Most-anticipated lists are just free marketing
But let’s talk about 2023 movies anyway.
I don’t think I’ve ever put together a list of my most-anticipated films of the coming year before, and there’s a reason for that.
I’m currently in the painstaking process of whittling my list of the top films of 2022 down to 10. I have a good list, and I’m just playing catch up on a few releases now, and shifting things into a position that feels right (placing anything other than my top one or two is, of course, a bit arbitrary, but fellow list-makers will agree that there’s a certain moment where it all clicks into place). The list will be available here on Jan. 31.
And here’s the thing: of the 15 films I currently am shifting around, I was only aware that about five of them were coming on Jan. 1, 2022. And that’s being generous – while there were a few films by big directors that I had on my radar, the others that I even knew about just came from vague mentions in press releases and news stories I’d perused. This year – as with most – my list is composed of movies that caught me unaware, that came out of nowhere and delighted me. A year out, very few of them had trailers or any built-in anticipation, because many of them were outside of the big studio machine.
That’s how it is every year. We know about the big movies months and years in advance because the studios spend a great deal of money promoting them. Publicists make sure there’s a steady flow of information about who’s cast in what superhero movie, and trailers are released at a steady clip to whet appetites and inspire clickbait articles featuring endless predictions and reckless speculation. The machine is calibrated so that the film has been thoroughly discussed before it ever hits theaters or streaming; sometimes it feels like its release is beside the point and the hype is the main event. Studios are very good at making you aware of their product. Independent, smaller and more personal films? You tend to not hear about those until they hit the festival circuit.
And listen, some of what the studios make is very good product! My top 10 list won’t be lacking for studio movies or even films based on previously existing intellectual property. There’s room for Avatar and for Tȧr. But I want to be clear – if you’ve heard of a film months or years before its release, it’s not an indicator of quality; it’s just proof that the studio marketers are doing their job. As such, most-anticipated lists are largely just reactions to publicity materials; it’s free advertising for the studios (there’s a large part of film criticism and film writing today that basically serves this free marketing function, but that’s a rant for another day).
But, you know what? I’m feeling generous. Let’s help those marketers out. Because as we sit here in the quiet and cold early days of the year, it’s fun to look ahead and think about the cinematic year ahead. I have no problem letting my mind drift to hot summer nights and big action movies. And as much as I can moan about the studios and IP, I’m also aware I’m part of the problem. I like a good sequel and comic book movie as much as the next person, and I’d be lying if I said I wasn’t curious about a lot of the franchise entries coming up this year.
So, let’s talk about my 10 most-anticipated films of the year – and please share yours in the comments! It might be fun to revisit this list at the end of 2023 and see where I was dead wrong!
Knock at the Cabin
Remember when M. Night Shyamalan was considered washed-up? I’m not going to lie: I’d written him off, too. The Happening, The Last Airbender and After Earth will do that. But he’s made a hell of a comeback, starting with The Visit, and he seems content to be a purveyor of creepy, off-kilter projects like Split and Old. He’s back with the home invasion thriller Knock at the Cabin, about a family whose vacation is interrupted by strangers with a chilling request. The trailer hints at tension and terror, and I recently finished Paul Tremblay’s terrific and bleak horror novel The Cabin at the End of the World, on which this is based. If the film is faithful to the book, audiences are in for one disturbing ride. (February 3)
Cocaine Bear
Elizabeth Banks’ film has a can’t-miss logline: A bear eats a ton of cocaine and goes on a deadly rampage. No notes; in concept, that’s perfect. In execution, who knows? The early trailers for this play up the violence and the comedy, which I suppose is the smart move. Banks has said she’s inspired by Sam Raimi’s movies, and that could hint at a fun tone. But I’m also prepared for this to be another awesome-in-concept, deadly-on-screen result like Snakes on a Plane. (February 24)
Scream 6
It was just about a year ago that the Scream series proved it was going to be hard to kill. Matt Bettinelli-Olpin and Tyler Gillett revived the franchise with wit, ingenuity and gore. The sequel, which arrives in two months, will take the franchise’s new cast to New York City for a little Ghostface takes Manhattan action (I assume there will be multiple references to how little of Jason Takes Manhattan was actually shot in the Big Apple). Now that the callbacks to Wes Craven’s original are out of its system, I’m curious whether the franchise continues to indulge in its horror movie commentary or if it has new avenues to pursue. The trailer promises to play up the meta possibilities of doing Halloween in New York. And while it’s a bummer Neve Campbell wasn’t paid what she’s worth to return, putting the crew in Gale Weather’ sandbox could be a lot of fun for Courtney Cox. (March 10).
Guardians of the Galaxy, Vol. 3
The only Marvel movie to ever crack my end-of-the-year top 10 list was James Gunn’s original Guardians of the Galaxy. Gunn brought a colorful visual palette and weird sense of humor to the MCU, with surprising heart and a love for ad-hoc families at its center. Guardians of the Galaxy, Vol. 2 went even weirder, deeper and funnier, and the two films might be my all-time favorite Marvel projects (this past year’s Christmas special for Disney+ was a lot of fun, too). I’m curious what’s in store for this trilogy-capper, which is Gunn’s final run with Marvel before taking things over at the Distinguished Competition. The film’s trailer promises high stakes, big comedy and even higher emotions, and I know comic fans are eager to see what Will Poulter brings to the table as Adam Warlock. For me, I’m just excited for one last adventure with Star Lord, Drax, Nebula, Rocket, Groot, Mantis and Gamora, and a bit afraid of what might be in store for them. This is one of three big-screen Marvel releases in 2023 (Ant-Man and the Wasp: Quantumania and The Marvels are the other two), but it’s the one I’m most excited about. (May 5).
Fast X
If you had told me in 2000 that the scrappy little B-movie about using cars to steal DVD/VHS players would eventually become one of Hollywood’s biggest and most beloved franchises, I would have laughed in your face. And, I’ll be honest, while I have a lot of love for the middle entries of the series, the last few are beginning to suggest that Dominic Toretto and his crew might be running out of NOS. The production on this was a nightmare, with Justin Lin stepping away due to creative conflicts (and being replaced by, um, the director of the Clash of the Titans remake) and Vin Diesel constantly putting his beefy foot in his mouth and alienating his co-stars. But, never count these movies out. Brie Larson and Jason Momoa join the ensemble this time out, and apparently Rita Moreno has saddled up as Dom’s grandma which doesn’t seem to make sense, which for this series means it makes perfect sense. The last time out, they took cars into space – now that that’s out of the system, let’s see if they can ground things a bit and bring this in for the first part of a rumored two-part franchise finale. (May 19).
Killers of the Flower Moon
You’d have to go back all the way to 2002’s Gangs of New York to find a year when a Martin Scorsese movie wasn’t at least in contention for my top 10 list. Steven Spielberg may be my personal favorite director, but I think Scorsese is the right candidate for our best working director. As such, I really don’t care what this is about; have Scorsese make a 1 Second Every Day video, and I’m sure it will get five stars. Knowing that it’s based on a real-life FBI case involving murder on a tribal land? Yeah, that’s interesting. Knowing that it’s not only Scorsese’s sixth film with Leonardo DiCaprio but also his 10th with Robert Deniro? Yup, I’m in. Oh, it also features Jesse Plemons and Brendan Fraser? Now you’re just spoiling me. (Rumored for May).
Spider-Man: Across the Spider-Verse
I think I rolled my eyes when Sony announced its initial plans for an animated Spider-Man movie, which seemed like another way to exploit Marvel IP and shake money out of parents’ pockets. Then, a funny thing happened: Spider-Man: Into the Spider-Verse came out and became my favorite film of 2018. Not only that, I’m on record as considering it the best Spider-Man movie ever made and the best superhero movie ever. The crisp, trippy animation is a perfect fit for the material, and I love the way the film celebrates some of the weirder aspects of the Spidey canon while also paying homage to what truly has made Spider-Man special over the decades. I have no idea what’s in store for the sequel, although the trailer promises that in addition to going bigger and weirder, it will also maintain its personal focus. I can’t wait for this (June 2).
Indiana Jones and the Dial of Destiny
I know, I know – I’m just setting myself up for heartbreak. Indiana Jones and the Kingdom of the Crystal Skull seemed to suggest that maybe it was time to hang up the whip and fedora. Now, 15 years later, Indy’s back and older than ever. Even Spielberg and Lucas have tapped out, letting Logan director James Mangold bring the franchise in for a landing. In addition to a title that suggests this might be a soap commercial, the film trots out Nazis one last time and promises Indy taking on a mystery that has to do with time travel and the space race. I’m set up for disappointment. But what can I say – on any given day, Raiders of the Lost Ark is my favorite movie of all time, and Indy is one of my favorite big-screen heroes. And that trailer was surprisingly energetic and rousing. Ford looks engaged, and he’s joined by Phoebe Waller-Bridge, Mads Mikkelsen and Antonio Banderas for what promises to be his final adventure (though we’ve heard that before). I’m prepared to be wrong, but hoping against hope that we get one last memorable ride with our favorite big-screen archaeologist. (June 30).
Mission: Impossible – Dead Reckoning – Part I
Want to feel ancient? Brian De Palma’s Mission: Impossible is almost 30 years old. And while I liked that first film upon release, there was nothing in it when I saw it at 15 that made me think I’d still be watching Tom Cruise as Ethan Hunt when I had a career and kids. But now, approaching the release of the franchise’s seventh film, there are few series as highly anticipated. Chris McQuarrie once again writes and directs, and recent behind the scenes footage suggests that Cruise is back up to his old death-defying tricks (and coming on the heels of Top Gun: Maverick, he probably has an even larger audience). While the series’ initial three films were stand-alone adventures, McQuarrie and Cruise have created a solid ensemble, and once again he’ll be joined by Ving Rhames, Rebecca Ferguson, Vanessa Kirby, Simon Pegg and Angela Bassett. Even more intriguing? The original film’s Henry Czerny will be returning as Hunt’s surly boss Kittridge, and we wonder if he’ll finally get to see Ethan be very upset. (July 14).
Oppenheimer
As much as I enjoy his grandiose science fiction and superhero movies (I swear, I’m going to give Tenet another chance), I have more affection for Christopher Nolan’s more grounded works. He’s never topped Memento, I think Dunkirk is one of our last great war movies, and The Prestige is ripe for a revisit. So I’m very curious what he does with this biopic about the man who gave us the atomic bomb. Cillian Murphy is one of Nolan’s most interesting collaborators, and I’m curious to see what Nolan does with him in a lead role. The film is going all-in on boasting about its use of IMAX cameras, and the marketing materials and early trailers hint that Nolan may once again be playing with time. Tenet should have been a big-screen phenomenon, but COVID cut it short. But will audiences’ supposed aversion to grown-up fare on the big screen hamper this? I know I’ll be there. (July 21).
That’s it for this week! I’ll be back next week with some more fun stuff!