We’re at the end of yet another great year of film. The significance of cinema continues to rise since its decline during the pandemic. Many titles flooded our “most anticipated” lists. The stories ranged from the true and tragic to the edges of make-believe. Some we watched with great expectation, leaving the theater fully satisfied. Then, there were others that we stumbled upon but impacted us in a way we were not prepared for. With all there was to experience, it wasn’t easy to narrow it down to a few favorites. But, we managed. Here are 10 of Hue’s top films of 2023.

1. Oppenheimer

Courtesy of Universal Pictures

It’s no wonder that Oppenheimer is in many awards discussions this season. The cast, led by Cillian Murphy, is terrific. He and Robert Downey Jr. are outstanding and much deserving of the acclaim they’ve received. The film is a “who’s who” of amazing actors in roles large and small. Every few minutes, it seems, there was a moment like that DiCaprio meme pointing at the screen as a familiar face was recognized. Speaking of minutes, this film is three whole hours. However, due to excellent pacing, it was the quickest three hours many have experienced. There’s so much story to tell that there’s never a moment of lull or boredom. You have to pay attention; you want to pay attention.

But the real standouts of this film are the sound design and the score. So much of what makes this film great is what you hear, thanks to sound designer and supervising sound editor Richard King and composer Ludwig Göransson. Like much of the dialogue, Göransson’s score is somewhat scientific, using rhythm and creative instrumentation to craft tension and heighten the emotions throughout the film.

Nolan set the bar very high with films like Inception and Interstellar. But, he’s pushed it further with Oppenheimer. The film is a masterpiece — beautiful and poignant, smart and emotional. As a biopic, it tells its story in a way that doesn’t take a side, leaving space for viewers to explore their own feelings about what they’ve seen and learned. This isn’t an easy feat given the subject of this film, but it shows the level of detail and care that went into its creation. (Joy B.)

2. Past Lives

Courtesy of A24

Past Lives is about possibilities. The one that got away doesn’t have to always be that. Nora (Greta Lee) and Hae Sung (Teo Yoo) are separated at 12 years old but reconnect through social media and Skype video calls 12 years later. Things begin to reignite, feelings deepen, and… that’s it. But luck, fate, or circumstance gives them one more chance 12 more years later. Can they now have their moment? In-yun is a word used in Past Lives to describe how Nora, Hae Sung, and Arthur (John Magaro), Nora’s husband, are all connected and tethered to each other throughout time. There’s something romantic about knowing you are destined to be with the one until the end of time. And there’s something equally devastating knowing that you could just as easily lose them.

Past Lives does an immaculate job of balancing hope and heartbreak better than any other film in 2023. For a first-time feature director, Celine Song deeply understands scale, environment, and pace. The directing and performance choices are subtle but monumental to the story. Every movement, word, longing glance, and moment of quietness matter. Nothing is wasted.

The film may spark the question: does Nora make the right choice? The audience can never truly know. But, if In-yun is real, if she made the wrong decision in this life, she can make it up in the next. (Marc Rob)

3. The Iron Claw

Courtesy of A24

Perhaps this might be the darkest film on the end-of-year list. It’s certainly not something I could endorse as a feel-good movie of the year. But I would say The Iron Claw offers some of the most knockout performances from an incredibly stacked cast in a year littered with powerful ensembles (Oppenheimer, Barbie, The Color Purple, American Fiction). What it lacks in a traditional cinematic tenderness that is often seen on these types of end-of-year lists, it makes up for in exploring the discomfort surrounding the tragic truths of unchecked masculinity and the dangers of overwrought patriarchal figures.

Written and directed by Sean Durkin, The Iron Claw tells the story of the Von Erich family, a notable Texan wrestling family more defined by the Kennedyesque tragedy of their lives than their oft-underappreciated wins. This theme prevails in key scenes throughout the film’s 132 minutes. All longing to feel appreciated and loved by their overbearing father (Holt McCallany), a man who can’t see past the hyper fixation of the glory days of wrestling in his youth, the brothers Kevin (Zac Efron), Kerry (Jeremy Allen White), David (Harris Dickinson) and Mike (Stanley Simons) sideline their passions to indulge in a world of violence thrust upon them. Efron, White, Dickinson, and Simons all go through the painstaking process of embodying the pain of these 20-something young men who continuously sideline their own physical and mental health to disastrous consequences in the pursuit of the basic familial love that they never truly receive from their parents, but instead only using themselves as emotional comfort and anchors in their shared suffering. Good luck trying not to cry when taking in quiet resilience and brooding intensity from each performer. (Destiny Jackson)

4. Poor Things

Courtesy of Searchlight Pictures

Aesthetically, the costume and set designs are vibrant and eccentric. There is nary a dull cinematic choice. Our protagonist, Bella (Emma Stone), is like if Frankenstein’s monster understood the importance of incredible orgasms and pastries. At the beginning of the film, she is very childlike and curious. As Bella matures, a fissure grows and separates her from the world around her.

The characters she meets on her journey of discovery are fascinating and challenging. Duncan Wedderburn (Mark Ruffalo) starts debonair and cocksure. His arrogance makes him fain control over Bella which causes static. Further down the line, she meets two queer Black characters, one a nihilist (Jerrod Carmichael) and the other a socialist (Suzy Bemba). Bella is shaped by these different forces. As she ages, her autonomy grows. Poor Things could have easily fallen into white feminism trappings, but the film is smart enough to avoid that easy pitfall.

From a performance perspective, Emma Stone and Mark Ruffalo are having great fun in their respective roles, which translates to the screen (this may be the most devilishly fun performance of Ruffalo’s career). While Poor Things isn’t short on sex, it does not feel gratuitous. Sex functions as a way of discovery for Bella while commenting on the state of men around her. This last decade of director Yorgos Lanthimos’ career has been fascinating to experience, and Poor Things may be the best of those films. (Marc Rob)

5. The Holdovers

Courtesy of Focus Features

The holiday season is supposed to yield merriment and yuletide joy. Yet if you find your life lacking in any area, those inadequacies rise to the surface and douse the holiday spirit. Still, despite feeling isolated in one’s own grief from the place you least expect it, peaks of joy abound. That joy is what makes The Holdovers an unexpected, soon-to-be holiday classic.

Curmudgeon adjunct professor Paul Hunham (Paul Giamatti) is charged with watching over the children holding over during the holiday break. Thanks to one father, the held-over students are whisked away for holiday fun, except for one smart yet troublesome teen, Angus Tully (Dominic Sessa). Stuck together, Paul forms an unlikely bond with Angus and the school’s head cook, Mary Lamb (Da’Vine Joy Randolph), who is grieving the loss of her only child, Curtis. Unlike Paul and Angus, Mary chose to hold over. Her son was a recent graduate of Barton and was killed in Vietnam. Barton was the last place she spent time with her son. It serves as both a painful reminder and a place of comfort.

The film’s title aptly explains the sentiment of the story. Our three main characters are holding over figuratively and metaphorically. They’re in this stasis due to their own circumstance, be it fear of failure, acceptance of a new normal, or grief. Some of the best outcomes come after being forced into a less-than-desirable situation, and that’s true for our protagonists.

There’s something truly special in the belief that everything happens for a reason. No matter what things look like, there is hope, love, and joy to be had as long as we can endure the holdover. (Kit Stone)

6. Barbie

Courtesy of Warner Bros. Studios

Every generation has an instant classic. This generation’s is Greta Gerwig’s Barbie. Unlike other toy adaptations, Barbie had a writer/director to shape its story in a personal and meaningful way.

Gerwig and her co-writer, Noah Baumbach, tap into the core of what makes Barbie “Barbie” and brilliantly provides commentary on topics like feminism and toxic masculinity. One of my favorite scenes in the film is when Barbie seeks to help Sasha, the girl she thinks is causing all her problems. She arrives at her school and directly faces what young girls think of Barbie and the expectations of women today. The hilarious scene ends with Barbie being labeled a fascist and walking away in tears. One would expect this type of conversation in an adult comedy rather than a movie based on a children’s toy. Therein lies the secret magic of Barbie. The film is for everyone and all ages. Children can marvel at the sets, and toys come to life. Women can relate to many of Barbie’s struggles in the film. Barbie even appeals to the male audience as it deals with the societal expectations placed upon them and their own insecurities. By making Barbie relatable to everyone, the film can break through the boundaries of gender and age. 

All of the familiar Barbie elements are in the film, including her Dreamhouse, a 100 percent practical set built by the incredible production team. The production design by Sarah Greenwood feels like a fantastical dream that also calls back to some of cinema’s classics like The Umbrellas of Cherbourg (1964) and The Ladies Man (1961). Barbie is both an escape into a euphoric dream and a harsh look at the realities of gender dynamics in our society today. (Kyle Arking)

7. Spider-Man: Across the Spider-Verse

Courtesy of Sony Pictures

Superhero fatigue is only real if you can’t deliver. The Spider-Man animated film franchise has been near Teflon two films in (and, at least, two more in development). Maybe multiverse storytelling lends better to animation because of just how unique you can craft each universe. Films like The Flash and Ant-Man and the Wasp: Quantumania are aesthetically uninteresting and messy. Spider-Man: Across the Spider-Verse is eclectic and vibrant.

Spider-Man: Into the Spider-Verse is about Miles Morales growing into his powers. Across the Spider-Verse takes a different approach by giving Miles and Gwen Stacy deeper emotional story arcs. In this second film of the trilogy, our teens learn to grow into the people they are meant to be. Miles fights against Spot, a villain that Miles had a hand in accidentally creating in Into the Spider-Verse. Throughout the film, things begin to fall apart due to Miles’ disruption of canon events. In each universe, each Spider-Man must experience certain traumatic events on their path to becoming Spider-Man. Because of this, Miles clashes against the other Spider-People, particularly Miguel O’Hara, in a bid to save the multiverse.

A lot of people compared Across the Spider-Verse to Empire Strikes Back, and the reasoning is solid: our hero goes through a brutal journey of self-discovery with an uncertain ending. But Across the Spider-Verse is more about accepting yourself rather than growing beyond your limitations. Miles tells Miguel, “Everyone keeps telling me how my story is supposed to go. Nah, I’ma do my own thing.” Luke’s journey in Empire Strikes Back was a test of fortitude. Miles remains steadfast while being pulled into other people’s vision of himself. We must all reckon with the truth of ourselves against what others expect. Especially for teens, these are incredible lessons in being self-assured. (Marc Rob)

8. Godzilla Minus One

Courtesy of Toho Studios

Godzilla has been a global icon for 70 years, but Takashi Yamazaki’s Godzilla Minus One shows us that Godzilla is not the essential ingredient that makes these films work. Godzilla Minus One delivers as a film because it focuses its story on well-developed human characters that the audience sympathizes with and cares about. Kōichi Shikishima, as the main protagonist, is a kamikaze pilot who abandons his duty. His actions lead to the deaths of his comrades, which haunt him throughout the rest of the film. But, the one thing that Shikishima doesn’t realize is that as much as he denies it, he wants to live. Every encounter, from the newfound family he makes with an orphaned young woman and the baby she has to care for to the crew on a mine recovery ship, presents another reason for Shikishima to keep on living. By the film’s end, we don’t want Shikishima to perish, nor does he. 

No Godzilla film is a Godzilla film without its lead monster. Godzilla Minus One presents Godzilla in stunning form with many memorable action sequences. The first feels like it is ripped straight out of a Jurassic Park film as Godzilla wrecks a military base and chomps on a bunch of its inhabitants. A boat chase harkens back to the dreaded suspense of Jaws, and the final epic sea battle is reminiscent of Dunkirk. The VFX are dazzling to behold. The vibrations are felt when Godzilla charges up his heat ray, thanks to the film’s sensational sound design. 

There is also an integral social commentary on the state of Japan’s history. From the nation’s spirit to the cleanup of mines left over after the war to the wariness of interfering in U.S./Soviet relations, Godzilla Minus One is much more than just a monster movie. The aftermath of World War II is as essential to the setting and characters of this film as it was to Ishiro Honda’s Godzilla (1954). Godzilla Minus One is not a remake of that original film but a clever reimagining of what has come before. It is Godzilla for a new generation, but one made to make sure we don’t fail to repeat our past. We must keep living. (Kyle Arking)

9. John Wick: Chapter 4

Courtesy of Lionsgate

Since his first appearance in 2014, Chad Stahelski’s John Wick has made quite an impression on audiences. And while it’s not easy to see a character you love being repeatedly beaten up, we keep coming back film after film to watch him survive against all odds, all from the edge of our seats. With the increasing stakes, John Wick: Chapter 4 pulls us back into the underground world of well-dressed assassins rooting for our favorite once again.

Let’s be honest here — John Wick: Chapter 4 is a full-on action film. The dialogue isn’t particularly interesting unless Ian McShane is talking, but it doesn’t need to be. It’s all about the excitement of what’s happening on the screen. For nearly 2 hours and 49 minutes, you’re captivated by impressive stunt work and fight choreography set against beautiful cinematography. It’s intense and visceral. Films like this are why those responsible for designing these fights should be recognized for their work. 

So many things in this film work — the locations, the stunts, the sound design. But the addition of Donnie Yen took the film to another level for me. His character was one of the most interesting in the franchise. And he’s really good with a sword. Simply put, John Wick: Chapter 4 further solidifies this franchise as one of the best within the action genre. With excellent casting choices, incredible locations, and skillful stunt work, the film raises the bar for those who follow. (Joy B.)

10. Killers of the Flower Moon

Courtesy of Apple TV

The story of Killers of the Flower Moon is important but everything surrounding it may be more fascinating. I think we’re on the cusp of watching a fantastic career blossom for Lily Gladstone. This is ironic because we are nearing the end of a career that can be described as nothing less than iconic with Martin Scorsese. These two genius artists from different generations converge at this unique moment. For this new actor, it’s exciting to imagine where they can go. For this sage director, it’s bittersweet to wonder what stories he has left to tell.

Ultimately, Killers of the Flower Moon is about how complicit America (its people, government, and capitalism) worked to destroy Native Americans. But the pieces of the film that are not highlighted are its best parts. As the title suggests, we are on a journey with the killers and violators of the Osage Nation in 1920s Oklahoma. Through Ernest Burkhart (Leonardo DiCaprio), William “King” Hale (Robert DeNiro), and a bevy of other white Americans, we learn the insidious nature of the Osage murders. Scorsese has no qualms about showing the brutality of these deplorable people as they shoot and bomb their way to riches via oil headrights. However, this is not where the film’s true gold lies.

The film’s best moments are when we are with the Osage members. From when Osage leaders forecast the destruction of their culture to when they openly discuss how money and greed lead to their extermination, each moment is illuminating and devastating. “…What has come to our reservation that doesn’t belong here and it’s them [white people]. They’re like buzzards circling our people, going pick us body clean.” And, yes, they absolutely did. Lily Gladstone as Mollie is a gem. We see a character full of intelligence, wit, and deep emotion; every time they’re on camera, there’s a magnetic attraction difficult to ignore. In these moments, though few, Scorsese is wise to craft spaces that honor Mollie, her family, and their people. (Marc Rob)