{"id":21821,"date":"2023-01-14T08:34:30","date_gmt":"2023-01-14T14:34:30","guid":{"rendered":"https:\/\/www.deepfocusreview.com\/?p=21821"},"modified":"2024-11-08T09:06:09","modified_gmt":"2024-11-08T15:06:09","slug":"top-10-films-of-2022","status":"publish","type":"post","link":"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/","title":{"rendered":"Top 10 Films of 2022"},"content":{"rendered":"

If you see enough movies, then there\u2019s never been a bad movie year. There\u2019s always plenty to make a Top 10 list. However, some years are better than others, and 2022 was a good year. This means, as ever, I struggled to finalize my list, leaving the result to feel somewhat random in my mind. I\u2019m not married to the order of the top five or so titles, which are completely interchangeable. If I could justify to myself having five movies tie for the number-one spot, I would, but I can\u2019t\u2014so accept this list with a certain amount of arbitrariness.\u00a0\u00a0<\/span><\/p>\n

For a more comprehensive list, join DFR on Patreon<\/strong><\/a> to see my list of the Top 25 Films of 2022. What made your list of favorite films from 2022? Share your list in the comments below.<\/span><\/p>\n

HONORABLE MENTIONS: <\/b>X<\/i><\/b><\/a> &<\/b> Pearl<\/i><\/b>
\n<\/b><\/a>2022 was a great year for horror, and Ti West\u2019s two films about fame, desire, repression, performance, and liberation were among the best. They\u2019re the first two parts of a soon-to-be trilogy released by A24, and together, they\u2019re greater than the sum of their parts. They\u2019re also West\u2019s best films yet, thanks in part to his close collaboration with star Mia Goth. Although West often proves overly interested in pastiche and homage\u2014perhaps too much in his earlier films, which I have come to appreciate more over the years\u2014his winks and nods at earlier genre films feel inspired rather than derivative in these examples. Whether he\u2019s blending <\/span>The Texas Chainsaw Massacre <\/span><\/i>and <\/span>Boogie Nights<\/span><\/i> for <\/span>X<\/span><\/i>, or he\u2019s parroting a Douglas Sirk melodrama with a touch of <\/span>Psycho <\/span><\/i>for <\/span>Pearl<\/span><\/i>, the result is stylishly composed and thoroughly entertaining. Not only were these titles some of the most fun moviegoing experiences of the year, they were two of my most often recommended titles for horror enthusiasts.<\/span><\/p>\n

RUNNER-UP: <\/b>Triangle of Sadness<\/i><\/b>
\n<\/b><\/a>Winner of the Cannes Film Festival\u2019s Palme d\u2019Or, Ruben \u00d6stlund\u2019s smart satire of class adopts a Bu\u00f1uelian narrative architecture to lampoon the super-rich, influencer culture, social hierarchies, and power dynamics in relationships. Told in three distinct parts, \u00d6stlund\u2019s film often feels like a series of sketch comedy vignettes strung together, starting with the strained relationship between two influencers (Harris Dickinson and the late Charlbi Dean) and ending with a <\/span>Lord of the Flies <\/span><\/i>scenario, where the maid (Dolly de Leon), the only one capable of surviving, takes charge. But it\u2019s the grotesque sequence of deplorable elitists vomiting up their haute cuisine on a luxury yacht, while the captain and a passenger battle with Marxist and capitalist quotes they\u2019ve looked up online, that may be one of the year\u2019s most memorable passages. By the end, \u00d6stlund\u2019s view of the dog-eat-dog world and lust for power becomes both riotous and extremely dark, exploring how power invades every relationship, no matter how equal things may seem on the surface.<\/span><\/p>\n

10. <\/b>Return to Seoul <\/i><\/b><\/a>
\n<\/i><\/b>Cambodian-French filmmaker Davy Chou based this film\u2014originally titled <\/span>All The People I\u2019ll Never Be\u2014<\/span><\/i>on the experience of visiting South Korea for the first time with a friend and searching for her biological parents. He captures that uneasy process in Freddie (Park Ji-Min), a Korean-born Frenchwoman in her mid-20s, searching for some answers about her parents and identity. What Freddie discovers leads to mixed feelings of regret, anger, loss, and uncertainty on both sides. It\u2019s a beautifully acted and unsentimental film that never resorts to maudlin dramatics; rather, through Freddie, Chou explores how some language and cultural fissures cannot be fully reconnected. Shot in South Korea for the most part, the film sparkles with neon in the urban sprawl and quaint family dinners in rural spaces\u2014all alienating factors for Freddie. Park, an unknown whose experience echoes that of her character, terrifically captures Freddie\u2019s search for identity and what she\u2019s <\/span>supposed <\/span><\/i>to be according to her parentage. But Chou\u2019s film acknowledges, through a story that finds Freddie searching for years, that growth and change never end; it\u2019s a nonstop evolution\u2014a theme found in many of 2022\u2019s best films.\u00a0<\/span><\/p>\n

9.<\/strong> The Banshees of Inisherin<\/i><\/b><\/a>
\n<\/i><\/b>Martin McDonagh reteams with his stars Colin Farrell and Brendan Gleeson from his debut film, <\/span>In Bruges<\/span><\/i>, for another cynical, often funny, occasionally morbid, and searching drama. Although the conflict between two Irishmen\u2014involving one guy who doesn\u2019t want to be friends, and the other guy whose life crumbles at the notion\u2014is initially comical, McDonagh\u2019s barbed script seems to be getting at something larger. It\u2019s set in 1923 against the backdrop of the Irish Civil War, which is a war about the degree to which Ireland would accept British rule, so perhaps there\u2019s a metaphor there. Soon enough, the bloody and contentious dispute between Farrell and Gleeson\u2019s characters leads to McDonagh\u2019s ponderous questions about how one chooses to live their life. Are you concerned with your legacy or your routine, or are you engaged in the world? Ultimately, I think the film supplies a parable for how people live today\u2014how we can\u2019t seem to accept that everyone doesn\u2019t live their lives the same way, and how we\u2019re too busy being selfish and complacent and engaging in infighting to see what\u2019s happening all around us. With marvelous performances by Farrell and Gleeson, along with supporting performances from Kerry Condon and especially Barry Keoghan, the film contains some of 2022\u2019s best acting and writing. <\/span>
\n<\/span>
\n<\/span>8. <\/b>T\u00c1R<\/i><\/b>
\n<\/i><\/b><\/a>Todd Field\u2019s third film in 21 years, after <\/span>In the Bedroom <\/span><\/i>(2001) and <\/span>Little Children <\/span><\/i>(2006), tells the story of a well-regarded but narcissistic conductor who\u2019s eventually exposed for her pattern of using her power to give preferential treatment to young women, who she grooms to be in sexual relationships. This is the kind of movie that gets people talking, and everyone I talked to about\u00a0 <\/span>T\u00c1R <\/span><\/i>is certain of its meaning. Some say that it\u2019s defending problematic artists and championing the notion of separating the art from the artist. Some say the opposite\u2014that it\u2019s condemning artists who abuse their power. The fact that people are so convinced of their opinion about the film, either way, is a testament to Field\u2019s skill as a director and screenwriter, and his ability to raise questions about predatory behavior and how we respond to it. Personally, I think it\u2019s encouraging the audience to talk and doesn\u2019t make declarative statements about Lydia T\u00e1r and her behavior. It\u2019s a prompt that gets these discussions underway and helps people determine how they feel, all while acknowledging that these are thorny issues that cannot be easily resolved. Beyond the film\u2019s interpretations, Field has delivered a masterfully conceived and executed film with ambiguities and perspectives that are ripe for analysis. The score by Icelandic composer Hildur Gu\u00f0nad\u00f3ttir is haunting. The experience is controlled and intense, reflecting the main character. Above all, Cate Blanchett gives possibly the year\u2019s best performance, and costar Nina Hoss isn\u2019t far behind her.\u00a0<\/span><\/p>\n

7.<\/strong> One Fine Morning<\/i><\/b>
\n<\/i><\/b><\/a>L\u00e9a Seydoux gives the performance of her career thus far as a single mother taking care of her 8-year-old daughter and her father (Pascal Greggory), a former philosophy professor who\u2019s dying of a neurodegenerative disease. She has to oversee his hospitalization, moving him from one care center to the next, while also watching someone whose entire life was built around thinking be suddenly unable to use his mind. At the same time, she starts an affair with a married man, and that distracts her and helps her move on. A work of autofiction from writer-director Mia Hansen-L\u00f8ve, the French filmmaker of last year\u2019s <\/span>Bergman Island<\/i><\/b><\/a>, the film explores the idea of moving on from pain and loss with a new love. There\u2019s always a deeply personal autobiographical element to Hansen-L\u00f8ve\u2019s films. In this case, her father suffered from a similar disease. That personal experience proves achingly relatable and tenderly felt. Hansen-L\u00f8ve\u2019s films often feel as though they capture the flow of life, how people move from one event to the next, adapting and healing over time\u2014but rarely with big dramatic scenes. Her kind of subtlety is a magic trick, and her films never feel like grand statements but rather subtly detailed character studies and slices of life, so they\u2019re perhaps easy to overlook.<\/span><\/p>\n

<\/b>6. <\/strong>Nope<\/i><\/b><\/a>
\n<\/b>Nope <\/span><\/i>is Jordan Peele\u2019s most fully realized and well-rounded feature. It\u2019s Blockbuster-sized, but in a form-follows-function way, it\u2019s also an investigation into our obsession with spectacle. The story seems simple enough\u2014it follows two Hollywood animal wranglers (siblings played by Daniel Kaluuya and Keke Palmer) who suspect a UFO is flying above their isolated ranch. What it turns out to be, however, leads to a clever commentary on our obsession with looking\u2014complete with the UFO in question functioning, and looking like, a giant floating iris that sucks everything into its black void. <\/span>Nope <\/span><\/i>is presented in a Spielbergian way, with hints of <\/span>Jaws<\/i><\/b><\/a> (1975) and <\/span>Close Encounters<\/span><\/i> of the Third Kind <\/span><\/i>(1977), so it\u2019s entertaining. But there are also less obvious scenes involving flashbacks to an animal attack on the set of a TV show that incite the viewer to lean in and ask, \u201cWhat\u2019s going on here, and why?\u201d Also intriguing are its comments on the erasure of Black faces from cinema, remarking that Eadweard Muybridge\u2019s 1878 \u201cThe Horse in Motion,\u201d featuring a Black man riding on horseback (an image Peele reuses in the climax), was the first example of a motion picture. But after that, people of color struggled with representation for a century, until a true Black cinema emerged in the 1970s. So in a way, the film is a reclamation of that, which all sounds very lofty for something that\u2019s so much fun. Moreover, <\/span>Nope <\/span><\/i>was also my favorite theatrical experience of 2022. Seeing the film on a massive IMAX screen, where you had to move your head to search the vast sky scenes and look for the UFO, was the definition of big-screen filmmaking.\u00a0<\/span><\/p>\n

5. <\/strong>Happening<\/i><\/b>
\n<\/i><\/b><\/a>French filmmaker Audrey Diwan makes her impressive debut feature adapting the novel by Annie Ernaux, about a French college student who, in 1963, comes down with what they call \u201cthe illness that only strikes women and turns them into housewives.\u201d The main character, Anne, played by Anamaria Vartolomei (a stunning performance), is a promising young literature student and writer who tries to obtain an illegal abortion. One doctor won\u2019t talk about it, and another promises to help but deceives her, leaving her no choice but to seek a procedure from a sort of underground abortionist\u2014leading to a difficult scene. Diwan does incredible work to place us into Anne\u2019s subjectivity, experiencing how her independence, career, and the trajectory of her life are at stake. The film has much in common with Cristian Mungiu\u2019s <\/span>4 Months, 3 Weeks and 2 Days<\/i><\/b><\/a> (2007) and Eliza Hittman\u2019s <\/span>Never Rarely Sometimes Always<\/i><\/b><\/a> (2020), in that it\u2019s grappling with the political stakes to a degree, but it\u2019s more about the humanistic stakes for Anne. I saw the film at the Minneapolis\/St. Paul International Film Festival, just as news was breaking that the Supreme Court might be overturning Roe v Wade. The tension in the audience was palpable, and in the days and weeks that followed, I couldn\u2019t help but think about Anne and those women like her. It\u2019s one of 2022\u2019s most unshakable and urgent films.\u00a0<\/span><\/p>\n

4.<\/strong> Bones and All <\/i><\/b>
\n<\/i><\/b><\/a>Based on Camille DeAngelis\u2019 YA book, Luca Guadagnino\u2019s film captures the spirits of Kathryn Bigelow’s <\/span>Near Dark<\/i><\/b><\/a> (1987), Wim Wender\u2019s <\/span>Kings of the Road<\/span><\/i> (1976), and Julia Ducournau\u2019s <\/span>Raw<\/i><\/b><\/a> (2016)\u2014except better. Here\u2019s a film that hit all of my pleasure centers and overwhelmed me with the tender romance between Taylor Russell and Timoth\u00e9e Chalamet; the delicate score by Trent Reznor and Atticus Ross; the soundtrack with selections from Kiss, Joy Division, and New Order; and the blend of grisly cannibal horror and coming-of-age drama. With tonally perfect direction from Guadagnino, who delivers his best film since <\/span>A Bigger Splash<\/i><\/b><\/a> (2015), the film is a composed and entrancing experience. It also boasts many excellent supporting performances, including scene-, if not movie-stealing turns from Mark Rylance, Michael Stuhlbarg, David Gordon Green, and Chlo\u00eb Sevigny. Although there has been an outpouring of cannibalism movies lately\u2014including <\/span>Fresh<\/span><\/i>, <\/span>Platform<\/span><\/i>, and others\u2014this one is not only disturbing but resoundingly relatable and tenderly romantic. Indeed, cannibalism is secondary to this lovers-on-the-run tale, which has much to say about self-discovery and self-acceptance. Ultimately, eating human flesh becomes a metaphor for the characteristics that make us unique and different, what we take with us from our experiences, and how they help us grow as people.\u00a0\u00a0<\/span><\/p>\n

3.<\/strong> Everything Everywhere All at Once<\/i><\/b>
\n<\/i><\/b><\/a>An achievement of multiverse complexity, martial arts entertainment, mind-bending concepts, surrealist imagery, and absurdist humor, Daniels\u2019 chaotic multiverse movie makes <\/span>Spider-Man: No Way Home<\/span><\/i> and <\/span>Dr. Strange 2 <\/span><\/i>look minimal by comparison. The production is mind-boggling not only as a concept but to consider from a \u201cHow\u2019d they do that?\u201d perspective. But five years of planning led to this wild, albeit tender story about generational and cultural divides. It\u2019s about how we\u2019re all inundated with events in our personal lives, work lives, the 24-hour news cycle, a divisive culture, extremist politics, and our devices\u2014all of them constantly blaring at us. It can feel like the whole universe is at our doorstep. But ultimately, its complex ideas (epitomized by the charmingly silly notion of an everything bagel black hole) can be reduced to a simple message about loving with everything you can give while you can. The love conquers all message may be typical, but it\u2019s delivered in a manner I\u2019ve never seen before. Propelled by brilliant performances from Michelle Yeoh, Ke Huy Quan, and Stephanie Hsu that range from slapstick to dramatic, the film, like our lives, can be overwhelming. But it ultimately finds a very personal and human place to end things.\u00a0\u00a0<\/span><\/p>\n

<\/b>2.<\/strong> The Fabelmans<\/i><\/b>
\n<\/i><\/b><\/a>Steven Spielberg\u2019s autofictional account of his upbringing, parental influence, introduction to movies, and his particular way of processing life through his art amounts to one of his best films. The director has been self-mythologizing and telling this story for years in interviews and books; he\u2019s been talking about making this movie for just as long. Now we finally get to see it on the big screen. The result is deeply felt, beautifully executed (with Janusz Kami\u0144ski behind the camera and John Williams delivering the score), and terrifically acted (by Michelle Williams, Paul Dano, Seth Rogen, Judd Hirsch, and Gabriel LaBelle in particular). 2022 featured a lot of films about directors looking back at their lives. Spielberg looks back in a sentimental way that will delight his ardent fans; yet, he never hesitates to cut into the darker, more complex, and personal side of his story in a way that will convince his detractors. And while many have described the film as a love letter to cinema, its author writes that letter from a personal perspective\u2014so it\u2019s less about cinema than about how Spielberg uses, and has always used, cinema to understand the world. Along the way, the film also confronts elements that have been at work in his films since the beginning, from absent fathers to flighty mothers, and lovingly addresses that he\u2019s a composite of both his father\u2019s fastidious attention to technical details and his mother\u2019s expressiveness. It\u2019s Spielberg\u2019s best film since <\/span>Minority Report<\/i><\/b><\/a> (2002), his most emotional since <\/span>AI Artificial Intelligence<\/i><\/b><\/a> (2001). <\/span><\/i><\/p>\n

1. <\/b>Crimes of the Future<\/i><\/b>
\n<\/span><\/a>Canada\u2019s \u201cBaron of Blood\u201d and \u201cKing of Venereal Horror\u201d returns to his roots for the first time in over 20 years. David Cronenberg\u2019s first original screenplay since <\/span>eXistenZ<\/span><\/i> (1999) bizarrely borrows the title from his own, otherwise unrelated 1970 short film. He weaves a story about evolutionary processes, artistic expression, and how our bodies are dealing with microplastics. It\u2019s a film with a lot on its mind, and so it has a way of implanting itself in your head. The narrative involves artists Saul and Caprice, played in strangely hypnotic performances by Viggo Mortensen and L\u00e9a Seydoux, as underground performers who attempt to turn their numbed bodies into sites of artistic expression, as part of reclaiming their bodies. But the twisting film uses the director\u2019s frequent themes\u2014corporate espionage, revolutions of the flesh, and finding art through bodily transformation\u2014to embrace the notion of evolving with the times. For all its many oddities, the film becomes a welcome acceptance of the natural evolutions of art, the body, and expression. Of course, it\u2019s also genuinely odd, featuring uncanny sights amid the director\u2019s wry sense of humor. Cronenberg also conjured an inspired performance out of Kristen Stewart, whose line, \u201cSurgery is the new sex,\u201d became the most quoted takeaway for many viewers. At the same time, it villainizes traditions in a manner that says a lot about what\u2019s happening in the culture war (if that\u2019s what you want to call it) right now. <\/span>Crimes of the Future <\/span><\/i>is an unshakable film that I haven\u2019t been able to stop thinking about, and it\u2019s bound to keep growing with each subsequent viewing, as Cronenberg\u2019s films tend to do.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

If you see enough movies, then there\u2019s never been a bad movie year. There\u2019s always plenty to make a Top 10 list. However, some years are better than others, and 2022 was a good year. This means, as ever, I struggled to finalize my list, leaving the result to feel somewhat random in my mind. I\u2019m not married to the order of the top five or so titles, which are completely interchangeable. If I could justify to myself having five movies tie for the number-one spot, I would, but I can\u2019t\u2014so accept this list with a certain amount of arbitrariness.\u00a0\u00a0 For a more comprehensive list, join DFR on Patreon to see my list of the Top 25 Films of 2022. What made your list of favorite films from 2022? Share your list in the comments below. HONORABLE MENTIONS: X & Pearl 2022 was a great year for horror, and Ti West\u2019s two films about fame, desire, repression, performance, and liberation were among the best. They\u2019re the first two parts of a soon-to-be trilogy released by A24, and together, they\u2019re greater than the sum of their parts. They\u2019re also West\u2019s best films yet, thanks in part to his close collaboration with […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12],"tags":[],"class_list":["post-21821","post","type-post","status-publish","format-standard","hentry","category-lists","topic-lists"],"acf":[],"yoast_head":"\nTop 10 Films of 2022 | Deep Focus Review<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Top 10 Films of 2022\" \/>\n<meta property=\"og:description\" content=\"If you see enough movies, then there\u2019s never been a bad movie year. There\u2019s always plenty to make a Top 10 list. However, some years are better than others, and 2022 was a good year. This means, as ever, I struggled to finalize my list, leaving the result to feel somewhat random in my mind. I\u2019m not married to the order of the top five or so titles, which are completely interchangeable. If I could justify to myself having five movies tie for the number-one spot, I would, but I can\u2019t\u2014so accept this list with a certain amount of arbitrariness.\u00a0\u00a0 For a more comprehensive list, join DFR on Patreon to see my list of the Top 25 Films of 2022. What made your list of favorite films from 2022? Share your list in the comments below. HONORABLE MENTIONS: X & Pearl 2022 was a great year for horror, and Ti West\u2019s two films about fame, desire, repression, performance, and liberation were among the best. They\u2019re the first two parts of a soon-to-be trilogy released by A24, and together, they\u2019re greater than the sum of their parts. They\u2019re also West\u2019s best films yet, thanks in part to his close collaboration with […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/\" \/>\n<meta property=\"og:site_name\" content=\"Deep Focus Review\" \/>\n<meta property=\"article:published_time\" content=\"2023-01-14T14:34:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-08T15:06:09+00:00\" \/>\n<meta name=\"author\" content=\"Brian Eggert\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Brian Eggert\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/\"},\"author\":{\"name\":\"Brian Eggert\",\"@id\":\"https:\/\/www.deepfocusreview.com\/#\/schema\/person\/78dca551bce4d5099340e94d4bf1b40f\"},\"headline\":\"Top 10 Films of 2022\",\"datePublished\":\"2023-01-14T14:34:30+00:00\",\"dateModified\":\"2024-11-08T15:06:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/\"},\"wordCount\":2909,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.deepfocusreview.com\/#organization\"},\"articleSection\":[\"Lists\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/\",\"url\":\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/\",\"name\":\"Top 10 Films of 2022 | Deep Focus Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.deepfocusreview.com\/#website\"},\"datePublished\":\"2023-01-14T14:34:30+00:00\",\"dateModified\":\"2024-11-08T15:06:09+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.deepfocusreview.com\/top-10-films-of-2022\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.deepfocusreview.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Top 10 Films of 2022\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.deepfocusreview.com\/#website\",\"url\":\"https:\/\/www.deepfocusreview.com\/\",\"name\":\"Deep Focus Review\",\"description\":\"Movie Reviews, Essays, and Analysis\",\"publisher\":{\"@id\":\"https:\/\/www.deepfocusreview.com\/#organization\"},\"alternateName\":\"DFR\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.deepfocusreview.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.deepfocusreview.com\/#organization\",\"name\":\"Deep Focus Review\",\"alternateName\":\"DFR\",\"url\":\"https:\/\/www.deepfocusreview.com\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.deepfocusreview.com\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.deepfocusreview.com\/wp-content\/uploads\/2024\/10\/cropped-DFR-Favicon-5.png\",\"contentUrl\":\"https:\/\/www.deepfocusreview.com\/wp-content\/uploads\/2024\/10\/cropped-DFR-Favicon-5.png\",\"width\":512,\"height\":512,\"caption\":\"Deep Focus Review\"},\"image\":{\"@id\":\"https:\/\/www.deepfocusreview.com\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.instagram.com\/deepfocusreview\/\",\"https:\/\/letterboxd.com\/deepfocusreview\/\",\"https:\/\/www.linkedin.com\/company\/deep-focus-review\/\",\"https:\/\/www.threads.net\/@deepfocusreview\",\"https:\/\/bsky.app\/profile\/deepfocusreview.bsky.social\"],\"description\":\"Brian Eggert is a Tomatometer-Approved critic who writes about classic, independent, and mainstream cinema on Deep Focus Review. 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There\u2019s always plenty to make a Top 10 list. However, some years are better than others, and 2022 was a good year. This means, as ever, I struggled to finalize my list, leaving the result to feel somewhat random in my mind. I\u2019m not married to the order of the top five or so titles, which are completely interchangeable. If I could justify to myself having five movies tie for the number-one spot, I would, but I can\u2019t\u2014so accept this list with a certain amount of arbitrariness.\u00a0\u00a0 For a more comprehensive list, join DFR on Patreon to see my list of the Top 25 Films of 2022. What made your list of favorite films from 2022? Share your list in the comments below. HONORABLE MENTIONS: X & Pearl 2022 was a great year for horror, and Ti West\u2019s two films about fame, desire, repression, performance, and liberation were among the best. They\u2019re the first two parts of a soon-to-be trilogy released by A24, and together, they\u2019re greater than the sum of their parts. 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