Best Movies Of 2023: Searing Satires And Breathtaking Biopics

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Final word: Alternating between color and black and white, “Oppenheimer” is spellbinding and evocativee. While it is a highly accurate account of events, the movie, in the end, is not about the atomic bomb. Rather, it is about moral and ethical dilemmas with a conflicted genius at the heart of the story, as seen through Cillian Murphy’s piercing blue eyes. What a tour de force performance!

“Barbie”

Margot Robbie, Ryan Gosling; directed by Greta Gerwig

“Barbie,” Greta Gerwig’s whimsically delightful take on the iconic doll’s story, officially crossed the incredible $1 billion mark at the U.S. box office this past summer, earning Gerwig the distinction in cinematic history as the first-ever female director to join the one-billion-dollar club.

The candy-colored movie posits a utopian feminist milieu where women can be anything and whatever they desire to be regardless of attitudes, shapes, sizes and professions. Yes! That’s Barbie Land, y’all!

Margot Robbie brings the legendary blonde beauty to life in a feminist haven devoid of conundrums, a place where men are merely accessories or appendages.

But, suddenly, Barbie finds herself in the throes of disquieting angst along with racing thoughts of impending doom and gloom. With her existential crisis spiraling out of control, Barbie ventures out into the real world, along with her boy toy Ken (Ryan Gosling).

Final word: Gerwig deconstructs the iconic doll with a highly entertaining satirical twist on the patriarchy and feminism. Along with Robbie’s rousing take and Gosling’s Ken-tastic energy, the movie is absolutely deserving of the Barbillion-esque accolade at the box office.

“The Holdovers”

Paul Giamatti, Dominic Sessa and Da’Vine Joy Randolph; directed by Alexander Payne

An irascible classics professor known for his outbursts of acerbic pontifical retorts. A troubled young man fraught with angst masked in a bravado of belligerence and insolence. A head cook living with grief over the loss of a loved one — On the surface, all of them —professor Hunham (Paul Giamatti), teenaged Angus (Dominic Sessa) and chef Mary (Da’Vine Joy Randolph) — are disparate characters. However, deep inside, they are much alike. All three are suffering from deep-seated pain, and they are the anchors to “The Holdovers.”

What emerges at the end is a story of three people who find connection over thwarted lives.

Final word: “The Holdovers” is a character-driven dramatic comedy that is delightful, splendid and affecting. As the main lead, Giamatti’s interpretation of the curmudgeon professor serves up a winning smile for audiences to enjoy.

“American Fiction”

Jeffrey Wright, Tracee Ellis Ross, John Ortiz; directed by Cord Jefferson

Cord Jefferson’s feature directorial debut, “American Fiction,” a film adaptation of Percival Everett’s 2001 bestseller “Erasure,” follows Monk Ellison (Wright), a serious Black writer beset with the poor sales prospect of his new book. Apparently, in the literary world, he shines with critical acclaim but struggles with little commercial success, so much so, that his agent is having difficulty finding a publisher for his latest effort.

“Monk, your books are good, but they’re not popular,” quips Monk’s agent, Arthur (John Ortiz). “Editors want a Black book,” adding, “You know what I mean.”

And so, begins Monk’s lucrative literary career with his next book titled, “My Pafology,” under a pseudonym, Stagg R. Leigh, who talks the talk and walks the walk of a “ghetto” life.

Final word: With Jefferson’s nimbleness and adroitness behind the camera, the movie delivers a razor-sharp satirical tone that is equally insightful and hilarious to the core. A well-deserved applause for Wright’s magnificent performance! His command of his multifaceted role is awe-inspiring to watch.

“Killers of the Flower Moon”

Robert De Niro, Leonardo DiCaprio and Lily Gladstone; directed by Martin Scorsese

Love and Betrayal collide in Martin Scorsese’s latest directorial outing, a feature drama about the unsettling real-life story of a series of brazen murders that took place in Osage County, Oklahoma in the early 20th century. Known as the “Reign of Terror,” the horrific and tragic period ensued after the discovery of oil reserves under the Osage Nation’s land.

“Killers of the Flower Moon,” based on David Grann’s 2017 nonfiction bestseller of the same name, delves into the systemic exploitation of the Osage Native Americans as white interlopers become increasingly emboldened to instill fear and terror into the families with headrights to the oil profits.

Final word: With a runtime of 206 minutes long, the movie is bound to test one’s patience. Still, rest assured that the movie enthralls with a palpable and gripping tension. The collective performances of De Niro, Di Caprio and Gladstone are on fire, anchored by Scorsese’s brilliance.

“Past Lives”

Greta Lee, Teo Yoo, John Magaro; directed by Celine Song

Celine Song’s breathtaking feature directorial debut, “Past Lives,” posits a young puppy love suddenly gone adrift in a sea of vagaries. Life marches on, but for one hopeless romantic, that trenchant feeling of enrapture, somehow, has endured through time.

Meet Na Young and Hae Sung, both 12-years-old, living with their families in Seoul, South Korea. The two kids are kindred spirits with a special bond they cannot fully understand or grasp. It is only a matter of time before the two are torn apart as Na Young’s family emigrates to Toronto.

Two decades later, Hae Sung (Teo Yoo) finally tracks Na Young down. She (Greta Lee) is now a writer who goes by the name of Nora. Eventually, the two childhood friends get reunited for one fateful weekend. Meanwhile, Nora’s husband (John Magaro) remains patient as Hae Sung and Nora sort out their feelings and the lingering questions or what-ifs about their “past lives.”

Final word: Big applause to Celine Song! Sublime and poignant as it is, “Past Lives” flows like poetry in motion, anchored by nuanced and delicate performances.

“Maestro”

Bradley Cooper, Carey Mulligan, Matt Bomer; directed by Bradley Cooper

The biopic “Maestro” centers on the relationship between Leonard Bernstein (Bradley Cooper) and the legendary composer’s wife Felicia Montealegre (Carey Mulligan), spanning decades of their long marriage from the 1940s through the 1980s.

The movie opens in black-and-white frames with a 25-year-old Bernstein, a young conductor summoned to fill in as a substitute for Bruno Walter on Nov. 14, 1943, during a nationwide New York Philharmonic radio broadcast. With a display of prodigious talent, Bernstein beams with utter confidence as he leads the orchestra. Moments later, no one can deny that a star is born!

At a swanky party, Bernstein meets his future wife, Felicia, a budding young actress. Their love affair will bring to light some startling revelations, including Bernstein’s homosexuality and his penchant for occasional dalliances.

Final word: Both Cooper and Mulligan portray their roles brilliantly with blazing bravura. Cooper deconstructs Bernstein’s persona with an elucidation filled with superb delicate gravitas. Meanwhile, Mulligan’s interpretation of a loving wife at her lowest ebb is utterly nuanced and sublime. Audiences will also be in awe of the cinematography that elevates further the leads’ powerful performances.

“The Color Purple”

Fantasia Barrino, Danielle Brooks, Taraji P. Henson, Halley Bailey; directed by Blitz Bazawule

Blitz Bazawule’s latest effort comes in the form of a movie musical concoction comprising Alice Walker’s Pulitzer-winning bestseller, the Tony-winning 2005 Broadway stage musical production, and Steven Spielberg’s critically acclaimed 1985 film version. And what a feat!

The latest iteration is deeply resplendent, dazzling audiences with a refreshing take on the enduring story of three kindred spirits beset with the repulsive social maladies in the South in the early 20th century. The musical score includes 21 new songs, all beautifully fused with stellar acting performances along with electrifying dance and musical numbers.

Final word: Fantasia Barrino is outstanding as Celie, and her rendition of “I’m Here” is incredible. Danielle Brooks, Coleman Domingo and Taraji P. Henson add piquancy to the story as supporting cast. Last but not least, Whoopi Goldberg, who played Celie in the original film, makes a cameo appearance.

“The Iron Claw”

Zac Efron, Jeremy Allen White, Harris Dickenson, Stanley Simons; directed by Sean Durkin

The latest effort by Sean Durkin — the auteur behind such psychological dramas as 2011’s “Martha Marcy May Marlene” and 2020’s “The Nest” — shines a spotlight on the true story of the Von Erichs, the first family of Texas wrestling. Their claim to fame is the family’s title claw, a brutally painful face grip that could make their opponents surrender to submission instantly.

At the heart of the story is the eldest, Kevin (Zac Efron), who is taciturn and steadfast by nature. He lives for his three siblings: the laid-back jokester David (Harris Dickinson), the Olympics-bound discus thrower star Kerry (Jeremy Allen White), and the aspiring musician Mike (Stanley Simons). In time, these young men will become the paragons of high-octane masculinity driven to success at all costs. But all that bravado will take its toll, and tragedies will strike.

Final word: “The Iron Claw” delivers a searing portrait of a sports family in American film, buoyed by an electrifying ensemble cast, especially Efron. His deep and sweet sensitivity shines beyond his amazing hulking physique. You cannot help but be in awe at his jaw-dropping transformation. But more notably, his magnificent performance of a wounded soul deserves an Academy-award nomination.

“Poor Things”

Emma Stone, Mark Ruffalo, Willem Dafoe; directed by Yorgos Lanthimos

In “Poor Things,” Yorgos Lanthimos continues his streak of wildly imaginative craftsmanship, an aberration laden with cinematic idiosyncrasies that could either put a smile on your face or make you frown in discomfort. However, rest assured! In more ways than one, that is all part of the Yorgos-mic charm to say the least.

Emma Stone plays Bella Baxter, a pregnant woman brought back to life “Frankenstein” style by a mad scientist (Willem Dafoe) after she kills herself. But before he revives her, he replaces her brain with that of her unborn baby. Subsequently, the 30-year-old Bella is now childlike.

Her new world piques her interest in romance and desires, prompting her foolhardy adventures around the world with a debonair, debauched lawyer named Duncan Wedderburn (Mark Ruffalo).

Final word: What ensues is a globetrotting tale of lust sans guilt. Stone shines as a highly hypersexualized woman with a beguiling and powerful naiveté. Meanwhile, Ruffalo is on fire in his portrayal of a needy womanizer.

“Saltburn”

Barry Keoghan, Jacob Elordi, Rosamund Pike; directed by Emerald Fennell

Emerald Fennell’s latest directorial effort comes in the form of a psychological black comedy thriller about Oliver Quick (Barry Keoghan), a simple-minded Oxford University student, who is suddenly thrust into the upper-crust echelons when a charismatic classmate Felix Catton (Jacob Elordi) invites him to his family’s sprawling estate. Seemingly, there is more to eccentricity than meets the eye.

But how does a poor boy like Oliver even get invited to such once-in-a-lifetime escapades? Well, believe it or not, it is not by a stroke of luck. Rather, it evolves from Oliver’s devious machinations. All he needs to do now is to stick a nail surreptitiously in Felix’s bicycle tire and then lend the hunk his bike. Soon enough, the scholastic pauper gets propelled into the world of one-percenters.

And so, begins Oliver’s ravishingly unique summer adventure at the Catton’s Estate of Saltburn, a gothic mansion where delicious mayhem is utterly inescapable in its entire 127 rooms.

Final word: “Saltburn” is not going to be everyone’s cup of tea. Fans of twisted decadent thrillers will find it thrillingly wicked. Meanwhile, some might find it altogether repulsive due to extreme salaciousness and depravity. You’ve been warned.

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