If 2021 was audiences dipping their toes back into moviewatching after the lack of theatrical viewing in 2020, 2022 feels like them starting to reassert themselves in terms of what they are interested in. I think we still have one more movie year before Hollywood really starts to get back to normal, as this year saw some delays early (“Morbius”), and the final release of some films that had been held back (“Minions: The Rise of Gru”), but besides that, we’re also seeing thinner release windows from cautious studios who are trying to figure out audiences again. To a certain extent, I think filmmakers are doing the same.
This year continued the saturation of IP-driven films- led, once again, by superhero films- but we’re also starting to see some strong returns on genres that used to be staples, but have struggled to find their footing against the Marvels and “Jurassic World: Dominions” that were making over a billion worldwide pre-pandemic. This year, audiences said yes to biopics like “Elvis”, star-driven adventures like “The Lost City”, dramas like “Where the Crawdads Sing” and “Dog”, and romantic comedies like “Ticket to Paradise”. None of these are making billions, but what they are doing is reintroducing Hollywood to the idea that variety at the multiplex can win out, not every film has to be a financial grand slam, and people will come. And then, there was “Everything Everywhere All at Once”, which marked an indie sensation for A24 that built word of mouth to over $100 million worldwide, and buzz that matched Marvel’s own multiverse offering this year, and is carrying it to potential Oscars this coming March.
The first four months of 2022 saw me covering three film festivals. My second year covering the Sundance Film Festival virtually felt like more of a slog because of how I had to balance it with work responsibilities (and the fully virtual aspect began to grate on me), but- as you’ll see below- some of the films I saw there are some of my favorites of the year. The Renegade Film Festival returned after two years, and it was a welcome return to fully in-person festival coverage. And while the Atlanta Film Festival was- by necessity- requiring a work/festival balance, I still got a great deal out of that experience, and some great films viewed. In addition to that, I added more guest appearances on podcasts, have started writing more regularly at In Their Own League, was a part of a startup aggregate website called Ripe Bananas, was a panelist on “Star Wars” music at DragonCon, and wrote my first feature film score for Brian Ackley’s “Player, PhD.”. It’s been a busy, and rewarding year around movies.
As always, there will be films I’ve missed here, for one reason or another. The end of the year was not as loaded with catch-up watches because of personal obligations, but as I will not be covering the Sundance Film Festival, January will be the time to do that. I’ll get to as many as I can before the Oscars, but for now, my roster of films from this year does not include: “All Quiet on the Western Front”; “All the Beauty and the Bloodshed”; “Amsterdam”; “Avatar: The Way of Water”; “Barbarian”; “Black Adam”; “Bullet Train”; “Clerks III”; “Close”; “Confess, Fletch”; “Corsage”; “Death on the Nile”; “Don’t Worry Darling”; “The Eternal Daughter”; “Fresh”; “God’s Creatures”; “Halloween Ends”; “Hustle”; “The Inspection”; “Men”; “The Menu”; “No Exit”; “Not Okay”; “Pearl”; “The Princess”; “Rosaline”; “Saint Omer”; “The Sea Beast”; “See How They Run”; “Smile”; “The Son”; “Spiderhead”; “Spin Me ‘Round”; “Studio 666”; “Weird: The Al Yankovic Story”; “White Noise”; “Windfall”; “The Wonder”. There’s only so much one can get to when you have more going on than just movies.
Favorite Films of 2022
The 25 films on this favorites list might be the most gleefully chaotic favorites list I’ve assembled in the moment since…ever. And yet, it’s very representative of what movies stuck with me this year. So many different genres covered, so many different types of stories, but all of them stunning and unforgettable. I hope you enjoy the chaos!
=“The Fabelmans” (Directed by Steven Spielberg)- By the time I was done with my 2400-word review of Spielberg’s personal examination of his family, and filmmaking, I knew nothing else was coming close as my favorite film of 2022. Seeing Spielberg- along with writer Tony Kushner- dig into the struggles he faced in confronting his love of filmmaking, the complexities of his parents, and respecting both, is to see a filmmaker whom is scaling back his technical gifts to guide actors in directions that might be uncomfortable for him to watch, but are also letting him feel some sense of catharsis about who he was then, and who he is now. This is Spielberg’s richest film since “A.I.”, and very much one I look forward to rewatching.
=“After Yang” (Directed by Kogonada)- Life and death has been on my mind a lot for the past month. In that state of mind, rewatching Kogonada’s humane, and beautiful, science fiction drama about a father’s dilemma when his adopted daughter’s android caretaker- a robot intended to help her assimilate within her new life- has significant damage is a haunting and empathetic look at how best we can say goodbye to those whom mean a lot to us.
=“Speak No Evil” (Directed by Christian Tafdrup)- This nerve-racking psychological thriller from Denmark rattled me so much when I saw it at the Sundance Film Festival that I didn’t even have my thoughts fully in order when I interviewed Tafdrup during the festival. When I finally did collect my thoughts eight months later after my third viewing, the film’s notions on the importance of communication, and the need to sometimes have difficult conversations with people you barely know, lingered long in the memory.
=“Neptune Frost” (Directed by Anisia Uzeyman & Saul Williams)- Though several people found this year’s Sundance lacking, I found it an embarrassment of riches. Case in point- this afro-futurist musical from Uzeyman and Williams about rebellion, connection, and finding one’s identity in a world that exploits Black people is the third film from the festival at the top of this list. It took a couple of times for me to really vibe with the story of this film, but the visual imagination (and Williams’s brilliant, otherworldly soundtrack, adapted from an earlier album) had me from moment one. I would love to see what they have to say next.
=“Prey” (Directed by Dan Trachtenberg)- The television screen is too small for Trachtenberg’s prequel to “Predator,” which gives us a Comanche woman (Amber Midthunder, in a star-making performance) who finds herself hunting one of the iconic alien trackers in 18th Century North America. Trachtenberg understands how this franchise works best- stick to the action, keep the characters simple- and this film pops off the screen with thrills and energy. I really wish this had been given a chance in theatres, because “Prey” slays.
=“The Banshees of Inisherin” (Directed by Martin McDonagh)- Who would have guessed a movie with music composition, severed fingers, fires and passive aggression would be one of the best films ever made about friendship? Anyone who’s ever been through it with their bestie, probably.
=“Apples” (Directed by Christos Nikou)- Nikou’s comedy-drama might be one of the films I will cherish the most from the pandemic era. Made as COVID began to ramp up, this thoughtful and entertaining film looks at a world where people’s memories are disappearing, and the government has set up a plan on how to assimilate people back into living. The film’s valuing of connections between others, and helping people in need, really left an impression on me, and made me grateful for the people who understand that people needs help we need it.
=“Portrait from a Fire” (Directed by Trevor Mack)- My favorite narrative offering from this year’s Atlanta Film Festival was this gem by Mack, which follows an Indigenous boy struggling to find his place in life after a tragedy that isolates him from his father, who isn’t sure how to relate to his son. If you’re a fan of the ways in which “The Fabelmans” explores the tensions that arise from a son passionate about telling stories and a family that is broken, this thoughtful, subtle drama lands a lot of those same notes.
=“The Batman” (Directed by Matt Reeves)- I don’t know if I would consider Reeves’s 3-hour exploration into the world of Gotham City the best film about Batman, but ten months after seeing it for the first time, so much about his film still has me in awe of it. The insular nature of Gotham, which also feels epic. The score by Michael Giacchino, so haunted and profound as it gets to the heart of the world. The cast, starting with Robert Pattinson’s Bruce Wayne, so immersed in his life as a crime fighter he’s forgotten to live. And finally, Greig Fraser’s cinematography, which finds a level of authenticity of image that no other live-action film has captured before.
=“Master of Light” (Directed by Rosa Ruth Boesten)- Boesten’s documentary follows classical painter George Anthony Morton, who began to study painting while in jail for nearly a decade, as he attempts to use his art to heal himself, and his strained family. As someone who has used his own creative outlets to heal from pain, the connection I feel for Morton as he tries to figure out who he is, and what his family is now, is profound.
=“Maya” (Directed by K/XI)- From the second I saw “Black Lake” in 2020, I was immediately captivated by K/XI as a filmmaker and storyteller. With this film, she is taking a more traditional supernatural narrative to explore trauma, possession, and the past. Hers are films we feel our way through more than thinking about. I cannot wait to see how she challenges her audience next.
=“Marcel the Shell With Shoes On” (Directed by Dean Fleischer-Camp)- Connections are the name of the game with this year’s list, in a lot of ways. Few beguiled me so beautifully as Fleischer-Camp’s feature-length adaptation of his short films about a shell and his grandmother whom are in an Air BnB with a documentary filmmaker. I love the bonds of these characters, the sweet-natured humor, and the way this film looks at life and death in a charming, emotional way.
=“Stars at Noon” (Directed by Claire Denis)- Claire Denis’s previous films I’ve seen are ones I thought were good, but didn’t really offer much for me after watching them. With this romantic thriller, set in a COVID-era Nicaragua, something about how she follows an American journalist (Margaret Qualley) who is surviving through sexual favors when she meets a British man (Joe Alwyn) who might offer a way out. The sense of isolation Qualley’s character feels fits this film, as does a score by the Tindersticks that gives the meandering narrative a vibe that just resonated with me. It’s hard to describe, honestly.
=“Doctor Strange in the Multiverse of Madness” (Directed by Sam Raimi)- Throughout Phase Four, the MCU has been exhausting, not just in how much of it we’ve received- 7 films, 8 TV shows, and 2 special presentations in two years- but the dense worlds it has set up, and story threads to come. That is part of why Raimi’s return to Marvel storytelling after 15 years is a welcome one- for this latest adventure of the Sorcerer Supreme, the “Evil Dead” filmmaker is an ideal choice to bring the visual, and narrative, chaos of the multiverse to the screen. The result is, collectively, Marvel’s most satisfying film since “Avengers Endgame.”
=“Everything Everywhere All at Once” (Directed by Daniel Scheinert and Daniel Kwan)- Part of the reason I do not number my favorites list is because I do not want to think this is a list whose hierarchy is based on quality. All of these are equals in terms of how they stayed with me throughout watching over 200 films this year. In my first experience with the Daniels, their multiverse, multi-generational story about the choices we make to keep ourselves surviving in life was exhilarating, emotional and filled with moments I will never forget, and a performance by Ke Huy Quan I will always cherish.
=“Top Gun: Maverick” (Directed by Joseph Kosinski)- I have an appreciation for the 1986 film as entertainment, but I don’t feel anything emotionally for it. Kosinski’s sequel, where Tom Cruise saves his co-pilots, and the theatrical experience, has me on the latter, as Pete Mitchell must figure out what matters to him as he is faced with being obsolete. As Penny Benjamin, Jennifer Connelly reminded me what makes her so special when she’s cast.
=“Pleasure” (Directed by Ninja Thyberg)- This year saw two very different portraits of ingenues whom are driven to stardom. “Babylon” is a film about Hollywood and how it inspires dreams, while also spits out talent it no longer has value for. Thyberg’s uncomfortable drama about a woman (played by Sofia Kappel in one of the year’s most fearless performances) who wants to become the biggest porn star in the world does not paint the industry in a glowing light, but it captures the sensuality and base desires it represents, while also challenging us with a protagonist whom is instantly charismatic, but also feels willing to use people to get what she wants.
=“The Black Phone” (Directed by Scott Derrickson)- In adapting the short story by Joe Hill, Derrickson and his co-writer, C. Robert Cargill, take a narrative about a kidnapper. and serial killer, who abducts his latest victim- whom can hear the voices of the killer’s prior victims- and the battle of wills we get between them to see that Finney does not become one of those voices for a future victim. This is a slow-burn thriller that is about strong character work, and building gripping set pieces, which resulted in some of the best audience reactions I’ve experienced in a while.
=“Apollo 10 1/2: A Space Age Childhood” (Directed by Richard Linklater)- Memory pieces from auteurs about their lives are all the rage right now. None provided the poignant, delightful joy as Linklater’s animated film about being a kid in the age of the moon race. This is a further evolution of Linklater in how he uses animation, and how he explores the passage of time, and it is one of my favorites of his.
=“RRR” (Directed by S.S. Rajamouli)- If Oscar nominations come for Rajamouli’s extraordinarily exciting Telugu-language epic, I sincerely hope it is released again in American theatres, because I regret that COVID got me just as I was going to see it during its summer encore in Atlanta. Even on the small screen, this epic about friendship, revolution, and some of the most breathtaking action scenes and musical numbers audiences have seen in a good, long while.
=“Refuge” (Directed by Erin Bernhardt and Din Blankenship)- In each of the three documentaries on this list, we look at personal, emotional journeys with men whom are dealing with something painful from their past. Here, we follow a former white supremacist whom struggles with his own past prejudices when he meets a Muslim immigrant. There’s a profound sense of reflection necessary on both the subjects and audience in terms of getting past our own ingrained ways of thinking to help heal ourselves, and the world around us. “Refuge” is a film to ponder our place in the world, and what we want our legacy to be.
=“Bones and All” (Directed by Luca Guadagnino)- “Call Me By Your Name” is not a movie I loved, but one can tell that Guadagnino and Timothee Chalamet had a good connection going. With this adaptation of a young adult novel, I think I’m finally on Chalamet’s wavelength as an actor, as he and Taylor Russell- another loner with a penchant for cannibalism- form a connection, and help themselves navigate a world that has abandoned them. Anchored by a score by Trent Reznor and Atticus Ross that is as powerful a score as you’ll hear all year, “Bones and All” takes us on a journey of self-realization and connection through isolation that is dark and profound. I did not anticipate this film landing the way it did with me.
=“Alienoid” (Directed by Choi Dong-hoon)- Dong-hoon’s sci-fi adventure about alien beings whom are imprisoned inside human bodies, and how those aliens have impacts on two different periods of time, is space opera, martial arts epic, and a hero’s journey all in one- and only part one of the story- and in ways that most people do not associate with those narratives. This isn’t “Star Wars,” but it works with many of that story’s concepts to create a world that is tons of fun in the same way that series is at its best.
=“Boy Scout’s Honor” (Directed by Ash Patino)- As a former Boy Scout, it was important for me to watch this documentary about other former scouts, all sharing their stories of abuse at the hands of a monstrous leader. Aaron Averheart and others reveal their paths towards healing, while Patino shares with us stark realities in how little the organization protected its members, instead protecting themselves.
=“Crimes of the Future” (Directed by David Cronenberg)- As I’ve gotten more into Cronenberg’s earlier films, it’s interesting to see the themes and ideas that have carried over into films like “Eastern Promises” or “Spider.” With his story of an performance artist whose art is his body creating new organs, Cronenberg explores the same notions of the human body turning against its host we see in “Scanners,” and even the psychological torment of “Spider,” as a new bureaucrat (Kirsten Stewart) becomes captivated in the psychological effects of the work Saul and Caprice (Viggo Mortensen and Léa Seydoux) are producing. I cannot wait to revisit this more in the future.
It’s always interesting to consider how much a list will shift throughout the calendar year, as well as personal trends in what type of films make the list year in and year out. As I’ve found myself more access to different types of films, standbys like Marvel and other big-budget genre films take a back seat to smaller films that had a stronger personal impact. This year, ten more films populate what Roger Ebert would call “Eleventh Place” (or, in this case, 26th Place) that fit both criteria. They include: Todd Field’s “Tár“, which explores a brilliant conductor’s fall from her place of privilege when tragedy strikes a former student; Ryan Coogler’s “Black Panther: Wakanda Forever”, which paid tribute to Chadwick Boseman- and T’Challa- beautifully, while also moving the lives of the those characters left behind forward for the future; Werner Herzog’s “Nomad: In the Footsteps of Bruce Chatwin”, wherein the German master follows in the nomadic footsteps of his long-lost friend, and learns something about both of them; “Marry Me”, the year’s best romantic comedy star vehicle, where J. Lo and Owen Wilson find themselves in a marriage of circumstance on the way to love; Jordan Peele’s “Nope”, a sci-fi/horror tale where a brother and sister are faced with profound spectacle and violence; Sarah Polley’s “Women Talking” and Maria Schrader’s “She Said” want us to simply sit, and listen, as women speak their truth about sexual abuse; Marian Bushan’s “Sniper: The White Raven” brought American action formula to the story of a Ukranian teacher-turned-freedom fighter in the face of Russian aggression; Darren Aronofsky’s “The Whale” challenges us to look beyond the surface of not just others, but ourselves, to appreciate our truth; and Christian Nolan Jones’s “Glitter Ain’t Gold”, where a young boy wants to impress girls with his style, but a friend shows him that there’s more to it than that.
Finally, here are 25 more features and shorts that stayed with me in 2022: “Aftersun”; “Ambulance”; “Bad Dream”; “The Bond”; “Causeway”; “Cha Cha Real Smooth”; “Decision to Leave”; “Deep Water”; “Don’t Go Where I Can’t Find You”; “eternity on a loop”; “Glass Onion: A Knives Out Mystery”; “Guidance”; “Guillermo Del Toro’s Pinocchio”; “Hallelujah”; “A Love Song”; “Mad God”; “The Mission”; “Moonfall”; “Palm Trees and Power Lines”; “Scales”; “She Keeps Me”; “Stranger Than Rotterdam with Sara Driver”; “Sundown”; “Undertaker”; “You Won’t Be Alone”
I also contributed my Best Films of 2022 to In Their Own League’s Lists here.
Favorite Soundtracks of 2022
In a year when I had my first opportunity to compose my first feature film score, I’m not going to lie- this was a fantastic year for film music. The level of craft we got from master composers, the innovative work from unexpected places, and a profound sense of style that has had me listening to some really compelling scores on a regular basis. This year has provided some wonderful musical pleasures.
How much I love a soundtrack can often be gauged at how much I find myself listening to it throughout the year, and in that respect, a few stood above the rest. Let’s start with Michael Giacchino’s score for “The Batman”, which seems to synthesize elements from the previous scores we’ve gotten for stories of Gotham’s Caped Crusader into an ominous and haunted musical work that might be the most musically-rich soundtrack Batman has ever had. With “Pleasure”, composer Karl Frid combines hip-hop and almost chant-like vocals to explore the base desires, and spiritual euphoria, the main character goes through as she enters the porn industry. John Williams may have saved his most beautifully simple score for last for “The Fabelmans”, and his piano-led music for Steven Spielberg’s memory piece is one I truly cherish, especially in how they compliment it with classical pieces. For Claire Denis’s “Stars at Noon”, Tindersticks gets to the mysterious allure of a chance connection in a place where connections can either keep you alive, or risk your chances of freedom. Finally, even without the subtitles to go off of, the soundtrack to the afro-futurist musical “Neptune Frost” by Saul Williams gives us a sense of the film’s story of rebellion against oppression, and fresh perspective on what living your truth entails.
There were so many truly great scores and soundtracks this year, ones that added great depth to their films in every way, shape or form. Aska Matsumiya’s score for “After Yang” is otherworldly, befitting the film’s futuristic setting, but filled with empathy towards the journey the characters are going on towards closure. For “The Banshees of Inisherin”, Carter Burwell adapts his trademark evocation of the emotional landscape of a film to an Ireland where battles of wills dominate the background and the foreground. Michael Abels’s score for Jordan Peele’s “Nope” leans into the spectacle, whatever form that takes place, and is thrilling, terrifying and as pitch-perfect as when we hear Michael Wincott’s cinematographer singing “Purple People Eater.” The score and songs for the Telugu sensation “RRR” by composer M.M. Keeravaani brought to mind the great musical soundtracks of all-time while capturing the bonds of friendship, rebellion and a fantastically entertaining narrative in an epic way. With his score for “Crimes of the Future”, Howard Shore captures the unsettling sensuality and morality in Cronenberg’s story of creation, art and self-sacrifice. Trent Reznor and Atticus Ross’s score for “Bones and All” is one of the duo’s most emotionally impactful to date. Sune Kølster’s work for “Speak No Evil” is as rattling and haunting as any horror soundtrack since “The Shining.” The 3-pronged attack by Lady Gaga, Hans Zimmer and Harold Faltermeyer for “Top Gun: Maverick” delivered a soundtrack that did exactly what audiences wanted for this legacy sequel, while also building a legacy of its own. Nicholas Britell’s emphatic use of cello for “She Said” was a brilliant choice for a film that pushes its journalist protagonists- and their subjects- to their emotional limits. John Carpenter, Cody Carpenter & Daniel Davies went above and beyond for the otherwise forgettable “Firestarter”. Bryce Dessner & Alejandro G. Iñárritu’s score for the latter’s “Bardo, False Chronicle of a Handful of Truths” is a riveting display of bold musical motifs and emotional ambition. Composer Hildur Guðnadóttir continues to find fascinating directions for scoring films, be it with “Tár” or “Women Talking”. And even if I’m not a fan of the movie, Justin Hurwitz’s score for “Babylon” makes for a great isolated listen.
We are truly in a golden age of film score composition.
Favorite Performances of 2022
Every acting category every year is absolutely stacked with great performances- you basically just have to look in the right places. This year started off strong at Sundance and basically continued to be great. You’ll get a comprehensive list of every performance that connected with me this year, but I wanted to take a moment to discuss the actor who gave my favorite one of the year. Ke Huy Quan was a staple of my childhood with his work as Short Round and Data. I’ll admit that I didn’t realize just how gone he was from movies until the acclaim started for his performance as the husband who views his marriage as being at a crossroads in “Everything Everywhere All at Once”. Once I saw the film for myself, I never want Quan to go so long without work as an actor ever again. He is so wonderful in this film, and is one of the reasons the film is one of the greatest ever. He deserves every award coming to him.
The rest of my favorites feature performances are rich and complex, even when they seem to be one note archetypes of characters. In “The Fabelmans”, Gabriel LaBelle and Michelle Williams play their director’s fraught relationship with his mother beautifully. Sofia Kappel as the porn star who is trying to rise to the top in “Pleasure”, then followed by Michelle Yeoh as the wife and mother whose life spins into multiverse chaos in “Everything Everywhere All at Once”. I loved how Jennifer Connolly brought heart to “Top Gun: Maverick”, and Michael Wincott’s cinematographer is looking for the perfect shot in “Nope”. In “The Banshees of Inisherin”, Colin Farrell and Brendan Gleeson bring heart and a wicked comedic energy to a friendship at a crossroads. Rachel Sennott is comedic pleasure personified as a podcaster in “Bodies Bodies Bodies” and Janelle Monáe brings mystery and righteous anger to “Glass Onion: A Knives Out Mystery”. I think I’m finally catching on to Timothee Chalamet as he and Taylor Russell are drifting through life as cannibals in “Bones and All”. As a man trying to figure out his life in the midst of memory loss, Ars Servetalis is wonderful in “Apples”, while Jenny Slate and Isabella Rossellini bring soul to the tale of “Marcel the Shell with Shoes On”. As Shuri, Letitia Wright navigates a complicated sense of responsibility to T’Challa’s legacy in “Black Panther: Wakanda Forever”, and Cate Blanchett is a driven, brilliant, complicated conductor in “Tár”. As a soldier recovering from war injuries, Jennifer Lawrence digs deep into pain in “Causeway”, while Margaret Qualley is a reporter trying to escape isolation in “Stars at Noon”.
And yet, there are still more I need to mention: Brendan Fraser, Sadie Sink and Ty Simpkins (“The Whale”); Rebecca Hall (“Resurrection”); Colin Farrell (“After Yang”); Dakota Johnson (“Am I Ok?“ and “Cha Cha Real Smooth”); Mia Goth (“X”); Robert Pattinson (“The Batman”); Zoe Kazan and Carey Mulligan (“She Said”); Lily McInerny and Jonathan Tucker (“Palm Trees and Power Lines”); Jessie Buckley, Ben Whishaw and August Winter (“Women Talking”); Daniel Giménez Cacho (“Bardo: False Chronicles of a Handful of Truths”); Emma Thompson and Daryl McCormack (“Good Luck to You, Leo Grande”); Ethan Hawke (“The Black Phone”); Kristen Stewart (“Crimes of the Future”); Dale Dickey and Wes Studi (“A Love Song”); John Boyega (“Breaking” and “The Woman King”); Tim Roth (“Sundown”); Regina Hall (“Master”); Amber Midthunder (“Prey”); Daniel Kaluuya and Keke Palmer (“Nope”); Zoe Kravitz (“The Batman” & “Kimi”); Jovan Adepo and Margot Robbie (“Babylon”); Viola Davis, Thuso Mbedu and Lashana Lynch (“The Woman King”); Park Hae-il and Tang Wei (“Decision to Leave”); Odessa A’zion (“Hellraiser”); Daniel Craig and Edward Norton (“Glass Onion: A Knives Out Mystery”); Brian Tyree Henry (“Causeway”); Nicolas Cage and Pedro Pascal (“The Unbearable Weight of Massive Talent”); Tom Cruise and Val Kilmer (“Top Gun: Maverick”); Billy Eichner and Luke Macfarlane (“Bros”); N.T. Rama Rao Jr. and Ram Charan (“RRR”); Anamaria Vartolomei (“Happening”); Owen Teague and Haley Lu Richardson (“Montana Story”); Jennifer Lopez and Owen Wilson (“Marry Me”); Akari Takaishi and Saori Izawa (“Baby Assassins”); Karen Gillan (“Dual”); Paul Dano and Judd Hirsch (“The Fabelmans”); Ana de Armas (“Deep Water”); Daniel Radcliffe (“The Lost City”); Bill Nighy (“Living”); Austin Butler (“Elvis”).
2023 looks like it will be a great lineup of films and filmmakers. More festival coverage, more podcasts and more that will reveal something about myself. I cannot wait to take that journey with you.
Viva La Resistance!
Brian Skutle
www.sonic-cinema.com
