No other 2022 horror was as pleasantly (or unpleasantly) surprising as BARBARIAN. You think you’ve got an idea of how far Zach Cregger’s film is going to go and which formulaic horror beats it’ll hit as soon as Tess (Georgina Campbell) turns up in an unfriendly neighbourhood to a double-booked Air BnB, but you really don’t. She inevitably makes her way down to a scary basement and beyond but then new parties arrive on the scene and we start to delve into the depraved history of the dwelling and its occupants. Barbarian is an absolute ride; thrilling, twisted and wickedly funny but not lacking in heart when it needs it. It’s this latter aspect that’s the most refreshing; plenty of horrors prompt gasps and grimaces, but very few can bring you tothe verge of tears. SSP
Cinema is back, but sadly not with a vengeance. The world is changed irrevocably and big screen film exhibition continues to struggle.
While I try not to be too downbeat in my yearly roundup, I am worried about the future of my favourite art form. At least we still got plenty of memorable films and film moments this year, and like last time I’ll begin with my favourite scenes of the past 12 months before moving on to my Top 20 Films of 2022.
Best Scenes of 2022:
ELVIS – The Comeback Special
The scene that makes the most of Austin Butler (and Elvis Presley’s) raw, animal charisma sees the King of Rock n’ Roll defy his paymasters and, rather than present the world with a merchandisable, family friendly TV special he unleashes a leather-clad, sexy, powerful performance on his helpless audience.
EVERYTHING EVERYWHERE ALL AT ONCE – Fanny Pack Fight
The mild-mannered Waymond Wang is body-hijacked by an a far more physically skilled version of him from another dimension and proceeds to set about audit office security guards with a surprisingly useful fanny pack (bum bag for UK readers).
THE BATMAN – Gotham Nightcrawl
The opening scene of the Dark Knight’s latest big screen iteration guides us through the grim streets of Gotham City like never before, with rain lashing and neon gleaming through the shadows, a threat – or a target for a brutal masked vigilante – around every corner.
TOP GUN: MAVERICK – Mach 10
Pete “Maverick” Mitchell lives up to his name and after fulfilling his military contract by getting an experimental stealth aircraft to hit Mach 10 against the odd, just can’t resist but push it a little further beyond its breaking point where it becomes a fireball moving at the speed of sound.
MEN – Birth of Man
In the best scene David Cronenberg never directed, after enduring days of horrific attacks from the inhabitants of a village who all appear to be uncanny male doppelgangers, Harper witness them all somehow giving birth to each other in squelchy fashion.
RRR – Menagerie Attack
Tribal warrior Bheem is on a mission to rescue his sister and so crashes the Governor of Delhi’s mansion party with the help of a truck full of the most aggressive wild animals he could find to tear into the British colonial opressors.
SCREAM – Drawn-Out Fake-Out
In a meta commentary on how to handle the buildup to, and execution of, the jump-scare, one of Ghostface’s soon-to-be-victims showers, changes and goes about his afternoon around the house, every moment you think the scare is going to come undermined for minutes on end.
PEARL – Ready for my closeup
Following her first killing spree that was brought about by her dreams of stardom being shattered, Pearl’s husband returns from the war to see the aftermath of the carnage and the camera holds on its antiheroine’s deranged, rictus grin of happiness throughout the credits.
BARBARIAN – Be My Baby
After being pursued by the Mother from her basement lair/nursery for unwilling surrogate children and miraculously surviving a fall from a water tower, Tess puts the broken maternal monster sadly but necessarily out of her misery as she cradles her and the jarringly happy “Be My Baby” by the Ronettes fills the soundtrack.
ATHENA – We are the Police
A Paris gang assaults and sacks a police station and steals vehicles, weapons and equipment to fortify their housing estate in revenge for the accidental killing of a child during an arrest, all presented in one blistering 10 minute long-take.
Justin Benson and Aaron Moorhead’s follow-up to the weird THE ENDLESS and the (slightly) more mainstream SYNCHRONIC is another low-key, cerebral sci-fi, this time filmed mostly in Moorhead’s own LA apartment out of Lockdown necessity. Two new neighbours discover a strange, unexpectedly musical physics phenomenon in the corner of an apartment living room and set about trying to make a documentary about it, putting pressure on their relationship and throwing up shocking personal revelations in the process. It’s a credit to Moorhead and Benson’s creative partnership, their inventiveness, craftsmanship and on-screen chemistry that their projects continue to be so compelling and unique. You never get easy answers from these films, but the images, the feelings they evoke and the threads left tantalisingly dangling at the close should please the established fanbase. SSP