What’s up everybody, Prone here and today I’m talking about my favourite films released In Australia over the past year with my annual “BETTER LATE THAN NEVER” favourite films of the year list. Actually, I’m doing a top eleven (sorry). I was almost finished writing when I remembered a banger of a film that Australia got way later than the rest of the world, so therefore by my rules, counts.
So 2023 sure was a fantastic year for quality film releases right? There was a slew of high quality productions that came out towards the back end as well, hence this list just coming out now. I still didn’t manage to see everything either (who can!) and I unfortunately had to kill a lot of darlings. In fact there’s films in my honourable mentions that honestly would’ve been top five in years prior. Anyway, I hope y'all enjoy the list and my musings.
11. INFLUENCER: Influencer was released on Shudder mid year with little to no fanfare, which is a shame because as it turns out, it’s my second favourite horror film of the year.
Films about influencers are about to be as played out as the apps that they’re posting on, and after the first few minutes I was kinda on the fence. A character is introduced, the screenplay kicks into gear and the story ends up being fresh and interesting. The sort of shit that for sure could happen or possibly already has. The reasoning behind one of the lead characters’ actions may offend some, but I found it absurdly funny. There’s probably some kind of analogy for apps there that I’m missing as well. Anyway, I probably shouldn’t read too much into it.
I gave this one brownie points for being shot in places where I’ve actually stayed. Thailand looks amazing and is beautifully photographed (be hard to take a bad shot honestly). The editing is very slick. It has a cracking electronic score by Avery Kentis. And excellent performances from the central characters, Cassandra Naud in particular. I reviewed this film when it came out, so if you like to read more about my love for Influencer I’ll leave a link just below.
10. SISU: I sure do like it when a film knows exactly what it is and doesn’t mess about when getting down. Finnish screenwriter and director Jamal Helander’s (Rare Exports) Sisu is that film, and one hundred percent my type of modern day action/exploitation film.
You’ve got a fun antihero to root for. Creative and heightened violent set pieces that still somehow remain gritty and not over-stylised. Excellent on a technical level, with the editing, sound design and of course the action choreography being massive highlights. The stunt work in this film is also of top notch and another thing that stood out.
There’s a serviceable straightforward narrative which is basically just a set up for our guy to exact violent revenge in plenty of cool-ass ways. I’m sure this was the filmmakers main objective and they were extremely successful in achieving that goal.
Sisu had a little bit of hype prior to release, but then only played for a week or two on limited screens. Which is a bummer because this is my favourite action movie of the year. As of writing this, It’s still not streaming anywhere, but I strongly recommend shelling out the $5.95 for the VOD.
9. FERRARI: As some of you may know, I’m a bit of a Michael Mann fanboy. He is to me what directors like Nolan and Spielberg probably are to others. I’ll admit that not all of his films are perfect, but there’s something about his style that sucks me in. His films feel cinematic in a way that very few modern directors can replicate. He’s a perfectionist/professional who makes film’s about perfectionists and professionals. This may not be everybody’s cup of tea, but it’s certainly mine.
And while Ferrari may not be his best work, I still think that people are sleeping on it. I acknowledge that there’s some pacing/structural issues, but when the movie “shifts into gear” (not sorry) it produces some of the strongest on screen moments of the year. Vintage Mann in parts. There were honestly several times throughout where I was like “have I seen a better shot scene/sequence over this past year?”The answer being probably not.
I think Adam Driver’s performance is also being largely slept on as well. He’s very good in a role that I imagine would be quite challenging, and Penelope Cruz absolutely crushes in her supporting role. I always forget just how damn good she is! And of course we have the racing scenes. Mann has a way of showing you things from different perspectives and really putting you at the forefront of the action. Breathtaking stuff.
8. THE KILLER: Another film that the internet was pretty amped about, but came out to a mostly lukewarm reception. Weird, because I thought it was Fincher’s best film in a long time. Maybe people didn’t resonate with the dark humour, or maybe it was the pacing? I’m not sure. All I know is that I thought it was hilarious, and the whole deadpan schtick really worked for me. The voiceover too. And the first Smiths needle drop had me howling.
The fantastic poster art and synopsis got me thinking that this would be some kind of serious (but campy) Eurotrash spy/thriller throwback, which I was so down for. And while elements of that were definitely there (the surface story, costume design etc.), I thought it was a character study of what it’s like to be obsessive compulsive. And also what it’s like for a person so obsessive and meticulous in their work to make a mistake.
One thing for sure though, is that Fincher’s own OCD is on full display. The film looks and sounds amazing. My sound teacher from film school used to always use Fincher’s work as an example of great sound design, and the sound design in The Killer is as good as it gets. No surprise that it’s beautifully shot, and there’s a couple of really great action scenes as well. Fassbender’s fight with Sala Baker is definitely up there for fight of the year.
I’m not the biggest Fincher fan, but when he lands for me, he really lands. And I gotta say that I enjoyed this a lot more than some of his recent more popular releases.
7. THEY CLONED TYRONE: We all know that streaming services are hit and miss when it comes to original releases, and Netflix is no exception. They do however have a stronger catalogue than the rest, and They Cloned Tyrone is right up there with their top releases (The Power Of The Dog, Beasts Of No Nation, Da Five Bloods etc.).
Director and co-writer Juel Taylor does a great job executing his vision and also directing the mostly seasoned cast. Commendable considering it’s essentially his first feature. Being shot on film only aids his strong visual style, with the production design and the costume design in particular being a massive standout. Jamie Foxx and Teyonah Parris’ coat game = chefs kiss.
The strange mix of blaxploitation, sci-fi and dark comedy won’t be for everyone, but tone wise, this is definitely something that I vibe with. I find this type of cultural and political satire disturbing because of how on point it is, but also strangely, exactly my type of jaded humour.
Anyway, this is another one that I wrote about upon its initial release, so I'll drop a link below for anyone who would like to read more about my thoughts on this little gem of a film that’s unfortunately destined to be buried by the Netflix algorithm.
6. THE BOY AND THE HERON: We are so lucky to have such a beautiful storyteller like Miyazaki still doing his thing. His films touch me in a way that few others do. The fact that a person can put so much of his own pain, fears, joy and love out there to the world with such wonderful artistry is beautiful and courageous.
The Boy And The Heron is one of his most personal films to date. He is another filmmaker whose films are open to interpretation, and what I took away from it hit pretty close to home. Let’s just say that after the final act, I was a blubbering mess.
Miyazaki is an old school filmmaker in the sense that he treats the audience with a certain respect. He knows that not everyone in 2023 has tik-tok brain, and that lots of us appreciate the art of subtle world building. I love the slow pacing of the first half of the film. It makes the second half all the more rewarding as we delve into various interlocking worlds, each with their own beauty and horrors.
The animation and its direction is exceptional. All of the birds and the several variations of the heron were very creative, as was that portal/gate thing which was a pleasant surprise. In fact, once the other realms are introduced it’s basically one breathtaking set piece after the other.
The score is also top notch, and in a year where there were so many great ones, this could be my favourite. I saw one of the last sessions, so the version I watched was the English dub, which I thought was actually quite good. I thought that Karen Fukuhara, Gemma Chan and Mark Hammil all stood out, and the casting of Pattinson and Pugh was spot on. Christian Bale also added some unexpected humour which at times I forget that he possesses.
At 82 years old, this may well be Hayao Miyazaki’s last film, and if that’s the case I’m glad that I got to see it on the big screen - to a near full house as well - which warms my heart knowing that his work has become so beloved by so many.
5. KILLERS OF THE FLOWER MOON: Wowsers, talk about a great year for big name directors over the age of 80 who haven’t made a film in years. I must admit that I do struggle with Marty’s more recent output (still haven't seen Silence though) and I was a little worried heading in. Thankfully he showed some restraint and didn’t lean too far into the whole “look how despicable these humans are” schtick, and after the opening scene I had a feeling that I was about to watch something special.
I went into this fairly blind as I didn’t want to know any spoilers (glad I did). Afterwards I watched a couple of documentaries and took a closer look at the story, and I think he handled it very well considering how bad it could’ve gone in the wrong hands. Nothing worse than seeing an important story/subject matter get butchered by Hollywood.
I’m coming in hot here, but this is actually the first collaboration between Marty and Leo that I actually like (seriously, I dare you to watch The Departed now and tell me it’s good). And Leo nails this role. He just keeps getting better and better as an actor and thoroughly deserves the praise. He plays a doofus so damn well! Lily Gladstone is also great and deserves all the flowers she’s receiving. Her scenes with Leo being some of the strongest in the film. Jesse Plemmons gives one of his patented understated performances as the lead FBI investigator. Awesome to see the underrated Pat Healy show up as his partner as well. De Niro is great of course, so yeah, everyone was pretty much on their A games for this one.
It’s a Scorsese film so obviously it’s going to look and sound great. Thankfully he does reign in his visual style a little bit. Not to the point where you wouldn’t realise it’s one of his films, but it’s definitely more subtle (and suited). The Blues score is excellent and also well suited.
Of course the attention to detail with anything period related is on point. It’s high level filmmaking, and on a technical level Killers Of The Flower Moon really can’t be faulted. If anything it’s probably the runtime that most people will/would have an issue with. I was fine with it as I was interested in the story, but there’s two major three hour movies from the past year that I’ve yet to see, so I totally get it.
4. SANCTUARY: ***I know that Sanctuary technically came out in 2022, but it didn’t get a release in Aus until August 23 so it definitely counts!
Not many people were talking about this one come the end of year, which is a shame because it’s an extremely well written and well acted gem of a film. Something that I know I’m going to end up revisiting alot. It’s a small film in terms of scale- one location, only 2 characters, but because the story is clever, the character motivations are somewhat unknown and the dialogue so good, it’s always extremely engaging. It also helps that the two leads are two of my favourite actors in Margaret Qualley and Christopher Abbott. Both of them are dynamite, especially Qualley who gives one of the performances of the year.
I know calling this a romantic comedy might be a bit of a stretch, but Sanctuary had me howling. I also found it strangely (and pleasantly) erotic. Power dynamic shifts and struggles are also catnip for me. So much so that It was a major theme in my last short film (flex).
I feel like this is one that’s going to catch on later, maybe when it hits streaming. The screenplay and dialogue is just too good, to the point where it would be very quotable and/or memeable. Oh, and bonus points for it coming in around 90 minutes. Fans of the 2002 film Secretary should definitely seek this one out. Looking forward to the rewatch.
3. GODZILLA MINUS ONE: Now THIS is how you make a f%#king Kaiju movie! Better yet, this is how you make a blockbuster. When early reviews started coming in with people claiming “movie of the year” I was sceptical, mainly due to Hollywood's recent mediocre (mostly) output. I don’t claim to be the biggest Godzilla/Kaiju person either. I’ve only seen a handful of the older films, but I feel like the post WW2 setting is better suited to the monster than a contemporary one. I like the idea of Godzilla being born from the fallout of an atomic weapon as opposed to some centre of the earth or portal mumbo jumbo.
Man, I wish that I could’ve seen the look on the big wigs faces at Sony when they saw the films budget and gross. Just goes to show that throwing heaps of money at something isn’t always the way. I mean the special effects in this film blows away anything similar themed that Sony or Warner Bros have done. And for a tenth of the price! And boy does the big fella look good. Big Zil (can I coin that?) marching onto the streets of Ginza accompanied by the og Godzilla theme and letting out an earth shattering roar has got to be my favourite scene of the year. Legit goosebumps. The whole Ginza scene in general is extremely impressive on a technical level and heartbreaking on a human level.
Another thing that I like is the grey area this movie lives in. This is set in post war 2 Japan, and does a great job of showing the Japanese as human beings as opposed to the light in which the west often portrays them on screen during this period. They have all gone through a great deal of pain and have experienced the loss of loved ones, therefore making it easy to sympathise with and root for. Especially the main protagonist's family.
As awesome as Godzilla looks (easily the best), he’s one hundred percent never not the villain. It is a vicious and terrifying monster, and therefore we’re invested in the human stories and characters, and that’s what makes this film so special. Big Zil may just even represent the trauma of a nation that there is no running or hiding from? Something that they have to overcome on their own in order to move on in life? Anyway, an absolute cracker of a film that is sure to become even more popular once it hits streaming.
2. AFTERSUN: ***This is the film that threw my whole list out of whack. After being released towards the end of 2022 in most countries, Aftersun didn’t get a wide release until March 2023 down under so it definitely counts (also, who cares really?).
I tend to avoid trailers for obvious reasons, so I was pretty floored when the film had a lot more going for it, other than a low-key coming of age father daughter movie based on a holiday the filmmaker had when she was eleven years old. In fact, floored may be an understatement, as writer/director Charlotte Wells (and Paul Mescal) did a fantastic job of shattering my heart into a thousand pieces. The session that I saw was pretty small. Probably 8 or 9 people max, but when the credits rolled all I could hear was sobbing. Not a dry eye in the house.
I had no idea that it was essentially about a young man’s struggle with mental health either. As someone who struggles with my own mental health, it may have deterred me from watching had I known. Not because I have a problem with the topic, it’s just more often than not film’s about mental health tend to be well, mostly bad (Silver Linings Playbook anyone!). Thankfully though, Wells understands subtlety, especially when dealing with such important subject matter, and of course one so personal to her.
This is my number two pick of the year, so obviously the acting is high level. I’m unsure if playing the person directing you would be a positive or a hindrance, but young Frankie Corio is terrific and never falters. Paul Mescal as well. At the time of viewing I’d never seen him in anything, and was completely blown away by his performance. He’s a beast of an actor and I hope that he has a long career.
Early 90’s period pieces are a dime a dozen these days. Most of them beat you over the head by cramming in as many needle drops in as possible and/or name dropping a bunch of lazy ass pop culture references. None of that rubbish here. I actually felt like I was transported back in time on a lower middle class early 90’s summer holiday. Every aspect of the hotel- from the rooms to the games room was spot on, the costume design was perfect (again subtlety!), and the splicing of camcorder footage was also a nice touch.
You can tell that by reflecting on the actual footage from that vacation, she was able to notice things that made her realise that maybe she didn’t know her father at all? It’s those tiny subtleties that really show just how her father struggled. A small look of confusion, anger or unease in seemingly normal moments help depict what it can be like for someone with mental health issues. And although on a surface level two thirds of the film may seem tonally light, for me there was always an ever present underlying sense of unpredictability and dread. I found all of this to be very relatable and it’s one of the main reasons as to why Aftersun resonated with me so much.
1. POOR THINGS: Poor Things, like Barbie but for the arthouse crowd? Well that might be a little bit on the nose, but I’m sure Noah Baumbach and Greta Gerwig’s reaction’s were something along the lines of “sh%t” after watching this film. Instead of sugar coating the dialogue or disguising messages as some kind of metaphor, the screenwriters of Poor Things do not beat around the bush when it comes to what they are trying to say. It’s the sort of movie that those “freedom of speech” hypocrites would love to censor. For it could be seen as a scathing attack on “traditional gender roles” and/or the “fragility of man’s ego” by those very same “insecure men" or “crumb snatching women”. Obviously this is why I love it.
I’ve always found Yorgos Lathimos to be an interesting filmmaker. He always takes genuine risks. Whether it be with dialogue delivery, visually or technically, he’s always at the forefront of style. And while it may not work in all of his film’s, for my money it all comes together in Poor Things.
Do you ever get to the end of Bride Of Frankenstein and think “this is where the movie should start”, well this film will scratch that itch. Having a Frankenstein type character be born with an adult body and infant's brain- then proceed to go through Freud’s three stage theory of the structural model of the human psyche (id, ego and superego) in a short space of time was never not going to be a great idea!
I’ve always been a bit take it or leave it when it comes to Emma Stone, but boy did this movie make me scrap that narrative. A great story and/or screenplay means nothing if you don’t have good enough actors to pull it off. Especially when the dialogue is so challenging, and Stone attacks the role with a fearlessness that I didn’t know that she was capable of. Ruffalo was also a major standout in another challenging role. I think that awards shows are stupid, but I’m glad he got nominated for best supporting actor. Everybody is great, and it was really awesome to see the cast of the aforementioned Sanctuary turn up in small roles. Chris Abbott at his scene stealing best!
I just had so much fun with this film. All Yorgos’ visual flare and technical brilliance comes together. The screenplay is spot on. The heightened world, aided by amazing production and costume design is equal parts wondrous and scary. The performances- terrific, and the message and the way in which it’s conveyed is perfect.
Honourable Mentions: I know some people might be stunned at what may seem to be glaring omissions from the list. And while I respect those films and acknowledge that they’re mostly well made and executed, there were other films that I simply enjoyed more. Just because you can afford the best sound designer or cinematographer doesn’t always make your screenplay any better. Acting as well. Just because they’re “popular” actors doesn’t necessarily mean that they are better than the “relative unknowns”.
So first off I guess I’ll address the elephant in the room by mentioning that I still haven’t seen Oppenheimer or Beau is Afraid. I have very little interest in the Oppenheimer story, I’m pretty lukewarm on Nolan, and at 3 hours it pretty much feels like homework. I’m sorry to say it’s the runtime that also kept me from pressing play on Beau Is Afraid. Well that and the fact that almost every review on Letterboxd says “Wow, the first hour is arguably Aster’s best work, then the following two hours is a real drag”. Doesn’t exactly make you want to rush and watch it right? I also didn’t get a chance to see The Holdovers, Zone Of Interest or Sick Of Myself. Three movies I know I’ll dig. Anyway, here’s some that I did watch that didn’t quite make the cut.
Barbie was a lot of fun and a good one to watch with a crowd. I loved the costume/production design, and of course Baby Goose. “I’m just Ken” -truly a masterpiece.
Guy Ritchie’s direct to Amazon Prime Afghan war based action thriller The Covenant was a nice surprise. The second half went in a direction that I wasn’t expecting, and really shows how versatile and workmanlike the director has become over the last decade or so. Gran Turismo was a return to form for Director Neill Blomkamp. The racing scenes are excellent and the fact it’s based on a true story made it even more impressive. Very underrated.
How to Blow Up A Pipeline was a very well executed thriller that I think fans of Fincher and/or Safdie Brothers film’s will enjoy. No One Will Save You was another one that had punters split, and kept me away for that reason. Glad I ended up watching it though as it was a smartly written cat and mouse sci fi horror jam with a great performance from Kaitlyn Dever. Like Home Alone meets Signs (if Signs had a good ending). And last but not least I’ve got to shout out my favourite blockbuster IP Mission Impossible. Dead Reckoning Part One was full of creative and insane action/stunts, but also kinda felt like a part one. I’m almost certain that whenever part two comes out it’ll be on that year's list.
If there’s any that you feel that I’ve missed and/or are sleeping on, please let me know in the comments. I hope I haven’t offended you too much with my hot takes, and I thank you for taking the time to read this the whole way through. I appreciate you. Peace.
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