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Movies 2022 is apparently a reference to all the films that were released in the year 2022, without citing the best or most sold.

However, this discourse centres on the overall best movies that were released in 2022.

There is a saying that goes this way: “In every competition, there must be a winner”. Thus, this article presents the top movies of 2022 that beat others in all ramifications.

This does not mean that the ones that will not be featured in this article were never popular, or never made good sales, or won awards, what we are saying in essence is that the listed ones in this discourse met those requirements and even had what others does not.

Kindly read below and see the ones that have made it to the list.

5 Best Movies of 2022

2022 was a year of good movies, and we cannot help but bring you the best of the best. Are you ready?

Below are the top five movies of 2022. They are films of substance and great value. The year under review wouldn’t have been completed without them.

Kindly check out these movies below:

1. TÁR

TÁR is so much more than the Powerful American Movie about “cancel culture” — a phrase that it humiliates with every movement — but this dense and difficult portrait of a female conductor’s fall from grace also demands to be seen through that singular lens from its very first shot.

Todd Field’s thrilling, deceptively austere third movie exalts in grabbing the electrified fence of digital-age discourse with both hands and daring us to hold onto it for 158 minutes in the hopes that we might ultimately start to feel like we’re shocking ourselves. 

2. Aftersun

A stunning debut that develops with the gradual poignancy of a Polaroid, Charlotte Wells’ “Aftersun” is not just an honest film about the way that we remember the people we’ve lost — fragmented, elusive, nowhere and everywhere all at once — it’s also a heart-stopping act of remembering unto itself.

Here, in the span of an oblique but tender narrative that feels small enough to fit on an instant photo (or squeeze into the LCD screen of an old camcorder), Wells creates a film that gradually echoes far beyond its frames.

By the time it reaches fever pitch with the greatest Freddie Mercury needle drop this side of “Wayne’s World,” “Aftersun” has started to shudder with the crushing weight of all that we can’t leave behind and all that we may not have known to take with us in the first place.

3. Everything Everywhere All at Once

Here is an orgiastic work of slaphappy genius that doesn’t operate like a narrative film so much as a particle accelerator — or maybe a cosmic washing machine — that two psychotic 12-year-olds made in the hopes of reconciling the anxiety of what our lives could be with the beauty of what they are.

It’s a machine powered by the greatest performance that Michelle Yeoh has ever given, pumped full of the zaniest martial arts battles that Stephen Chow has never shot, and soaked through with the kind of “anything goes” spirit that’s only supposed to be on TV of this generation.

“Everything Everywhere All at Once” is as overstuffed as its title implies, even more juvenile than its pedigree suggests, and so creatively unbound from the minute it begins that it makes Daniels’ previous efforts seem like they were made with Bressonian restraint by comparison (for context, their last feature was a sweet fable starring Harry Potter as an explosively farting corpse).

4. The Fabelmans

Has any divorce had a more deeper impact on the American imagination than the one between Steven Spielberg’s parents?

It was the breakup that launched a million blockbusters. That made daddy issues into a spectacle all their own.

This led directly to “E.T.,” “Catch Me if You Can,” and the last scene of “Close Encounters of the Third Kind,” while also paving the path toward any number of iconic films about the meltdown of the nuclear family — which any multiplex would tell you was the middle class defining crisis of the 20th century.

5. Nope

The only sci-fi movie that might scare and delight Guy Debord and Ed Wood to the same degree, “Nope” gives a giddy throwback to the days of little green men and hubcap U.F.O.s that hopes to revitalize those classic tropes for audiences who’ve seen too much bloodshed on their screens to believe in Hollywood’s “bad miracles.”

It is a tractor beam of a movie pointed at people who’ve watched 9/11 happen so many times on network TV that it’s lost any literal meaning; who’ve scrolled past body cam snuff films in between Dril tweets; who have become accustomed to rubbernecking at American life from inside the wreckage.