Looking for the most anticipated movies of 2022? Look no further than MP4Moviez. We’ve got every movie planned and we’ll be sure to keep you updated on all the latest details. So make sure to check out our website for the full list and don’t miss out on any of the best films of the year!
We’re now well over halfway into 2022, which means the year in cinema has officially reached a point where we can take stock. We’ve been gathering and updating our list of the Best Movies of 2022 since January (So Far). In this episode, we’ve added new titles that we believe are not only worth checking out, but will also be in the pop-culture discourse five months from now when year-end Top 10 lists are released.
As you can see, the most recent additions to our ranking include a massive, hand-over-fist blockbuster starring Hollywood’s last bona fide movie star, a smart kiddie comedy, an epic Telugu-language import, and—gasp!—even an Adam Sandler movie. Here are the top 24 movies of 2022, as well as where you can view them.
24. The Gray Man
You’ve probably heard that The Gray Man was a dud. How do I know this? Because the Internet was absolutely humming with takedowns of the Russo Brothers’ pricey action movie in July. It was unavoidable, and the posts weren’t even accurate. Is the plot a little thin? Sure. Is the main character’s backstory a little underdeveloped? You’ve got me there now. Is the villain, a mustached Captain America, over-the-top evil? Jesus! Yes, please get off my back. The Gray Man isn’t likely to win an Oscar, but Ryan Gosling understood that when he signed on the dotted line. It will, however, keep you entertained for the entire two hours and two minutes of its length. There are some huge names. The biceps are massive. Quips. Things that explode. Do not overthink it. mp4moviez
23. Crimes of the Future
With films like Videodrome and The Fly, Canadian filmmaker David Cronenberg has amassed a cult following that respects his determination on making films that are difficult to see. Crimes of the Future is his first theatrical release in eight years. He envisions a future in which humans no longer feel pain and are capable of generating new organs. A performance artist (Viggo Mortensen) sees his new internal functions as miniature sculptures and performs live events in which his partner (Léa Seydoux) performs surgery on him to reveal his latest “creation.” It’s a strange film, to be sure, but Crimes demonstrates that, even after 50 years, Cronenberg still has some of the best new ideas in science fiction—even if they’re scary, twisted, and downright heartbreaking ideas. Rosenberg, Josh mp4moviez.
22. Orphan: First Kill
You may be wondering if the prequel to Orphan from 2009 is worth the hype. Or if a follow-up was even necessary 13 years later. So, guess what? Director William Brent Bell’s take on Esther’s origin story may be even better than the original. Orphan: First Kill eventually reveals how Esther ended up in the adoption system, despite the fact that she’s a 30-something-year-old mental facility escapee. Logic from a horror film! It’s never old. This prequel takes the original’s wild concept and spins it in an altogether new direction. We don’t want to give anything away, but there are some bizarre situations that will have you rooting for an unlikely hero. He, movierulz
21. Fire Island
Updating Jane Austen is never simple, but Joel Kim Booster makes it look easy in Fire Island. Pride and Prejudice is relocated to the Fire Island Pines in this compelling modern romcom, as groups of homosexual men gather on the island in pursuit of a legendary summer experience. Booster reimagines the Bennet sisters as a close-knit group of friends on vacation, with himself playing the proud and moral Noah opposite Conrad Ricamora’s distant, romance-averse Will. Bowen Yang impresses as Jane Bennet, mapping devastating themes of loneliness and gay desire onto Austen’s well-known story. Fire Island demonstrates that there are still new hues to explore in Austen. It is funny, sincere, and frequently vulnerable. Adrien Westenfeld, 9xmovies
20. The Batman
BWUUUUM. BWUUUUM. BWUUUUM! Take a look behind you. Do you see him? That’s Robert Pattinson in the Batsuit, and he’s out to get you. Or, at the very least, rough you up a little. Even after seeing The Batman, I was wary of Matt Reeves’ film. It’s startling to watch a capes and costumes film like The Batman dabble with cinematography! Music! But after rewatching it at home, that was pretty nice! Do I enjoy this better than Christopher Nolan’s Batman films? was the response to The Batman. I have to say that I prefer Pattinson to Bale. The Batman dared to be fun and light on detective work. Not to mention the massive amount of prosthetics that transformed an insane Colin Farrell into one of my favourite movie villains of all time. Let’s hope Reeves creates the sequel just as memorable. Bobby Langmann, movie4me.
19. Where the Crawdads Sing
Reese Witherspoon has taken a break from performing in recent years, instead devoting time and resources to crafting gorgeous film adaptations of excellent books. Little Fires Everywhere, Big Little Lies, and now Where The Crawdads Sing are all works by this talented author. We must applaud her for taking us through the painful path of Kya Clark (Daisy Edgar Jones), an abandoned young girl who raises herself in the North Carolina Marshlands. She has been an outcast in her society for most of her life and is now the prime suspect in the murder of her town’s golden boy. As mp4moviez the case progresses, it becomes more than just a heartbreaking tale of a girl facing impossible odds; it evolves into something far larger: a serious commentary on society’s treatment of its rejects. —Hassan Ammal
18. Jackass Forever
You’re either a fan of Johnny Knoxville and his merry pranksters’ cruel movie or you’re not. There is true daylight between the two poles. However, if you’re prepared to give in to the sheer idiot fun of their nut-cracking pranks and daredevil antics, you might discover something more along the way: A gang of aged Evel Knievel’s who, beneath their dim-bulb bravado, genuinely care about one another. Their onscreen chemistry is palpable, infectious, and, yes, even poignant mp4moviez. If you’ve seen any of the previous Jackass films, you already know what to expect. But, after two years of soul-grinding political and epidemic heaviness, watching these jackasses’ exploits seems like a balm of foolishness.
17. Deep Water
You’ve probably heard about this Ben Affleck-Ana de Armas sensual thriller since it debuted on Hulu in April. And I’m guessing you’ve either heard that’s utter steaming rubbish or that it’s great absolute steaming garbage. Personally, I do not believe in the concept of “guilty pleasures.” Why should you feel remorse if something provides you joy? Having said that, I can see why Deep Water is referred to as one. It teeters on the edge between cheese and Fromage. I’m not ashamed to admit that I had a great time. Based on a wacky Patricia Highsmith story, director Adrian Lyne’s return to his ’80s erotic-thriller pinnacle (9 12 Weeks, Fatal Attraction) stars Affleck as a filthy rich dude who made his fortune dealing death as a designer of military drones and now spends his early retirement riding his mountain bike, tending to his snail collection, and fuming with jealousy as his wife (de Armas) flirts and has affairs Lyne is a master of this type of softcore skin max material, and he cranks up the heat like the old horndog that he is, but it’s the two stars who make Deep Water such naughty pleasure. Is Affleck to blame for his wife’s stud lovers’ disappearances and deaths? Is de Armas sleeping with these guys only to get a rise out of them? And what’s the deal with the snails? Consider Deep Water and draw your own conclusions. Just don’t let anyone tell you otherwise. 9xflix.
If you want to double down on horror, this eerie Hulu offering offers an excellent bottom half of a double-bill alongside X. Mimi Cave, making her promising feature directorial debut, provides the fright-night goodies and then some, especially if your sweet tooth in the genre tends toward Eli Roth’s Hostel films. Fresh is significantly less nasty than Roth’s work, but gender studies students and dating app addicts will have plenty to talk about when the credits roll. Daisy of Ordinary People Edgar-Jones plays a young single woman who is fed up with the charade and spectacle of modern dating. That is, until she meets Steve, played by Sebastian Stan, a handsome, humorous surgeon who appears to be too good to be true. And, lo and behold, he is! It would be impolite to reveal too much about the gruesome plot of the film (I didn’t know anything about it going in, and I’m glad I didn’t), so I’ll just say this: Steve takes surgery very seriously (especially in his chic home’s designer dungeon basement), and Edgar-Jones isn’t the first woman to fall for his sadistic ruse. Not suitable for mp4moviez.
15. Vinyl Nation
When I graduated from college in the 1990s and was desperate for money, I sold all of my cherished records—about 500 in total—to pay my New York City rent. Almost every day, I kick myself for this short-sighted purchase. Not because I can no longer listen to any of those albums. I can. Most are available on Spotify (but the service urgently needs to add Basehead’s Play with Toys). But I miss holding a 12×12 record sleeve in my hands and Talmudically examining the artwork and liner notes. I miss the chance discovery of obscure, out-of-print albums in used record stores. I miss the warmth, hisses, pops, and even scratches and skips. If this sentiment resonates with you, you should check out Vinyl Nation, Kevin Smokler and Christopher Boone’s nostalgic love letter to the 33 1/3 LP. The documentary isn’t particularly well-made, but it’s so full of heart that no music fan can fault it. The film is set on Record Store Day, an annual lifeline for mom-and-pop vinyl retailers, and intersperses footage of collectors going on album-buying sprees with the Luddite craftsmen who still press vinyl, as well as interviews with diehard vinyl fans about what the dying format means to their lives and the Proustian memories it evokes. When it was done, I looked at my office’s wall of equally out-of-date compact discs, shook my head, and stated aloud, “No one will ever love you the way they love their vinyl.”
14. Chip ‘n Dale: Rescue Rangers
Even as the father of insatiable eight-year-old twins, I was completely charmed by Disney’s post-modern take on these long-in-the-tooth, chaos-courting cartoon chipmunks, despite the fact that I was regularly forced to watch kiddie movies like a reluctant hostage being force-fed a steady diet of political agit-prop. Of course, it helps that the team is voiced by Andy Samberg and John Mulaney, who are far funnier than you’d imagine if they were simply in it for the money. By no means is this a low-brow, low-intensity, phoned-in attempt. In fact, it’s quite ambitious, which is why it works just as well (if not better) for parents as it does for their anxious, pint-sized offspring. This meta-mystery, directed by Samberg’s Lonely Island collaborator Akiva Schaffer, is closer in tone and sensibility to Who Framed Roger Rabbit than your average ‘toon, smoothly combining animation and live-action without making a huge issue out of it. The witty plot centres around Chip (Mulaney at his deadpan best) and Dale (Samberg as frenetic and hyperactive as a youngster high on Pixie Stix) years after their Hollywood careers had ended. They apparently split up over artistic disagreements a long ago and haven’t communicated since. Chip is now a 9-to-5 desk jockey, while Dale is clinging to his faded Hollywood stardom. They are reunited when an old cartoon companion of theirs, Monterey Jack (Eric Bana), is abducted, and they must unwillingly (and hilariously) team together to solve the case. Chip and Dale—sorry, Chip n’ Dale—are hardly what even the most generous nostalgists would call A-list characters, but thanks to Mulaney and Samberg, it’s their obscurity that allows them to be reinvented. Doubters will doubt, but this one convinced me. It will also win you over mp4moviez.
13. After Yang
Kogonada, the Korean-born filmmaker of mesmerizing video studies for the Criterion Collection and Sight & Sound magazine, made his feature debut with the touching indie Columbus five years ago (if you haven’t seen it, do yourself a favor). After Yang, his follow-up, is now out, and while it’s a stranger and more ambitious film, it’s just as intimate and charming. Colin Farrell, no stranger to collaborating with eccentric filmmakers (see Yorgos Lanthimos’ The Lobster), plays a nameless, placeless future husband, father, and struggling tea-shop owner who, along with his wife (Jodie Turner-Smith), has purchased a second-hand synthetic human named Yang (Justin H. Min) to serve as a surrogate sibling to their adopted Chinese daughter (Malea Emma Tjandrawidjaja). Yang is both a beloved friend and a link to the tyke’s Asian ancestry. But suddenly Yang goes crazy, leaving each member of the household with a gap they don’t know how to fill. After Yang, like Columbus, might be halted and hung in a museum—Kogonada is unquestionably an artist with a capital A. But he’s also a superb storyteller who appears to have created a strange puzzle box of a film reminiscent of late-period Terrence Malick’s Blade Runner. After Yang is a lyrical reflection on what it is to be human, as well as how our interactions with technology sometimes seem more real than those with other humans.
God bless Steven Soderbergh for reconsidering his retirement plans. I can’t say I’ve seen many of his films since his “return,” but after five films in three years, he’s finally delivered a great winner that’s all too easy to spot on the crowded HBO Max homepage. Kimi, the master of modern ennui, channels Alfred Hitchcock for the age of Siri and Alexa…or, in this instance, Kimi-a cone-shaped personal assistant that produces a soothing pink light while it responds to your at-home cues. Angela Childs, Zoe Kravitz’s daughter, not only has a Kimi gadget in her big Seattle loft, but she also works for the soon-to-be-public firm, listening to audio streams flagged for recognition mistakes. It’s mindless monkey work, but she needs it because she’s a shut-in with severe OCD. Then, one day, she hears a muffled audio file that appears to depict a sexual assault, potentially even a murder, and she tries to tell her superiors, only to be ignored due to the upcoming IPO. Angela, on the other hand, is adamant. Kimi, like Coppola’s The Conversation and De Palma’s Blow Out, is a tense and paranoia-filled conspiracy thriller that’s up to date. Rear Window is certainly Soderberg’s largest influence here, right down to the melodramatic score, but even if some of his themes are on hold, it also feels spot-on for a moment when we let digital devices into our homes without realizing how much they know about us, mp4moviez opinion.
I’ll admit that I’m not a fan of the flicks of French enfant terrible Gaspar Noe. In fact, I don’t recall liking any of the art house provocateur’s prior flicks. They always seem to me like naked attempts to startle the audience. He’s like a child using foul language to get a rise out of his parents. But something has changed in the director’s life since his last film, Climax. I believe he has finally matured. Vortex is not a nice film to see. It’s actually rather deep and upsetting. However, his sense of style comes in handy in this intimate narrative about an old husband (Italian horror filmmaker Dario Argento) and wife (Francoise Lebrun) going about their daily lives as she slips deeper and more irreversibly into dementia. The film is largely set in their untidy Parisian apartment, but it reveals a wide universe of feelings, which Noe highlights by dividing the screen into two squares that show us the world from each of their points of view. They occasionally overlap, but the approach is a fantastic way of expressing what it’s like to be a caring caregiver and what it’s like to be the one in need of love and care. Vortex isn’t for everyone, but its strength and maturity convinced me that Noe has finally discovered something he’s never exhibited before empathy movie4me.
10. The Northman
I couldn’t understand why a small indie like Focus Features would throw over $70 million to the filmmaker of The Witch and The Lighthouse to make a mud-and-blood-soaked Viking epic that does everything it can to avoid being a crowd-pleaser. But I’m grateful that they did. Simply put, Robert Eggers is a visionary. It’s also exciting to see him painting on such a large canvas. This relentless pursuit of massiveness, set in the 10th century, stars a very superb Alexander Skarsgard as a Viking warrior seeking vengeance after his father and king (Ethan Hawke) is murdered. The Northman has a primal strength (and beauty) and a star-studded cast—Nicole Kidman, Anya Taylor-Joy, and Willem Dafoe—that you get the impression would follow the visionary Eggers just about everywhere. Each photo appears like it might be framed and hung on a wall at Norway’s Lofotr Viking Museum, thanks to Eggers’ fanatical attention to historical detail. The Northman is a dark-as-heavy-metal journey across time. It’s not Conan the Barbarian.
Nine times out of ten, Adam Sandler movies have the sloppy quality of a guy who can’t be bothered to care. But every now and then, he’ll dig deep and deliver a Punch-Drunk Love or an Uncut Gems, sending cinema critics reeling. Hustle is the latest in a long line of Sandler surprises. The comedian provides a touchingly uncomic portrayal as Stanley Sugerman, a former Sixers scout who has reached the end of his career. Then, while on vacation in Mallorca, he meets a raw, tattooed street-ball player (the Utah Jazz’s Juancho Hernangomez) who believes he has what it takes to make it to the big stage under the bright lights of the NBA. Is the kid the real deal, or is Sugerman merely seeing what he wants to see—a seven-foot mirage? Sandler, like Jerry Maguire (albeit with far less emotional manipulation), bets his name and his family’s stability (Queen Latifah is a low-key revelation as his loving wife) on the youngster. Many people already know that Sandler is a lifelong basketball aficionado and a better-than-you’d-expect pick-up player off-screen. And Sandler’s passion for basketball (not just its splendor, but also its dream-slaying dark side) pervades every frame of Hustle, allowing him to deliver one of his all-too-frequent note-perfect performances that don’t feel like acting at all.
Daniel Roher’s documentary about Russian opposition leader Alexei Navalny is both urgent and heartbreaking. The outspoken critic of Putin who is currently in prison for daring to speak truth to power is reminiscent of a Kafka character. This, however, is not fiction; it is fact…and it is both harrowing and comical, as well as comically harrowing. The film depicts how Navalny was poisoned during a trip to Siberia (there was no doubt who was responsible for the assassination attempt), evacuated to a hospital in Germany for treatment, and then returned to Russia only to be detained upon arrival. Navalny’s bravery is unquestionable, but the expertise of his state-sponsored adversaries and tormentors is. They resemble the Keystone Cops and the Saturday morning cartoon pair Boris and Natasha. Their ineptness is astounding. One of the closing moments in the film depicts Navalny in jail, looking tired but not defeated. It’s a shame that this film will never be shown in the one place where it is most needed.
7. Ahed’s Knee
Nadav Lapid, an Israeli director, has done three must-see imports in the last eight years: The Kindergarten Teacher in 2014, Synonyms in 2019, and now this caustic reflection on the limits of artistic freedom in his nation. Avshalom Pollak, a jaw-droppingly good actor, plays a Tel Aviv-based filmmaker who travels to a distant desert community to exhibit his latest film. He is greeted there by an unusual censor: a pleasant young woman (Nur Fibak) from the Ministry of Culture who refuses to pay him until he signs a routine form. However, the format is unusual. It’s a vow to avoid discussing anything potentially contentious. The director takes a combative, even emotionally cruel stance. Ahed’s Knee is a rant, yet it is never didactic or one-dimensional. Lapid is just too cunning for that. Let’s just call it a really entertaining protest.
Over the last five or six years, the boutique studio A24 has emerged as Hollywood’s trendiest kid, producing a mix of tough indies and horror films that don’t insult your intelligence. Its most recent release, X, manages to be both at the same time. With a nod to Tobe Hooper’s 1974 cult classic The Texas Chain Saw Massacre, X is set in Texas in the 1970s, and you can almost feel the dust, perspiration, and pheromones flowing off the screen. The modest cast and crew of a Debbie Does Dallas-style porno hire a spooky old coot’s barn to film their newest skin-flick epic. They immediately discover, though, that the grizzled old farmer and his wife aren’t exactly welcoming hosts—or film buffs. X, directed by Ti West (The House of the Devil), takes a fairly basic exploitation template and transforms it into a bone-chilling, anxiety-inducing freakout. X is an artsy horror picture that doesn’t impose its artiness on you. It simply provides maximal joy-buzzer mayhem.
5. Turning Red
Pixar has been the gold standard for animation for so long that it’s difficult to recall what we watched with our children BTS (Before Toy Story). Domee Shi’s Turning Red is as beautiful and deep as everything the studio has released in the last five years. Meilin Lee (voiced by Rosalie Chang), a 13-year-old Chinese-Canadian, is a model student with a close circle of companions. But she’s also at that uncomfortable age when she’s pining on males and resenting her helicopter mom’s strict supervision. She’s a high-pressure teen, and something has to give. Acne? Anxiety attacks? Nope. Instead, when her emotions become too intense, she transforms into a massive red panda. That’s true, it’s a harmless film metaphor for puberty! You say Teen Wolf has already done that? You’re not entirely wrong. Pixar gets some credit for embracing a non-blonde, non-blue-eyed protagonist at a time when representation on the big screen is sorely lacking. However, it deserves far more credit for making Meilin’s plight feel so universal.
4. Top Gun: Maverick (in theatres)
I’ll just come right out and say it: I was skeptical. I was 16 when the original Top Gun reached theaters during the Reagan era, and while I fell for every second of its bright, need-for-speed allure at the time, its rah-rah red-meat jingoism and gleaming military gear fetishism has tarnished in my eyes as I’ve gotten older. So the notion of returning to Miramar with a 59-year-old Tom Cruise made me very melancholy. He deserves it. For me. For Hollywood’s sake. But it turns out that Top Gun: Maverick is exactly the type of summer blockbuster that most of us are hoping for. Not bad for a season in which nearly every big-ticket tentpole has been a letdown (I’m looking at you, Doctor Strange, Jurassic World Dominion, Lightyear, and Elvis). The big news here isn’t that Cruise still has it (Mission: Impossible fans have known that for a long time), but that Top Gun as an idea is still flying in 2022. After you get past the red-white-and-blue nonsense, the picture is a thrilling and emotional meditation on aging out of relevance for both Cruise and those of us who saw it at the multiplex the first time. I’m not suggesting Top Gun: Maverick is very deep. But underlying its dogfight daredevilry and ponderous introduction of a few of next-gen heroes is more than anyone is conditioned to anticipate for the ten-dollar price of a ticket these days. It stands for capital-E Entertainment.
If Hollywood made a historical epic on the atrocities of twentieth-century colonialism in India, it would most likely be slow, stately, and so drenched in Western guilt (however correctly) that it would resemble, well, Gandhi. RRR, S.S. Rajamouli’s Telugu-language sensory assault, takes the opposite method. It moves as slowly and elegantly as a speedball. It transforms Baz Luhrmann into David Lean. I’ll admit that I was late to this one. I didn’t put it on until a few of pals convinced me that I needed to see it. And, reader, the film’s sheer intensity and inventiveness blew my fucking socks off. Set in the 1920s, before India’s independence from Britain, this high-octane import stars N.T. Rama Rao Jr. and Ram Charan as partners fighting injustice from opposing perspectives. Early on, the two initially work together to save a child from a blazing river, which involves some of the most outrageous cinematic stunts since Mad Max went down Fury Road. I don’t recall blinking for the following hour. This is a long movie (187 minutes), and the plot is quite convoluted and thickety, but Rajamouli’s filmmaking is undeniably crazy and ballsy. Give it 30 minutes if you aren’t certain that this is the one for you. I guarantee that at that moment, resistance will be pointless.
2. Everything Everywhere All at Once
Buckle your seatbelts and prepare for the spring’s trippiest and most crazy film—as well as one of the season’s most under-the-radar success stories. Everything Everywhere All at Once, directed by “the Daniels”—Swiss Army Man’s Dan Kwan and Daniel Scheinert—picks up the gauntlet thrown down a decade ago by Charlie Kaufman and Michel Gondry, the meta joyful pranksters who sneaked cerebral, hand-crafted surrealism into the Hollywood mainstream. It’s also the far superior of the two “multiverse”-themed films now in theaters (sorry, goateed Benedict Cumberbatch). Michelle Yeoh stars as a downtrodden Chinese-American immigrant on the verge of an existential crisis (she’s dealing with an IRS tax audit, trying to arrange a Chinese New Year celebration to satisfy her father, and coping with family problems on multiple fronts). The film then takes a silly sci-fi detour as Yeoh’s Evelyn is twisted into a succession of alternative universes that provide her with the hope and abilities she needs to overcome her mundane challenges. The Daniels perform this low-percentage, high-wire act flawlessly, dazzled by their originality and sheer daring. In an age of seen-it-all-before movie tropes, Everything Everywhere All at Once is the rare film that gives up something you’ve never seen before…and will almost certainly never see again.
1. The Worst Person in the World
Granted, I saw it in February, but director Joaquim Trier’s wonderfully humane Norwegian import and Oscar nominee for Best Foreign Language Film last year is still the best film of 2022. I’ve been on the fence about some of Trier’s previous films, but this one is an instant classic, thanks in large part to Renate Reinsve’s luminous performance as Julie—an aimless Oslo woman on the verge of 30, trying to figure herself out in ways that are so funny, sad, and realistically messy that we feel like we’re spying on someone we’ve known for years. The title may create the idea that Julie is causing havoc and breaking hearts in her wake. However, the title isn’t about her. Plus, she’s lot more complicated than that implies. The Worst Person in the World, told in 12 chapters plus a prologue and an epilogue, is anything from nice and ordered. It’s intricate, unpredictable, bittersweet, and uncertain, just like life. It’s also so full of empathy for Trier’s female lead that you can’t help but fall in love with her even when you know she’s making mistakes. After all, who are we to pass judgment? Trier follows Julie’s romantic encounters, but it is far more interested in getting inside her head, mp4moviez.
tick, which is unusual in Hollywood films We’ll see if anything else can top Trier and Reinsve’s masterwork in the coming months, but they’ve set a very high bar.