The 10 movies of 2022 (And outstanding Tragedies in The Menu)

It has been a year marked by the return to normality, and although time has passed much faster due to this fact, it is also worth noting that national and international cinema has taken a good account of it, leaving in this 2022 titles for the cinephile memory of new and future generations beyond its quality, focusing on the collective cinephile imagination, with vibrant scenes, brave plots and doubles, triples and various layers that make up the whole.

At the national level, although they do not enter this ranking of the top 10, the successes in Berlin with the Golden Bear for Carla Simón stand out.alcarrás‘, the best debut of the year by Alauda Ruiz de Azúa ‘five little wolves‘ or the following stroke in a straight upward line drawn by Pilar Palomero with her ‘the motherly‘ after the success of Las Niñas. But that yes, if there is a title that hurts me that it stays out of the top it is ‘I’m Gonna Have a Good Time: The Musical‘ for all audiences to the rhythm of the great songs by Hombres G wonderfully directed by David Serrano, which was a breath of fresh air on the billboard and entertainment that made us think “Why don’t we make more movies as great as this in Spain ?”. Parents of the country, stop using badly composed Trains to get your money and give your children this jewel. On the international market, delightfully entertaining titles like ‘Wendell and Wild‘ by the always stimulating Henry Selick or the new rarity of the legendary David Cronnenberg ‘crimes of the future‘ they promise us in a low but powerful voice, that this avant-garde cinema far from conventionalisms continues to exist, despite an increasingly mass and unitary market.

In another order away from this article, which highlights the best of the year, some films did not deliver what they promised or have simply become “throw away” products that are as disappointing for the writer as for some viewers. But calm readers, keep in mind, as I have been saying in my reviews for seven years, that this is only an opinion, the last word is yours. Titles like the ridiculous sitcom (because that’s what it is)’Thor: Love and Thunder‘, the failed ‘The crooked lines of God‘ that although it has achieved the favor of a large part of the public, the reality is that it has wasted the wonderful text of the novel on which it is based in order to “Americanize” a national thriller, or the new work of the businessman (not Director film) David O. Russell ‘Amsterdam‘ Counting as always with a great cast that makes phrases look as empty as a very clear intention of mere academic attention, without an iota of art.

But let’s leave those that are not as worth it as those that are, let’s start with two special mentions by this cruel judge.

special mentions

Between December 2021 and January 2022, a miracle arrived in a few theaters and directly on Apple TV, like everything that bears the signature of The Coen Brothers, although in this case it only had one of the names of the geniuses from Minnesota, Joel Coen. It’s about your’Macbeth‘ with Denzel Whasington and Frances McDormand produced by A24. All the compliments towards her would fall short, and keep in mind, readers, that if she did not go through that bridge between years, this title would head the top10 of this 2022 without a doubt. It is a master class in staging, adaptation and interpretation. And sincere applause, accompanied by a smile of pure satisfaction, deserves ‘The menu‘ Mark Mylod’s satire with a cast of actors enjoying the best that an interpreter can be offered: a black comedy full of bad blood. Ralph Fiennes and Anya Taylor-Joy are so successful and brilliant, as successful and brilliant is this slap to the most false and rotten of high society, a slap delivered by the rage and hatred of those who, as Fiennes’ character dictates, “collects the shit”. It’s nothing new, of course, but this dish always tastes good, especially when presented in such a simple and stimulating way, like a simple and classic hamburger. Finally, the star Tom Cruise deserves a unanimous mention, who, as he stated at the premiere of his show ‘Top Gun: Maverick‘, no matter what, it will always premiere in theaters.

And now yes, let’s go with that top 10 of 2022 of the films released in Spain this year.

10. BLONDE. Andrew Dominick.

The director of the marvelous The Assassination of Jesse James by the coward Robert Ford shows in his new film that he does not renounce his master voices when it comes to making his movies. And it is a cinema that does not think of the average viewer, but of the one it wants to instruct or illustrate. And here, he illustrates it. He illustrates the cruelty of being towards beauty, towards naivety, towards hope. I don’t think she ever understands the repudiation of this film by some sectors that accuse it of being sexist, when it is the opposite, adapting the novel on which it is based, not only the text, but also the idea, taking the image of ” the perfect woman” as an example of the suffering to which that precise figure has been subjected in a world ruled by men. Some good, some bad… a lot of bad. And with a scene to remember, one in particular, as one of the bravest shows about abuse that has ever been seen on a screen.

9. THE BATMAN. Matt Reeves.

If I got goosebumps with the spectacular chase of Batman and The Penguin, I don’t want to think what the fans of the batman must have felt. Approached as a thriller in its first two acts, with a villain closer to the classic psychopath than to the comic (wonderful Paul Dano) and exposed as a very successful adventure in its final set, I was certainly disappointed that they did not dare to go on for a more conclusive stretch. adult, but the applause deserves it with all of the law. It is good cinema, and that in the blockbuster, is worth double.


A rarity as charming as it is unusual, coming all the way from Norway, this story about an explosives fan who tries to win the favor of his neighbors and the love of an inhabitant of his island after an unfortunate incident, is a comedy as sensitive as it is original, as full of memorable gags as well as black humor not suitable for all audiences (hence why it’s so good). Highly recommended to be aware that the cinema that comes from the north, the freer it is, the better it feels.


Johnson had a tough time matching his first (and great) Backstabbing, but it was clear audiences wanted more crime-solving for Daniel Craig’s Benoit Blanc. The test has been passed and with grade. A new curl of the curl, with allusions as accurate as his influences (neither of them is hiding, everything is clear, and it is appreciated) this new intrigue is a real joy, full of intelligence and malice. Her condemnation to the stupidity of the most presumptuous is her ace up her sleeve, an ace that feels as good as the movie minute by minute. I repeat, a real joy.

6. AS BEASTS. Rodrigo Sorogoyen.

It is not Sorogoyen’s best film, but it is certainly the best that the director and his team have achieved technically and narratively. It is a cinema that treats the spectator as what he is in front of it: a guest in a situation as real as it is terrifying, with a common rage and pride, an intrigue of envy and entrenched principles, a thriller written with remarkable results. The best is its last section and a conclusive scene to remember. And take the viewer where he doesn’t expect, to offer him something even better than he could boast.

5. NOPE. Jordan Peele.

Jordan Peele shows, with each new title, that his state of grace is taken advantage of by his situation. His creative freedom is the result of an era that smiles at him due to the current moment, and he does it very well, because thanks to it, he offers us impossible, unthinkable, surprising, original and stimulating stories in every way. What else do reminiscences of him give to Spielberg’s Jaws? Its animals walk alone and their beasts too, and there are so many scenes that stick with you, that they barely fit into a singular imagination. It is to see more than once and study everything it offers.

4. PINOCCHIO. Guillermo Del Toro and Mark Gustafson.

The best adaptation of Carlo Colodi’s text since Spielberg’s Artificial Intelligence. Best of all, he treats children and adults, all of us, with respect. Tender, exciting, and wonderfully done, its creature designs are matched only by the plot solutions of its main characters. It’s almost an A, and the chubby Mexican hasn’t been this close to perfect since his pinnacle work, Pan’s Labyrinth. His impressive animation and heart, do the rest. A heart in which lives the cricket that we all carry inside.

3. MANTICORE. Carlos Vermut.

Together with the Basque films Akelarre and El Hoyo, it is the best Spanish film in years. It’s uncomfortable, visceral. But it’s also subtle, gorgeous when it should be, and as raw and hard as a punch in the stomach. She is brave, very brave, she does not think about the sensitivity of the masses, because she knows that the masses will not want to accept her. The crowd does not accept monsters, because it makes them become monsters, and that is the key to the narrative success of Vermouth’s film. You must see her, prepared and armed, but you must see her. Because no matter how raw and hard it is, it is first class cinema, and it deserves all the good things that come its way.

2. EVERYTHING AT ONCE EVERYWHERE. Dan Kwan and Daniel Scheinert.

The Daniels, unclassifiable filmmakers, have already shown that they were here to stay with their stupendous and highly inspired Swiss Army Man, a film so different that, when you see it, you can only be thankful that something like this exists. Well, something very similar happens with its multiverse starring Michelle Yeoh (who is going to win the Oscar for best actress this year, you’ll see). Almost better than the movie itself, is all the recognition it’s getting. It is a unique cinema of its kind, a species characterized by the illusion of creating something, precisely, unique. Essential title of the year.

1. THE MAN FROM THE NORTH. Robert Eggers.

That this Eggers film hasn’t received a single Golden Globe nomination this year (and certainly not an Oscar nomination either) says everything you need to know about the movie award business. I will be clear: Its imposing opening and final scenes are already better than almost everything else in 2022. It is epic cinema from an author who dares not to give up his style on a large budget, a cinema that manages to excite and surprise you. despite telling you something that we already know from beginning to end, apparently, it goes further by renouncing classic drama and introducing us to the most refined, devastating and grandiose tragedy, for everyone who dares to enter it and enjoy it. It may not be a 10, but it’s close to it. Robert Eggers’ Man from the North is this year’s best film.

The 10 movies of 2022 (And outstanding Tragedies in The Menu)