade, he’s amassed a stunning discography that includes multiple classics covering a variety of different genres and styles. On this new project released under the moniker of Plum, he applies his impeccable skills to ambient music and the results are beyond impressive.

StreetView is a perfect album for winding down late at night, interesting and unique enough to keep your ears engaged while also being mellow and introspective enough to help your brain relax. If you want a sample of the record’s style, check out highlight tracks “Dream,” “Request,” and “Whole Wheat.” Here’s hoping that Chaz doesn’t abandon the Plum alias and releases more ambient work in the future.

8. Oneohtrix Point Never – Magic Oneohtrix Point Never

Oneohtrix Point Never is one of the most inventive musicians in the world of electronic music, having released some of my favorite albums of the last 10 years. His latest and perhaps most accessible work to date takes us on a trip through his personal, imagined radio station (hence the title).

The tracklist is divided into 4 segments that are linked by snippets of radio broadcasts, static, and other sounds that are designed to recreate the experience of listening to AM/FM radio. But of course, since this is an OPN record, it’s the strangest radio station you’ve ever stumbled across. Bright pop melodies sung with heavily processed vocals are mixed alongside ambient symphonies and plunderphonics, resulting in a listening experience that’s often jarring and never predictable.

The album has plenty of stunning moments – in particular, “Long Road Home,” “Bow Ecco,” “Tales From The Trash Stratum,” “Imago,” “Lost But Never Alone,” and “Wave Idea” are outstanding tracks.

My only complaint is the album is so all over the place that it doesn’t always flow as smoothly or feel as cohesive as it should, preventing me from enjoying it on quite the same level as his top-tier work. Having said that, there’s plenty to love here and there’s never a moment where the album fails to at least be interesting.

7. Knxwledge – 1988

Knxwledge is this generation’s successor to J Dilla and Madlib, pumping out experimental hip-hop beats at an astonishing rate on his Bandcamp page. Though every Knxwledge release offers something worthwhile, this is his first official album since 2015’s excellent Hud Dreems. Considering the long wait, I had high expectations for 1988 and I wasn’t disappointed in the slightest.

The record grabs your attention immediately, from the moment the first track starts, and never slows down from there. This intricate collage of beats and samples flows smoothly from top to bottom, whipping through a variety of styles including rap, soul, R&B, jazz, and gospel. While it’s hard to pick a definitive favorite out of Knxwledge’s massive discography, 1988 earns pride of place among the cream of the crop.

6. Thundercat – It Is What It Is

Is there any other title that could serve as a better summary of 2020? Thundercat released his newest record during the early stages of the pandemic, when we were all just starting to come to terms with how awful it would be. The album is a tribute to his close friend Mac Miller, the beloved rapper who passed away in 2018.

As a result, It Is What It Is has a much darker and more somber tone than Thundercat’s past work, offering a revealing look at his thought process as he struggled with loss, depression, alcoholism, and more.

That’s not to say the album isn’t fun. The virtuoso bassist uses his impeccable chops and smooth falsetto vocals to full effect on bangers like “Black Qualls” and “Funny Thing,” as well as slower tracks like “Dragonball Durag” and “Unrequited Love.” He’s also supported by strong guest appearances from Steve Lacy, Steve Arrington, Childish Gambino, Ty Dolla $ign, Lil B, Kamasi Washington, and BADBADNOTGOOD.

There’s not a weak track in the bunch, as the fast pace and smooth transitions ensure you’ll never get bored. It all builds up to a stunner of a climax, in which Thundercat finds peace and acceptance in the darkness of his current reality – here’s hoping we can all do the same.

5. Shabazz Palaces – The Don of Diamond Dreams

Over the last decade, visionary rapper/producer Ish Butler has reinvented himself under the name of Shabazz Palaces. With each new record, he’s continued to expand the possibilities of hip-hop and take the genre into more experimental, psychedelic territory than ever before. His latest work, The Don of Diamond Dreams, isn’t the most adventurous or ambitious Shabazz Palaces album, but it’s yet another excellent release that solidifies his title as the most exciting rapper working today.

Tracks like “Wet,” “Bad Bitch Walking,” “Money Yoga,” and “Reg Walks By the Looking Glass” are mind-blowing sonic experiments that reveal new layers and details with every listen. Ish is in top form throughout, seemingly never running out of intricate rhymes and clever turns of phrase.

The tracklist also flows well from top to bottom with some fluid transitions between songs. As usual with Shabazz Palaces, I really don’t have any significant critiques of this record – there were just a few other albums this year that left an even stronger impression on me.

4. Arca – Kick i

Arca has never failed to make interesting music, but she took a huge step forward in 2020 with Kick i – easily her most consistent and exciting album to date. The record opens with “Nonbinary,” a banger of a track that finds the experimental electronic producer playfully and confidently rapping about her sexual identity (Arca is trans and this is her first album since coming out as female).

The vibe quickly shifts to serene pop music with heavily processed vocals on the blissful “Time,” then shifts again to glitchy reggaeton-inspired rhythms with frantic chanting in Spanish on the one-two punch of “Mequetrefe” and “Riquiqui.” The next two tracks take yet another drastic turn into operatic ballads with the gorgeous “Calor” and “Afterwards,” the latter of which features transcendent guest vocals from Björk.

The second half of the record follows this same pattern of alternating bangers and ballads, culminating in the moving and majestic “No Queda Nada.” Spanish pop singer ROSALÍA and British rapper Shygirl leave their marks on the explosive “KLK” and “Watch,” respectively, while fellow trans producer SOPHIE joins Arca for the thrillingly unhinged “La Chiqui.”

If you’ve noticed that I’ve mentioned nearly every track on the album, it’s because this record really is that consistent and well-paced, with not a moment wasted. My only minor gripe is that there’s no real connection between the tracks. It feels more like a collection of singles than a cohesive experience, but it’s hard to complain when every song is this memorable.

3. The Flaming Lips – American Head

Without a doubt, this album was the biggest surprise of 2020 for me. While new music from The Flaming Lips is always worth checking out and last year’s King’s Mouth was their best release in a while, the band hasn’t put out a truly classic record in over a decade. That changed this year, as American Head is not only their best album since 2002’s Yoshimi Battles the Pink Robots, but one of the best things they’ve ever done in their 35-plus years as a band.

Opening track “Will You Return/When You Come Down” sets the tone immediately, preparing you for a nostalgic and emotional trip down memory lane that will remind you of more innocent days, while also dealing with the bitter realities of aging and being an adult. It’s shocking in its emotional impact and the feelings never let up from there.

Every track is a powerful experience – “Dinosaurs on the Mountain” explores the loss of childhood innocence, “Flowers of Neptune 6” reminisces about mind-blowing acid trips while the narrator wonders if he and all his old friends have grown into burnouts, and “You n Me Sellin’ Weed” captures the incomparably pure, naive romanticism of youth about as successfully as any music that I’ve heard.

Those tracks are far from the only highlights – in fact, there’s not a weak song anywhere to be found here. From start to finish, American Head delivers infectious melodies, thought-provoking lyrics, and immersive production that will remind you of how good this band can be. With this album, The Flaming Lips have definitively proven that they have plenty left in the tank and aren’t just going to coast into being an oldies act.

2. Julianna Barwick – Healing Is a Miracle

Singer/composer/producer Julianna Barwick is one of those rare artists who has the ability to completely transport you out of time and place, immersing you so deeply in her layers of angelic vocals that listening to her music becomes a spiritual experience. As its perfectly-apt title implies, Healing Is a Miracle is no exception, taking the listener on a sonic journey infused with awe and wonder, gradually building up layers of tension that always resolve in a space of meditative tranquility.

While this album isn’t a massive departure from what’s come before, it’s undoubtedly her most dynamic record, with tracks such as “Light” and “Flowers” featuring epic swells of sound and booming low-end frequencies that are far louder and more propulsive than anything she’s done previously.

However, it’s the calmer moments that make the album for me. “Safe”, in particular, is as beautiful as music gets with its endless layers of transcendent vocals building upon one another until you can clearly hear the repeating phrase “Safe, now” – and that’s exactly how you’ll feel listening to this record, safe in the warm sonic embrace of a singular talent who continues to tweak her sound in exciting new ways. With Healing Is a Miracle, Barwick has delivered her best album since 2013’s Nepenthe and the most emotionally moving record of the year.

1. TOBACCO – Hot Wet & Sassy

As the first TOBACCO record since 2016’s Sweatbox Dynasty, Hot Wet & Sassy was easily my most anticipated record of 2020 and it didn’t disappoint in the slightest. No matter how high my expectations are going into a new TOBACCO or Black Moth Super Rainbow release, he somehow manages to deliver every single time.

TOBACCO may have actually topped himself with this newest work, which plays like a summary of everything I love about the artist’s otherworldly and inimitable style. The warm analog synths, the crackling percussion, the blown-out bass, the psychedelic tape distortion, and of course, the signature vocoder that makes it sound like a demonic insect is singing lullabies to its babies…all of these elements combine to create a sonic universe that I never grow tired of.

From gorgeous, pop-influenced ballads like “ASS-TO-TRUTH” and “Perfect Shadow” to face-melting bangers like “Stabbed By a Knight” and the Trent Reznor collaboration “Babysitter,” Hot Wet & Sassy showcases every weapon in TOBACCO’s unique musical arsenal. The result is a landmark album that easily tops my list for 2020 and ranks among his finest work to date.

If you missed Part 1, check it out here

Killer Joe (William Friedkin)

Killer Joe is an ugly, depraved movie that features a genuinely unsettling performance from Matthew McConaughey. Trust me, you’ve never seen him like this before — I won’t go into detail, but he does something with a chicken leg that many audience members will wish they could unsee. McConaughey is impressively convincing in the role, tapping into a dark side that I never knew he possessed.

The rest of the cast is terrific as well, especially Juno Temple and Thomas Haden Church. The dialogue is brilliant and frequently laugh-out-loud hilarious, even in situations that aren’t exactly comedic on the surface. The story is simple but effective, paying off tremendously in a brutal extended climax that’s edge-of-your-seat suspenseful. Squeamish viewers should stay far away from this one, but Killer Joe is a must-see for any cinephile whose taste skews toward the twisted.

The Lighthouse (Robert Eggers)

HAAAAARK!!! I’m sorry, I couldn’t resist — if you’ve seen Willem Dafoe’s epic monologue, then I’m sure you understand why. The Lighthouse is a cinematic experience that defies description, a film of unrelenting madness and strange beauty that never provides clear answers. It acts the way a dream does, pulling you into a situation that doesn’t totally make sense but feels vividly real while you’re in it.

Between this and The VVitch (more on that movie later), Robert Eggers has established himself as one of the most exciting directors in the business. Everything about this film is perfectly realized, from the borderline-Shakespearean dialogue to the breathtaking black-and-white cinematography. It’s all topped off by two award-caliber performances from a never-better Robert Pattinson and a truly magnificent Willem Dafoe. I can’t wait to see what Eggers does next.

Melancholia (Lars Von Trier)

Lars Von Trier’s Melancholia begins with a series of surreal apocalyptic images in slow-motion set to Wagner’s “Tristan und Isolde.” It’s one of the most visually spellbinding starts to a film that I’ve seen, perfectly setting the tone for everything that follows. This is a slow and sad movie, one that many will consider a slog to get through, but anyone who’s suffered from serious bouts of depression or anxiety will relate to its themes.

Kirsten Dunst gives a career-best performance in this film as Justine, a woman who suffers from chronic depression to the point where she literally can’t will herself to move sometimes. Charlotte Gainsbourg is also excellent as her sister Claire, who tries to take care of Justine but clearly suffers from her own issues. The film focuses on their wildly different reactions to an impending astrological event and how these reactions impact their lives.

While Melancholia requires a fair amount of patience, the emotional payoff is spectacular. As is typical with Von Trier, it’s obvious that even the smallest details were carefully considered, ensuring the film will only grow in impact with additional viewings. If you’ve ever been so depressed that you felt like the world was ending, Melancholia offers a powerful catharsis that reminds you of what’s important.

Mother! (Darren Aronofsky)

An anxiety-inducing nightmare of a film, Darren Aronofsky’s Mother! more than earns the exclamation point in its title. The movie works on multiple levels — you can appreciate it equally as an allegory about environmental pollution, a deconstruction of the bible, an examination of the relationship between artist and muse, or even just a really bad acid trip.

Don’t read anything else about this movie in advance — don’t even bother watching the trailer if you haven’t seen it. Mother! is an experience that undoubtedly works best when you go in blind. If you surrender yourself to the sheer power of Aronofsky’s filmmaking, you’ll be blown away whether you immediately understand the film or not.

Jennifer Lawrence delivers her best performance to date, with strong support from Javier Bardem, Ed Harris, and a scene-stealing Michelle Pfieffer. Most importantly, Aronofsky is at the absolute top of his game and ratchets the intensity up to 11 during the film’s unforgettable climax. Overall, Mother! is his best work since Requiem for a Dream and a strong contender for my favorite film of the decade.

Mr. Nobody (Jaco Van Dormael)

I’ve been championing Mr. Nobody for almost ten years now and it astonishes me how underappreciated the film remains to this day. It never even got a wide release in the US, which is truly a shame because I would’ve loved to see this movie on a big screen. But even at home, Mr. Nobody is a mind-blowing cinematic journey that stimulates your imagination like few movies can.

The story centers on Nemo Nobody (a terrific Jared Leto), the last living mortal on Earth in the year 2092. No one seems to know anything about Nemo’s past, so a journalist attempts to record his life story. However, this proves to be extremely difficult, as every story Nemo tells branches off into several conflicting resolutions that leave it unclear which story is the real one.

Some viewers may find the amount of ambiguity frustrating, but the film does eventually offer definitive answers if you’re paying attention. It’s such a dense and richly layered narrative that you may feel compelled to create a chart laying out all of Nemo’s various life paths chronologically. To be clear though, Mr. Nobody doesn’t require that level of effort to enjoy — it’s just especially rewarding for viewers who like to obsess over the details.

The clarity of Jaco Van Dormael’s sprawling vision is never in doubt and he doesn’t waste a single frame. His direction is aided by gorgeous cinematography, virtuosic editing, and one of the most effective soundtracks I’ve ever heard (fair warning, you’ll be humming “Mr. Sandman” for days). Perhaps most impressive of all, the central love story feels achingly authentic — I’ve rarely been so invested in a romance on screen. It all concludes with a surprising and emotionally complex ending that will leave you eager to experience the film again.

Nymphomaniac: Vol. 1 & 2 (Lars Von Trier)

Without a doubt, Lars Von Trier’s Nymphomaniac is the least accessible film on this entire list — it’s five-and-a-half hours long when you combine the two volumes together and it depicts lots of graphic, unsimulated sex throughout. But please, don’t make the mistake of dismissing this brilliant work of art as pornography because it’s so much more than that. In fact, anyone watching this film for the purpose of erotic stimulation will be sorely disappointed.

The story begins with a simple set-up — reclusive loner Seligman (a never-better Stellan Skarsgard) discovers Joe (a soulful Charlotte Gainsbourg) badly beaten in an alley outside his house. After she refuses medical assistance, he brings her to his home for a cup of tea where she recounts her life story to him. The rest of the film focuses on Joe’s past, with the conversation between her and Seligman serving as a framing device throughout.

Joe calls herself a nymphomaniac and her stories are racy, to say the least — some of them are downright horrifying. But no matter how erotic the encounters, it’s always clear that her ravenous sexual appetite is nothing more than a desperate attempt to make her feel whole. And no matter how powerful the orgasm, her loneliness and sense of emptiness never subside. Seligman, a self-proclaimed asexual and lifelong virgin, is the perfect listener for her stories because he can comment on them honestly without being distracted by his own desires.

Believe it or not, this film is so masterful that I wouldn’t cut a second off the runtime. As always, Von Trier packs his film with symbolism and philosophical musings. He uses sex to examine the flaws of humanity as a whole, showing that we’re doomed to fall prey to our worst impulses over and over again. Not many viewers are likely to be on Von Trier’s emotional wavelength, but for the few who are, this is filmmaking at its finest – the most accomplished work from one of our most accomplished directors.

Parasite (Bong Joon-Ho)

The first foreign-language film to win Best Picture at the Oscars, Bong Joon-Ho’s Parasite actually lives up to the hype. If you’re someone who hates reading subtitles, make an exception for this one – it’s worth the effort.

Parasite pulls off the difficult feat of injecting provocative social commentary into a crowd-pleasing thriller. The first half of the film could be labeled as a dark comedy, an absurdist satire of class struggles. Then, it morphs into something much darker and more sinister before finally exploding with violence and tragedy. Bong and his terrific ensemble of actors handle every sudden tonal shift with ease, keeping you on the edge of your seat until the final shot. The result is a wild roller coaster ride of a movie that’s entertaining and thought-provoking in equal measure.

Seven Psychopaths (Martin McDonagh)

Though it’s probably the least acclaimed of his films, Seven Psychopaths is undoubtedly my favorite work from writer/director Martin McDonagh. With its absurd plot, hysterical dialogue, and unforgettable performances, this is an endlessly rewatchable movie that ranks among the most overlooked of the decade.

Colin Farrell leads the cast as Marty, an alcoholic writer who’s struggling to finish his screenplay. He’s forced to go on the run with his friends Billy (Sam Rockwell) and Hans (Christopher Walken) after they unwittingly kidnap a Shih-Tzu that belongs to a deranged mobster (Woody Harrelson). Tom Waits also joins the fun as a heartbroken vigilante who mysteriously carries a rabbit around.

All of this is just as weird as it sounds, but the film never asks you to take any of it seriously. While it’s certainly not a conventional comedy, Seven Psychopaths is filled with laugh-out-loud moments. It’s also quite twisted and violent, creating a delicate tonal balancing act that McDonagh never allows to falter. Most importantly, each actor is transformative in their respective roles, with Walken and Rockwell especially hitting new peaks.

Shutter Island (Martin Scorcese)

One of the more underrated entries in Martin Scorcese’s filmography, Shutter Island is a masterful mystery/thriller based on a novel by Dennis Lehane. Leonardo DiCaprio stars as U.S. Marshal Teddy Daniels, who’s assigned to investigate a patient disappearance at a mental asylum on Shutter Island. He’s assisted by Marshal Chuck Aule (Mark Ruffalo) and Dr. John Cawley (Ben Kingsley), the head doctor at the asylum.

Throughout the case, Teddy is haunted by memories of his wife Dolores (Michelle Williams), who was murdered by a mental patient named Andrew Laeddis. It would ruin the fun to reveal any more, as the mystery only deepens throughout the film, building to a jaw-dropping conclusion that’s nearly impossible to predict.

Scorcese channels his inner Hitchcock, creating an ominous mood that gradually increases in tension from the very first frame. It doesn’t fit into his usual style, but that doesn’t make his direction any less masterful. At the same time, DiCaprio delivers one of his best performances in a highly demanding role, baring every shred of emotion in this haunted character’s psyche. It’s yet another brilliant collaboration from one of the best director-actor teams of all time.

Spring Breakers (Harmony Korine)

The first time I saw Spring Breakers was one of the strangest experiences I’ve ever had in a movie theater — I genuinely couldn’t tell if the film was brilliant or awful. However, a rewatch quickly convinced me it’s the former and subsequent viewings have only deepened my appreciation. In fact, Spring Breakers is one of the most original and culture-defining films of our time, though most audiences are unlikely to see it that way.

The key to appreciating this movie is understanding Harmony Korine and what he’s trying to accomplish as a filmmaker. Nothing if not unique, his works range from unforgettable (Gummo) to unwatchable (Trash Humpers). Spring Breakers is his masterpiece, allowing him to work with an A-list cast on a decent budget without sacrificing any of his independent spirit. If you’re familiar with Korine’s trademark of showing humans at their dirtiest, you’ll realize this movie isn’t a celebration of reckless partying and hedonism, nor is it a condemnation of it – he’d rather let the viewer form their own opinions.

Korine’s style is downright intoxicating, sucking the viewer deeper and deeper down the rabbit hole until it’s hard to remember where one scene ends and the next begins. Every frame is a stunning composition, bathed in pink and purple hues that make Florida look like a fairytale. And while I don’t care for the EDM music used in the soundtrack, it’s undeniably authentic and effective in the context of the film.

Vanessa Hudgens, Selena Gomez, Ashley Benson, and Rachel Korine are perfectly cast as four college girls who are willing to do anything to keep the party going. They’re believable, funny, sexy, and ultimately frightening. But the true star of this film is James Franco, who steals the whole movie as cornrowed rapper Alien. Franco’s performance is mesmerizing, creating an iconic portrait of a villain who’s both hilarious and menacing. He’s the unofficial mascot of a film that explores the dark side of party culture and what happens to people who never grow out of it.

Uncut Gems (Josh & Benny Safdie)

Uncut Gems is a cinematic panic attack sustained for two hours and fifteen minutes, a disorienting swirl of noise and chaos that will send many audience members running out of the room. But if you’re on the Safdie brothers’ wavelength, this is a masterful character study and slice of New York life that will pin you to the edge of your seat.

Adam Sandler is nothing short of brilliant as Howard Ratner, a Diamond District shop owner who has a tendency to lose money that’s not really his. His careless decisions and selfish actions will make you want to yell at him through the screen, yet you can’t help but root for the guy and hope he turns it around.

The pace is unrelenting, aided by crisp editing and a wonderfully cacophonous score by Daniel Lopatin. The script feels like it was improvised on the spot at first, until closer analysis reveals how tightly plotted and constructed the film really is. It all resolves in a brutal ending that elevates Uncut Gems to instant classic status.

Upstream Color (Shane Carruth)

Shane Carruth’s Upstream Color may be the most difficult film to describe on this whole list. Certainly, the plot is far too abstract to summarize and it’s best to discover the narrative for yourself anyway. All I can say is that it focuses on a man and woman who are drawn into the life cycle of a strange parasite, which begins to influence their lives in mysterious ways. It’s a rare original love story with elements of science fiction and surrealism blended in.

Working on a minuscule budget, Carruth displays an innate talent for creating memorable imagery — things we see every day, like a blooming flower or a flock of birds, become mesmerizing through his lens. He also composed the film’s haunting and gorgeous score, an ambient masterclass that combines with the striking cinematography to produce moments of spine-tingling transcendence.

Sadly, Carruth hasn’t made another film since Upstream Color, citing lack of financing as the primary reason. While I’m not surprised studios aren’t eager to green light a work like this, there needs to be room in the marketplace for challenging films that don’t coddle the viewer. I can’t pretend to understand everything that happens in Upstream Color, but I know for sure that it’s a powerful and moving experience — what else really matters?

Waves (Trey Edward Shultz)

One of the most emotionally moving films of the decade, Waves is a bold cinematic experiment that offers profound insights on forgiveness and how to deal with loss. Kelvin Harrison Jr. and Taylor Russell are both outstanding in breakthrough roles, while Sterling K. Brown, Lucas Hedges, and Renee Elise Goldsberry provide strong support. Together, this ensemble helps to elevate what could’ve been just another family melodrama into a unique and impactful film.

Also key to the film’s success is the stunning, vividly colorful cinematography that occasionally veers into psychedelic territory. A perfectly-curated soundtrack is the cherry on top, with a haunting score from Trent Reznor and Atticus Ross blending into unforgettable needle-drops from Animal Collective, Frank Ocean, Radiohead, and many more. For sensory immersion and emotional catharsis, few films can match the highs of Waves.

The VVitch (Robert Eggers)

Most directors don’t knock it out of the park on their first try — Quentin Tarantino’s Reservoir Dogs and Darren Aronofsky’s Pi come to mind, but those are rare exceptions. That’s why I’m so excited to see what the future holds for Robert Eggers, who crafted a nearly-perfect film for his directorial debut.

The VVitch is set in 1630s New England, focusing on a family of English settlers who are banished from their Puritan colony over a religious dispute. Life doesn’t go well for them in their new home and a series of distressing events that I won’t spoil leads them to suspect a witch is responsible. Unsurprisingly, blame is quickly turned on Thomasin (Anya Taylor-Joy), the eldest daughter whose budding transformation into womanhood makes the whole family uncomfortable.

With the help of gorgeous cinematography and painstaking production design, Eggers fully immerses his audience in the 17th century. A chilling score of screeching strings and ghostly choral passages also helps to set the mood. The cast is uniformly excellent, with Taylor-Joy’s breakthrough performance the clear standout. All of these elements help bring Eggers’s singular vision to life, resulting in a powerful and thought-provoking horror film with a bone-chilling conclusion that will leave you speechless.

The Wolf of Wall Street (Martin Scorcese)

There have been many films about the greed of stockbrokers, but none are as alternately appalling and hilarious as Martin Scorcese’s The Wolf of Wall Street. It’s based on the true story of Jordan Belfort, who manipulated gullible clients into paying premium rates for worthless penny stocks, earning himself a fortune in the process.

The film tracks Belfort’s rise and fall from his early years studying under Mark Hannah (a priceless Matthew McConaughey) to his glory years presiding over Stratton Oakmont with his right-hand-man Donnie Azoff (a never-better Jonah Hill). Leonardo DiCaprio stars as Belfort in the performance of a lifetime, showcasing a previously untapped talent for comedy to go along with his obvious dramatic skills. The sequence where he attempts to drive his car while fried on quaaludes will go down in film history as an iconic example of physical comedy.

American audiences can also thank The Wolf of Wall Street for introducing us to Margot Robbie, who makes a sensational debut as Jordan’s superficial trophy wife Naomi. Rob Reiner, Kyle Chandler, and Jean Dujardin are all great in small roles as well. Most importantly, Scorcese is at the peak of his powers, infusing his signature style and energy into a three-hour epic that never slows down. Few directors are still making movies in their seventies, but Scorcese continues to expand the possibilities of cinema with every new project.