{"id":150734,"date":"2022-12-27T22:32:00","date_gmt":"2022-12-27T20:32:00","guid":{"rendered":"https:\/\/ngradio.gr\/?p=150734"},"modified":"2022-12-28T01:41:37","modified_gmt":"2022-12-27T23:41:37","slug":"the-most-satisfying-movies-of-2022-from-avatar-to-everything-everywhere","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/cinema-tv\/the-most-satisfying-movies-of-2022-from-avatar-to-everything-everywhere\/","title":{"rendered":"The most satisfying movies of 2022, from \u2018Avatar\u2019 to \u2018Everything Everywhere\u2019"},"content":{"rendered":"\n

The movie industry is undergoing a change due to the decline in box office revenues as more people prefer to watch entertainment at home. This change in consumption habits warrants a different perspective on the movies released in 2022, starting with the most disappointing and ending with the most satisfying titles.<\/p>\n\n\n\n

\u201cSatisfying,\u201d in this case, differs from the traditional \u201cbest\u201d lists that many critics assemble, since it allows for including more populist movies that excelled by nicely accomplishing what they set out to do.<\/p>\n\n\n\n

As it happens, that approach also reflects a year where many of the traditional awards-bait movies were flawed in one way or another, and some of the highest-profile commercial fare (see \u201cThe Batman\u201d<\/a> and Marvel\u2019s Thor, Black Panther and Doctor Strange sequels) didn\u2019t fully live up to expectations to varying degrees.<\/p>\n\n\n\n

As for the sequels that did make this list, in a movie business built on franchises and relying on familiar properties, the challenge of pulling off those extensions well is both vital to the industry\u2019s financial health and, creatively speaking, deserves applause when it\u2019s done right.<\/p>\n\n\n\n

In terms of omissions, it\u2019s worth noting that there were numerous releases this year from acclaimed directors \u2013 including Darren Aronofsky, Noah Baumbach, Damien Chazelle, Antoine Fuqua, Martin McDonagh, Sam Mendes, and David O. Russell \u2013 that were seen, considered and didn\u2019t make the cut. Indeed, if there was a bias here this year, it was toward movies that broadly entertained, with some exceptions.<\/p>\n\n\n\n

So what made the \u201cnice\u201d list? In alphabetical order:<\/p>\n\n\n\n

\u201cApollo 10 \u00bd: A Space Age Childhood\u201d: <\/strong>Richard Linklater\u2019s rotoscope-animated look back<\/a> at his youth growing up in the shadow of NASA is the kind of breezy nostalgic exercise that really illustrates what life was like back then, during an era when TVs were small and before everyone took a phone everywhere.<\/p>\n\n\n\n

\""Avatar:<\/figure>\n\n\n\n

“Avatar: The Way of Water” returned to Pandora, 13 years later.IMDB<\/p>\n\n\n\n

\u201cAvatar: The Way of Water\u201d: <\/strong>Overcoming skepticism about a 13-years-later encore with a wave of dazzling spectacle, James Cameron again takes a pretty basic story and turns it into an epic, state-of-the-art demonstration<\/a> of movie magic that practically demands you get off the couch, put down the remote and drive to a theater to see it on the biggest screen you can.<\/p>\n\n\n\n

\u201cEverything Everywhere All at Once\u201d:<\/strong> Not everything worked about this foray into alternative universes and paths not taken, but this action-comedy-sci-fi mashup<\/a> represented one of the year\u2019s most inventive efforts and happily struck a chord with audiences, while showcasing the remarkable Michelle Yeoh and the uplifting comeback of one-time Indiana Jones kid Ke Huy Quan.<\/p>\n\n\n\n

\"Gabriel<\/figure>\n\n\n\n

Gabriel LaBelle as Sammy Fabelman in Steven Spielberg’s “The Fabelmans.”Merie Weismiller Wallace\/Universal Pictures and Amblin Entertainment<\/p>\n\n\n\n

\u201cThe Fabelmans\u201d: <\/strong>Steven Spielberg\u2019s deeply personal window<\/a> into how his youthful experiences forged him into the filmmaker he became is obviously filled with nostalgia, but it also provides a welcome ode to the power of movies. A bit scattered in its format, the movie nevertheless works as a superhero origin story for a director whose half-century of filmmaking has etched so many moments into our memories.<\/p>\n\n\n\n

\u201cGlass Onion: A Knives Out Mystery\u201d: <\/strong>Writer-director Rian Johnson has managed to reload and still capture the whimsy, wit and fun<\/a> of his original whodunit, with Daniel Craig as the lone holdover in a movie that really should have spent more time in theaters before landing on Netflix.<\/p>\n\n\n\n

\"Emma<\/figure>\n\n\n\n

Emma Thompson and Daryl McCormack in “Good Luck to You, Leo Grande.”Courtesy of Sundance Institute<\/p>\n\n\n\n

\u201cGood Luck to You, Leo Grande\u201d:<\/strong> Sent directly to Hulu, this two-hander for Emma Thompson as a widow who retains a sex worker (Daryl McCormack) and peppers him with questions about his life and work was sweet, funny and generally delightful<\/a>, a little gem in a year with a lot of rhinestones. (Thompson, as a footnote, is also smashing in \u201cRoald Dahl\u2019s Matilda the Musical.\u201d)<\/p>\n\n\n\n

\u201cRRR\u201d:<\/strong> Like \u201cAvatar,\u201d don\u2019t let the three-hour-plus running time scare you off (besides, you\u2019ll most likely watch it on Netflix anyway). This Indian historical fantasy has it all, including an abundance of energy, wild action sequences and exhausting dance numbers. A film that draws upon any number of genres, from superhero to western, and still manages to feel fresh and invigorating.<\/p>\n\n\n\n

\"Jalyn<\/figure>\n\n\n\n

Jalyn Hall as Emmett Till and Danielle Deadwyler as Mamie Till Mobley in “Till.”Lynsey Weatherspoon\/Orion Pictures<\/p>\n\n\n\n

\u201cTill\u201d:<\/strong> Danielle Deadwyler\u2019s wrenching performance<\/a> as Mamie Till Mobley, grappling with the murder of her son Emmett in Mississippi in 1955, elevated and brought renewed attention to this tragic story, in a movie that sensitively deals with the murder in order to focus on how it gave a civil-rights activist her voice.<\/p>\n\n\n\n

\u201cTop Gun: Maverick\u201d: <\/strong>Despite coming 36 years after the original (time flies too, apparently), this sequel waited through the pandemic in order to share the experience with movie-goers and rewarded them with a stirring flight<\/a> that gave Tom Cruise a perfectly tuned encore, while flying what amount to a rescue mission for movie theaters<\/a>. Frankly, it would be nice to leave well enough alone after that, but nothing that makes that much money can be allowed to stay grounded for long.<\/p>\n\n\n\n

\"Pixar's<\/figure>\n\n\n\n

Pixar’s “Turning Red” featured its young protagonist transforming into a giant red panda.Disney\/Pixar<\/p>\n\n\n\n

\u201cTurning Red\u201d:\u00a0<\/strong>Pixar hasn\u2019t been treated particularly well by its parent studio in the Disney+ era, which explains why this wonderfully warm and\u00a0very funny coming-of-age story<\/a>\u00a0\u2013 a genre so overworked it\u2019s really hard to do this well \u2013 was funneled directly to streaming. The film works on multiple levels, but transforming into a giant panda turns out to be a wonderful metaphor for the indignities and confusion associated with puberty.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Source: cnn.com <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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