1. Midsommar – A cathartic breakup drama disguised as a gruesome daytime horror. This traumatic nightmare-comedy about a toxic romance that’s far outstayed its welcome is distinguished by its morbid sense of humor, its detailed costume & production design, its preference for atmospheric dread over traditional jump scares, and its continuation of occultist, Wicker Man-style folk horror into a new generation of genre nerdom.
2. Parasite – Bong Joon-ho’s masterpiece is a twisty, crowd-pleasing thriller about class resentment, with a particular focus on how Capitalism forces its lowliest casualties to fight over the crumbs that fall from on high. It’s a genuine phenomenon that such a savage commentary on class politics has become so universally popular, earning sold-out screenings & ecstatic critical praise for months on end as its distribution exponentially spreads. When was the last time such a wide audience embraced a movie that features *gasp* subtitles, much less such a tonally explosive expression of economic anger?
3. Knife+Heart – This is fantastic smut, especially if you happen to enjoy classic slashers & gialli. Picture Dario Argento’s Cruising. Set against a gay porno shoot in 1970s Paris, it really turns the usual male gaze & female victim empathy of those genres on their head in a fascinating way. And it only improves on repeat viewings as its psychedelic flashback imagery and its Goblin-inspired synth soundtrack from M83 sink further into your subconscious.
4. In Fabric – A tongue-in-cheek anthology horror about a sentient killer dress. Fully indulging in the Theatre of the Absurd, it’s a fun watch, but it also makes fashion photography, corporate employment, and romantic loneliness legitimately menacing. Especially recommended for anyone who’d be enticed by an arthouse remake of Death Bed: The Bed That Eats, as it could easily be read as both over-the-top camp and a deadly serious creep-out.
5. Knives Out – A modernized Agatha Christie-style whodunnit comedy in the mold of Clue that manages to deliver both a sophisticated, winding plot and pointed class politics. Like Get Out before it, it mocks a specifically Left version of political ignorance vis-à-vis latent and uninspected racism among the privileged class. Stumbling upon something this fun and this fiercely political feels like finding a rare gem in the cinematic wilderness.
6. The Lighthouse – Willem Dafoe & Robert Pattinson costar as a lighthouse-keeper odd couple who gradually grow insane with hate & lust for each other. A black & white period drama crammed into a squared-off aspect ratio, this functions as an unholy, horned-up mashup of Guy Maddin & HP Lovecraft as well as a seafaring, swashbuckling mutation of Persona. It pushes the basic tenets of traditional masculinity and macho bonding rituals into the realm of a hallucinatory fever dream.
7. Us – A surreal reimagining of C.H.U.D. that reflects & refracts ugly, discomforting truths about modern American class divides – mostly in the way that escaping the darkness of poverty is often impossible, and that those who manage to somehow embody the mythological idea of social mobility must do so at the expense of others. It also commands a nightmare-logic looseness throughout that was only hinted at in Peele’s debut, leaning heavily into the horror of The Uncanny. It’s like getting an extra hour to poke around in The Sunken Place.
8. The Beach Bum – An abrasive stoner-bummer in which Matthew McConaughey plays a Florida-famous poet named Moondog. Harmony Korine always works best when he reins his indulgences in with a little guiding structure, and this one does so by riffing on 90s Major Studio Comedy tropes to hideous success. It’s basically Korine staging Billy Madison on the lower decks of a Jimmy Buffett pleasure cruise, a perfect continuation of the Floridian hellscape he previously sketched out in Spring Breakers.
9. Uncut Gems – Another Good Time-style panic attack from the Safdie Brothers, in which New York City is just as loud, chaotic, and crowded as it feels irl. Adam Sandler’s manic performance of gambling addiction & familial regret toys with audiences’ empathy, and its larger story of international jewelry trade emphasizes upsetting truths about the exploitation & suffering that’s behind all the world’s beautiful stones.
10. The Irishman – A late-career mafia epic from Martin Scorsese, the undisputed master of that genre. It’s a beautiful yet tragic story about obsoletion and the emptiness of a life spent mired in sensationalist violence, one with a metatextual significance in the life of its aging, self-reflective filmmaker.
-The Swampflix Crew