December 20, 2023
2023 Roundup: Ten Films that Fell Under the Critical Radar
Frank J. Avella READ TIME: 12 MIN.
'Saltburn'
Emerald Fennell's follow up to "Promising Young Woman" is a brilliant piece of disturbing and delicious queer cinema. That it is largely being dismissed by many critics as a "Talented Mr. Ripley" knockoff is likely because it makes most straight men (still the critic majority) uncomfortable, something they can't admit.
Barry Keoghan, in one of the most fearless performances of the year (right up there with Emma Stone in "Poor Things!"), plays Oliver Quick, an enigmatic figure at Oxford who becomes obsessed with the gorgeous and filthy rich Felix (Jacob Elordi, filthy-handsome and terrific) and is invited to his estate, Saltburn.
The only actor being mentioned at all in the awards race is the genius that is Rosamund Pike, who delivers my favorite movie line of the year: "She'll do anything for attention." You'll have to see the film for context.
The film boasts an ending that will make an indelible impression: Sophie Ellis Bextor's "Murder on the Dancefloor" plays as we are transfixed by a tracking shot of the film's anti-hero dancing through the halls of the grand mansion for which the film is named.
"Saltburn" is currently playing in theaters.
'Society of the Snow'
How dare I put a prominent Netflix film that is Spain's Oscar submission on my list? I dare, since "Society of the Snow" has hardly gotten any attention and is one of the two best International Feature submissions of the year (take it from someone who saw all 88 of them), sharing a top spot with Italy's "Io capitano." Juan Antonio Bayona ("The Impossible") has created a true cinematic masterpiece, taking the real survival story about the 1972 Uruguayan crash into the Andes and giving it an authentic, respectful, riveting treatment.
"Society of the Snow" will be released in theaters on December 22, 2023, and then stream on Netflix.
'Origin'
Ava DuVernay's original, ballsy new film, "Origin" combines historical debate about race with a semi-biographical narrative that follows one writer's personal journey of discovery. In a magnificent turn, Aunjanue Ellis-Taylor plays real-life best-selling author Isabel Wilkerson (author of the 2020 book "Caste") who tries to understand the country's chronic divisiveness by arguing that it is caste, not race, that is the true problem. It's a fascinating theory (basically about assumed supremacy), and her odyssey is grounded in a real world filled with personal tragedy and growth.
"Origin" opens in theaters on January 19th.
'Memory'
Michel Franco's quietly explosive film "Memory" deals with abuse and how easy it is, even today, for people to believe what they want to believe.
Jessica Chastain, in an incredible slow-burn turn, plays Sylvia, a social worker and mother to a teenage daughter, who leads a very organized life that doesn't allow for much trust of others. In a bizarre scene she encounters Saul (a superb Peter Sarsgaard), a seemingly creepy guy, who turns out to have a kind of dementia where he can't always recall what happened a few moments ago. These two unlikely misfits somehow fall for one another.
Sylvia has a younger sister (Merritt Wever, always amazing) and an estranged mother (Jessica Harper, so good she makes your skin crawl) who never believed Sylvia's horror stories of continued (outside and familial) abuse. In one of the most stirring scenes in any film this year, Sylvia confronts both her sister and mother. It's a true triumph for Chastain, who just keeps adding to her canon of beguiling, strong women, who are also quite vulnerable if you peer close enough.
"Memory" is in theaters (limited) on December 22nd and released wide on January 5, 2024.
'Monster'
Hirokazu Kore-eda's sublime film, "Monster" won both the Queer Palm and Best Screenplay Award at this year's Cannes Film Festival, but Japan failed to submit it for Oscars. The narrative explores ideas about truth and perception and how dangerous it can be to condemn without knowing all the facts.
"Monster's" queer portion is explored with great authenticity and care and involves two adolescent boys (Soya Kurokawa and Hinata Hiragi, both exceptional) who may be crushing on one another. It's a transfixing work.
"Monster" is currently playing in theaters.
'Moving On'
Since returning to the big screen after her long-ass retirement (1991 – 2005), Jane Fonda, who will turn 86 on December 21, has gifted us some great performances in recent years. None, though, have been recognized by the Academy. For the record, Fonda won Oscars for "Klute" (1971) and "Coming Home" (1978), and received five other nominations, but the last came for "The Morning After," in 1986, nearly 40 years ago. She came close to her eighth in 2015 with her killer scene-stealing gig in Paolo Sorrentino's "Youth," for which she was Golden Globe nommed, but did not make the final five with the Academy. But 2023 was a big year for Fonda as she co-starred in four films (one animated) in the first half of the year. One stood out: Paul Weitz's "Moving On," a darkly comic look at sexual assault and how trauma can affect an entire life, Fonda grounds her performance with shattering authenticity, and her partner-in-comedy, Lily Tomlin delivers a sly turn as a woman in more pain than she's willing to admit.
Sadly, no one saw "Moving On." And, of course, critics didn't take it seriously because it dared to genre-blend and star two older female actors. Treat yourself. These two will not let you down.
"Moving On" can be rented on most streaming services including Hulu, Prime and Apple TV.
'The Killer'
David Fincher should have at least two directing Oscars ("Mank" and "The Social Network.") Alas, he has none. His new film, "The Killer" is a meticulous, hypnotic study of a hired assassin who must rethink his entire world when a hit goes wrong, and he becomes the target. Michael Fassbender, another artist who should also have two Oscars (for "Shame" – not even nominated – and "12 Years a Slave") gives a restrained, yet potent, portrait of a man who must suddenly protect what he loves. Add a stunning turn by Tilda Swinton, and you have a film that should be in the awards conversation.
"The Killer" is currently streaming on Netflix.
'Eileen'
Bored Thomasin McKenzie works in a corrections facility, but when a glam psychologist (Anne Hathaway) joins the staff, she becomes bewitched and bothered. That is, until things take a hair-raising turn. I'm not surprised that William Oldroyd's deliriously intoxicating '60s-set film "Eileen" isn't appearing on many lists, since it's divisive stuff. But I am surprised that Hathaway's sexy and arresting turn isn't being given its due. "Eileen" is another essential queer-themed film.
"Eileen" is currently in theaters.
'The Miracle Club'
Thaddeus O'Sullivan's compelling look at trauma, "The Miracle Club" stars Laura Linney, Kathy Bates, and Dame Maggie Smith (formidable actors worthy of being three faces on a cinematic Mount Rushmore), all doing fine work.
The film focuses on a group of deeply damaged Irish women seeking forgiveness and redemption. Set in a tough Dublin community in 1967, three multi-generational friends, Lily (Smith), Eileen (Bates), and Dolly (Agnes O'Casey) gather for the funeral of one of their own and dream of going to Lourdes. Enter an Americanized-Irish woman (Linney), 40 years after being banished from the land. Old wounds are gashed open in this gem.
Again, older female actors and a genre-blend never tantalize the critical community, but I found it quite moving.
"The Miracle Club" is available to rent on Prime and Apple TV.
'Simón'
One of a few controversies this year in the International Feature Oscar submissions concerned alleged rule violations in Venezuela's selection process. Two worthy films vied to be chosen: Miguel Ángel Ferrer's queer-themed "The Shadow of the Sun," and Diego Vicentini's "Simón." One film dared to expose the horrific treatment of young students who had the audacity of protesting the totalitarian government. Guess which one was entered into the Oscar race?
The unrecognized "Simón" centers on the titular character (an extraordinary Christian McGaggney) who is applying for political asylum in the U.S. after fleeing Venezuela, where he and a fellow student were imprisoned and tortured. The non-linear narrative fills in the details of the cruelty inflicted and his journey towards some kind of absolution.
First time feature writer-director-editor Vicentini proves to be an impressive visual storyteller.
You may have to work a bit to seek this one out, but it deserves attention.
Where to watch: https://www.simonmovie.com
And Five unsung performances in films not on the above list:
Jacqueline Bisset in "Loren and Rose"
Eve Hewson in "Flora and Son"
Josh O'Connor in "La Chimera"
Claire Foy & Jamie Bell in "All of Us Strangers"
Frank J. Avella is a proud EDGE and Awards Daily contributor. He serves as the GALECA Industry Liaison and is a Member of the New York Film Critics Online. His award-winning short film, FIG JAM, has shown in Festivals worldwide (figjamfilm.com). Frank's screenplays have won numerous awards in 17 countries. Recently produced plays include LURED & VATICAL FALLS, both O'Neill semifinalists. He is currently working on a highly personal project, FROCI, about the queer Italian/Italian-American experience. He is a proud member of the Dramatists Guild. https://filmfreeway.com/FrankAvella https://muckrack.com/fjaklute
