Film 2022 À Voir : Quel Est Le Plus Sous-Estimé ?

2022 was such a stacked year for films that it's hard to pick just a few favorites. One that completely blew me away was 'Everything Everywhere All at Once'—it’s this wild, genre-defying rollercoaster that mixes martial arts, multiverse chaos, and heartfelt family drama. Michelle Yeoh’s performance alone is worth the price of admission, and the way the film balances absurd humor with existential depth is just masterful. Another standout for me was 'The Banshees of Inisherin,' a darkly comic fable about friendship and futility. Colin Farrell and Brendan Gleeson’s chemistry is electric, and the Irish coastal setting feels like its own haunting character. On the blockbuster side, 'Top Gun: Maverick' surprised everyone by being way better than it had any right to be. The aerial sequences are jaw-dropping, and Tom Cruise’s commitment to practical effects makes every moment feel visceral. For something quieter but equally powerful, 'Aftersun' wrecked me in the best way—it’s a tender, achingly personal portrait of fatherhood and memory, with Paul Mescal delivering a career-best performance. And let’s not forget 'RRR,' which is pure, unadulterated spectacle—think bromance, revolution, and tigers. I’ve rewatched the 'Naatu Naatu' dance sequence an embarrassing number of times.

Jude Law has this uncanny ability to disappear into roles, making even his lesser-known films worth watching. One that doesn't get enough love is 'The Young Pope'. Okay, technically it's a series, but his performance as Pope Pius XIII is mesmerizing—charismatic, unsettling, and layered. It’s a slow burn, but the way he balances vulnerability with arrogance is masterclass acting. Paolo Sorrentino’s direction is surreal and gorgeous, but Law carries it with this quiet intensity. I stumbled upon it during a lazy weekend binge and couldn’t shake it for days. It’s the kind of role that lingers, proving he’s more than just a pretty face in blockbusters. Another hidden gem? 'Closer'. Yeah, it’s got an all-star cast, but Law’s Dan is the most tragically human—a walking contradiction of charm and selfishness. The dialogue cuts deep, and his chemistry with Natalie Portman is electric. It’s a film about ugly truths, and Law doesn’t flinch from making his character unlikable yet weirdly sympathetic. Underrated? Maybe not in critic circles, but casual viewers often overlook it between his flashier roles.

Nothing gets my heart racing like a good underwater horror flick, and if we're talking about the most terrifying one ever, 'The Abyss' (1989) still haunts me decades later. The sheer isolation of the deep sea combined with those eerie, otherworldly encounters... ugh, it's pure nightmare fuel. James Cameron somehow made the ocean feel both majestic and suffocating—like you're constantly one wrong move away from being crushed or left in eternal darkness. What really gets under my skin, though, is the psychological dread. That scene where Ed Harris’s character nearly drowns while his team panics topside? I held my breath without realizing it. And let’s not forget 'Underwater' (2020)—a newer contender that throws Lovecraftian monsters into the mix. The claustrophobic suits, malfunctioning equipment, and creatures lurking just outside the light... it’s like 'Alien' but with way fewer escape routes.

2022 was a wild year for cinema, and I still find myself rewatching some of those gems. 'Everything Everywhere All at Once' completely rewired my brain—it's this chaotic, heartfelt multiverse adventure that somehow balances absurd humor with deep existential questions. Michelle Yeoh is a force of nature in it, and the way the film juggles family drama with cosmic stakes still blows my mind. Then there's 'The Banshees of Inisherin,' which sneaks up on you with its quiet, melancholic brilliance. Colin Farrell and Brendan Gleeson deliver performances so nuanced you feel every ounce of their fractured friendship. It's funny until it isn't, and then it lingers like a fog. For pure spectacle, 'Top Gun: Maverick' was the blockbuster that actually deserved the hype. Those aerial sequences? Jaw-dropping. Tom Cruise somehow made a 30-years-later sequel feel both nostalgic and fresh. On the darker side, 'Pearl' was my favorite horror surprise—a Technicolor nightmare with Mia Goth giving an unhinged performance that should've gotten more awards buzz. And let's not forget 'Aftersun,' a quiet, devastating portrait of fatherhood that left me in pieces. It's the kind of film that haunts you for weeks, full of tiny details that only reveal their weight on rewatches.

2022 was such a wild year for films, and I still can't get over how many gems flew under the radar while others dominated the conversation. 'Everything Everywhere All at Once' was an absolute masterpiece—I mean, where do you even begin? It’s this chaotic, heartfelt blend of sci-fi, family drama, and absurd humor that somehow works perfectly. The critics went nuts for it, and rightfully so. Michelle Yeoh’s performance? Stellar. The way it tackles existential themes while being ridiculously fun is just chef’s kiss. Then there’s 'The Banshees of Inisherin,' which hit me like a slow-burning gut punch. Colin Farrell and Brendan Gleeson’s chemistry is unreal, and the film’s quiet, melancholic vibe lingers long after the credits roll. Critics adored its sharp writing and the way it balances humor with deep, existential sadness. And let’s not forget 'Tár'—Cate Blanchett’s portrayal of a conductor unraveling was hypnotic. It’s one of those films where you notice new layers with every rewatch. Honestly, 2022 felt like a year where filmmakers took big swings, and so many of them landed.

Netflix has a treasure trove of comedies, but if I had to pick one that had me laughing uncontrollably, it'd be 'The Nice Guys'. The chemistry between Ryan Gosling and Russell Crowe is pure gold—Gosling's physical comedy is something I didn't know I needed until I saw him scream like a kid discovering a dead body. The script is sharp, the 70s vibe is nostalgic, and the jokes land with perfect timing. It's not just slapstick; there's a cleverness to the humor that keeps you hooked. What I love about it is how it balances absurdity with heart. The plot twists are ridiculous in the best way, and even the side characters steal scenes. If you're into buddy cop films but want something fresher, this is it. I've rewatched it three times, and the joke where Gosling tries to break into a bathroom still cracks me up.

If you're looking for something fresh and visually stunning, 'Dune: Part Two' absolutely blew me away this year. The way Denis Villeneuve expands Herbert's universe is just breathtaking—every frame feels like a painting, and the political intrigue gets even juicier. Timothée Chalamet and Zendaya have this electric chemistry that wasn’t fully tapped in the first film, and Austin Butler as Feyd-Rautha? Chillingly good. I dragged three friends who hadn’t even seen 'Part One,' and they left the theater obsessed. It’s rare for a sequel to outshine its predecessor, but this one does it with desert-dusted grandeur. For something completely different, 'The Zone of Interest' haunted me for days. It’s a Holocaust film unlike any other—no graphic violence, just the mundane horrors of a Nazi family living next to Auschwitz. The sound design alone deserves awards; you hear screams, gunshots, and trains in the distance while they plant roses. Jonathan Glazer makes evil feel bureaucratic, which might be scarier than any monster movie. Not an easy watch, but one of those films that rewires how you think about cinema.

Choosing the 'best' film of 2024 is tricky because it really depends on what kind of stories you connect with, but one that’s been living rent-free in my head since I watched it is Denis Villeneuve’s 'Dune: Part Two.' The way it expands on the first film’s world-building is just chef’s kiss—those sweeping desert landscapes, the political intrigue, and Timothée Chalamet’s Paul Atreides stepping fully into his messiah role? It’s epic in every sense. The sound design alone had my theater seat vibrating, and the emotional weight of the Fremen’s struggle hit harder than I expected. If you’re into sci-fi that feels both grand and deeply human, this one’s a must. That said, if you’re craving something totally different, 'The Bikeriders' surprised me with its gritty, visceral take on 1960s motorcycle culture. Austin Butler and Tom Hardy bring this raw energy to their roles, and the cinematography makes every frame look like a vintage photograph come to life. It’s less about plot and more about vibes—think 'Goodfellas' but with leather jackets and revving engines. I walked out of the theater smelling imaginary gasoline, which is either a recommendation or a warning, depending on your taste! Personally, I loved how unapologetically immersive it was.

You know, 'Crank' always springs to mind when people ask about underrated Statham films. It's this adrenaline-fueled chaos where he plays Chev Chelios, a hitman poisoned and forced to keep his heart rate up to stay alive. The premise is bonkers, but Statham sells it with this manic energy that’s just infectious. The sequel, 'Crank: High Voltage,' doubles down on the insanity with even more over-the-top stunts and dark humor. It’s pure, unapologetic fun, yet it never gets the same love as his 'Transporter' or 'Fast & Furious' roles. What I adore about 'Crank' is how it doesn’t take itself seriously. It’s a video game on film—relentless, ridiculous, and somehow deeply charismatic because of Statham’s commitment. The way he growls lines like 'I’m as mad as hell' while hijacking an ambulance? Iconic. It’s a shame more people don’t see it as the cult classic it deserves to be.

2022 was such a wild year for films, wasn’t it? The kind of year where you’d walk out of the theater feeling like your brain had been rewired. At the top of my list, and probably everyone else’s, is 'Everything Everywhere All at Once'. This film is pure chaos in the best way—absurd, heartfelt, and visually stunning. It’s the kind of movie that makes you laugh, cry, and question reality all at once. Michelle Yeoh’s performance alone is worth the price of admission. Then there’s 'The Batman', which gave Gotham a grimy, noirish vibe that felt fresh. Robert Pattinson nailed the brooding detective angle, and that car chase scene? Chills. On the lighter side, 'Top Gun: Maverick' was the blockbuster we didn’t know we needed. Tom Cruise defying age and physics while making jet fighters look like the coolest thing ever? Sign me up. For something quieter but equally powerful, 'Aftersun' destroyed me in the best way. Paul Mescal’s portrayal of a struggling father is so subtle yet devastating. And let’s not forget 'RRR'—a Bollywood epic that’s basically fireworks on screen. The dance sequences, the action, the melodrama—it’s all dialed up to 11. If you haven’t seen these yet, cancel your plans and binge them ASAP.