To celebrate an incredible year, RadioTimes.com asked our writers and contributors to submit their 10 favourite films to have been released in UK cinemas or on streaming in 2023, and now we’ve aggregated the results to get the final top 25 you can find below.
It’s a brilliantly varied list that includes pretty much something for everyone: new masterpieces from beloved auteurs, incredible debuts from exciting filmmakers, acclaimed international films, pulsating blockbusters, indie and genre hits, two animated features, a documentary and much more.
So, without further ado, read on for RadioTimes.com‘s top 25 UK film releases of 2023.
25 Best Films of 2023: From The Killer to Oppenheimer
25. The Killer
Michael Fassbender made his first film appearance in four years in this neo-noir thriller from David Fincher, adapted from the graphic novel series of the same name by Alexis “Matz” Nolent and Luc Jacamon.
The actor stars as a cold-hearted assassin who turns rogue when he botches a hit and his girlfriend is subsequently targeted – swearing vengeance on all those he deemed partially responsible for the attack. While constantly monologuing about his fastidious process and listening incessantly to The Smiths, The Killer picks off his targets one by one, including a fellow assassin played by a standout Tilda Swinton.
Although perhaps not quite at the level of some of the director’s most revered efforts, it’s a slick and stylish film that provides a lot of entertainment value, with one excellently executed fight sequence in particular destined to live long in the memory. – Patrick Cremona, Senior Film Writer
24. Saltburn
Director-writer Emerald Fennell returned after her conversation-starting film Promising Young Woman with this incredibly entertaining satirical comedy, which tackles the absurdity of the British elite through the eyes of enigmatic outsider Oliver Quick (the magnetic Barry Keoghan) and his obsession with posh Adonis Felix Catton (the charismatic Jacob Elordi).
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Making some thoroughly provocative moves while riffing on the likes of The Talented Mr Ripley and Brideshead Revisited with a noughties sheen, Fennell’s Saltburn sees acerbic lines delivered with aplomb by a stellar cast including Richard E Grant as the eccentric aristocratic Catton patriarch, Archie Madekwe as Oliver’s shrewd rival, and the scene-stealing Rosamund Pike as Felix’s dazzling but cold-hearted mother.
The film also boasts a soundtrack of noughties musical classics, not least the perfect needle drop of Sophie Ellis-Bextor’s classic Murder on the Dancefloor, which you will never remember in the same way again.
Saltburn won’t be everyone’s cup of tea (it tries too hard not to be), but it’s one of the most fun films of the year. – Lewis Knight, Trends Editor
23. Marcel the Shell with Shoes On
Who would have thought that a mockumentary about an anthropomorphic shell wearing tiny orange running shoes could be so profound? Enchanting, whimsical and more emotional than you’d ever expect, Marcel the Shell with Shoes On follows the life of the titular Marcel, a one-inch-taking shell who spends his days wandering around an Airbnb with his ageing grandmother Connie and a pet ball of lint named Alan. When a new guest, Dean (Dean Fleischer Camp), arrives in the house, he decides to use the power of social media to help Marcel discover what happened to the rest of his family, who were accidentally displaced by some old tenants.
22. Eileen
The script for this bleak but alluring noir was adapted by Ottessa Moshfegh and her husband Luke Goebel from her terrific 2015 novel of the same name – and the feel of the book translates impeccably to the silver screen.
Thomasin McKenzie stars as the titular Eileen, a repressed young woman in 1960s Massachusetts whose dull and disillusioned existence is given an unexpected jolt by the arrival of Rebecca, a new psychologist at the boy’s prison where she works, with whom she immediately becomes entranced.
Anne Hathaway turns in an irresistible, perhaps career-best performance as Rebecca, while director William Oldroyd uses period stylings and Richard Reed Parry’s terrific score to craft a richly atmospheric mood that ensures the film becomes something of a twisted delight – especially when a third-act rug-pull ingeniously turns the film into something quite different from what audiences members may expect. – Patrick Cremona, Senior Film Writer
21. Maestro
Bradley Cooper announced himself as a major new directorial voice with his Oscar-nominated remake of A Star Is Born five years ago, and his second feature Maestro proves that was no fluke. Focusing on one of the most iconic American musicians of the 20th century, Leonard Bernstein (played by Cooper himself), the film shines a light on the sometimes volatile relationship he shared with his wife Felicia Montealegre (Carey Mulligan).
Filmed in both black and white and colour, it is consistently gorgeous to look at and also includes a brilliant soundtrack full of some of Bernstein’s finest work. Meanwhile, the performances are superb – with both Cooper and Mulligan emerging as possible frontrunners for major awards attention.
The film runs the full gamut of emotions, and there are several standout scenes: from a joyous dance sequence during a rehearsal for On the Town and a breathtaking six-minute scene of Bernstein conducting Gustav Mahler’s Resurrection Symphony to a blistering argument between Bernstein and Montealegre at their New York apartment, and several heartbreaking moments when the latter falls ill. It’s well worth a watch. – Patrick Cremona, Senior Film Writer
20. Women Talking
Powered by its performances and bleak subject matter, Women Talking is, without a doubt, one of the most important stories to have come out of cinema in the last year. Written and directed by Sarah Polley and based on the novel of the same name by Miriam Toews, Women Talking follows just that – a group of women from an isolated religious community discussing the potential of their future following the discovery that the men in their community have been regimentally drugging and sexually assaulting them. Do they do nothing, stay and fight, or leave?
Examining the consequences of male aggression, the importance of personal responsibility and the power of the female community, Women Talking is thought-provoking and expertly crafted, with Rooney Mara, Claire Foy and Jessie Buckley providing emotionally intense and perfectly nuanced performances. With a hopeful conclusion, Women Talking is a tragic but essential watch that is, quite frankly, a quiet stroke of genius. – Chezelle Bingham, Sub-Editor
19. John Wick: Chapter 4
Four films in and it’s still the case that this franchise doesn’t have any right being as good as it is. The first film was the perfect one-and-done action film, with a closed-off revenge premise and no reason to continue. But continue the franchise did, with two phenomenal sequels arriving in the form of Chapters 2 and 3.
However, even after all that, no one could have expected this fourth outing to be as good as it was, becoming easily the second-best film in the series – and maybe even vying for the top spot. Keanu Reeves is still electric in this role, and the supporting cast continues to excel, with Donnie Yen proving an incredible addition.
But this film is all about the action sequences, which are so pristinely choreographed, so propulsive, so dizzying and so inventive, that it is, at times, difficult to believe what you’re watching. With the movie also managing to stick its emotional landing, it’s truly a feat of action filmmaking. – James Hibbs, Drama Writer
18. Passages
Indie darling Ira Sachs returned with this intoxicating Parisian love triangle. Passages primarily centres on the eccentric narcissist Tomas (the masterful once-in-a-generation talent Franz Rogowski) as he implodes his marriage to long-suffering husband Martin (a brittle but understated Ben Whishaw) to pursue passion with the vibrant teacher Agathe (the ever-charismatic Adele Exarchopoulos).
Love triangles in Paris are nothing new to cinema, but Sachs brings a wry pragmatic eye to proceedings, aided by the utterly well-realised character of Tomas, to provide a thoroughly original entry into his filmography.
Full of erotic passion, cringe-inducing dinner scenes and heartbreaking abandonment, Passages is simultaneously the most romantic and unromantic film of the year – and is all the messier and better for it. – Lewis Knight, Trends Editor
17. Close
Lukas Dhont follows up his film Girl with a subtle and heartbreaking tale of a childhood friendship severed by the invasion of gender roles. Set in the Belgian countryside, we follow Rémi and Léo, two 13-year-old friends and neighbours who are inseparable: they run through fields of flowers, play games and share a bed.
But when the duo start high school, other students start to notice their closeness and ask if they’re a couple. While Léo’s response is to push Rémi away and join a macho ice hockey team, Rémi is devastated and confused by the rejection, which ultimately builds to something even more tragic.
With brilliant and authentic performances from the two leads, this is a gut-wrenching and delicately understated portrait of adolescent fear and self-hatred. – Molly Moss, Trends Writer
16. Blue Jean
Georgia Oakley’s debut feature is a powerful and poignant portrait of homophobia in Margaret Thatcher’s Britain. We follow Jean (a terrific performance from Rosy McEwen), a Newcastle-based lesbian PE teacher who leads a quiet double life in the nascent days of Section 28, which banned schools from “promoting homosexuality”, and hid her identity from her employers.
But when a new pupil, Lois (Lucy Halliday), appears at the gay bar Jean frequents with her loud and proud and undeniably cool friends, Jean’s gay and straight worlds suddenly collide. Back at school, Jean is faced with a new dilemma: how to defend Lois from homophobic abuse without sabotaging herself, which ultimately leads to a devastating betrayal.
This is a painful but necessary watch, and its message feels frustratingly timely. – Molly Moss, Trends Writer
15. All the Beauty and the Bloodshed
This documentary from acclaimed filmmaker Laura Poitras arrived in the UK earlier in 2023 having already scooped the top prize at last year’s Venice Film Festival. It explores the life, work and activism of legendary American photographer Nan Goldin, showcasing some of her most iconic images and slideshows whilst also chronicling her recent campaign against the prominent Sackler family and their role in the Opioid crisis.
An absorbing look at an extraordinary artist, the film offers plenty of fascinating insights into both the personal and political lives of Goldin and those she has surrounded herself with throughout her life. There is a particularly admirable urgency to the parts showing her dynamic with the Sacklers, too, with some scenes likely to make audience members boil with rage. – Patrick Cremona, Senior Film Writer
14. Babylon
The perfect three-hour indulgence for those of us who feel like we should have been born during Hollywood’s Golden Era, Damien Chazelle’s epic Babylon predominantly follows Nellie LaRoy, a brilliant but eternally reckless upcoming film star as she navigates a career in 1920s Hollywood.
Just as all good films do, Babylon draws you in from the very start, opening with a raucous party sequence in which sex, drugs and jazz brilliantly capture the fantastic debauchery of the Roaring ’20s. It’s immersive and insane and is the highlight of the film, rivalled only by a hilariously constructed set-piece where Nellie and her film studio attempt to film a scene with sound with some tragic consequences.
As with anything, Babylon has seen its fair share of criticism, most of it surrounding its lengthy runtime, vulgarity and complexly cynical ending, and sure, Babylon might not be the most practical of films. However, it is certainly one that is worth the rollercoaster – if not for its refreshing take on Hollywood, then for its stunning cinematography, Oscar-worthy performances and dazzling soundtrack.
Starring Brad Pitt, Diego Calva, Jean Smart and Samara Weaving alongside the always outstanding Margot Robbie, Babylon successfully immerses its audience in a world that may look enticing but is certainly not always all it is cracked up to be. – Chezelle Bingham, Sub-Editor
13. Guardians of the Galaxy Vol 3
As a fan, it brings me no joy to say that the Marvel Cinematic Universe currently lies in a shambolic state – but it still provides morsels of hope from time to time. James Gunn’s final addition to the bloated shared universe was one such instance.
After four years away from the big screen (not counting that daft cameo in Thor: Love and Thunder), it was a delight to be swept up on another adventure with these loveable misfits – led by Chris Pratt on top form as Peter Quill, aka Star-Lord.
His punchy delivery of a rare MCU “f-bomb” justifies Guardians’ inclusion on this list all on its own (in my opinion). Meanwhile, Dave Bautista and Pom Klementieff proved once again to be a dynamite comedy double act – too bad that the former won’t be sticking around.
Of course, there’s much more to this blockbuster than just gags. In fact, it stands out as a much darker story than its two predecessors, delving into the long-alluded to abuse that Rocket (Bradley Cooper) suffered as a heartbreakingly cute little kit, and bringing his story full circle in the process. Gunn: You’ll be missed. – David Craig, Senior Drama Writer
12. Spider-Man: Across the Spiderverse
Isn’t it wild that the most exciting animated franchise in the Western world right now comes from the same studio (nay, same franchise!) that brought us Morbius? Indeed, this barnstorming sequel proved without a doubt that 2018’s Into the Spider-Verse wasn’t just a glorious fluke. Phew!
Here, the ante was upped considerably with several wonderful new characters – each bringing their own distinct visual flair – with Daniel Kaluuya’s Spider-Punk, Karan Soni’s Spider-Man India and Oscar Isaac’s Spider-Man 2099 proving to be particular highlights.
However, it wasn’t the soulless cameo-thon that most recent superhero films have devolved into. Crucially, a sharp focus on Miles and Gwen – voiced superbly by Shameik Moore and Hailee Steinfeld – remains at the heart of the chaos.
While Across the Spider-Verse is about as close to a flawless sequel as we could expect, there remains one major shadow over the film: Animators have complained about the “relentless” production process (which Sony disputes) and this should be investigated to make for a threequel we can all enjoy. – David Craig, Senior Drama Writer
11. The Eight Mountains
Taking place over four decades, as best friends Pietro and Bruno tackle the trials and tribulations of growing up, experiencing failure and trying to balance their personal and professional lives, The Eight Mountains takes a relatively small budget and uses it to tackle the biggest ideas. It’s often understated, very much a slow-burner, but the thought-provoking themes and layered, complex performances from leads Luca Marinelli and Alessandro Borghi hold the audience for the entirety of its pretty lengthy runtime.
If you’re looking for a high-octane thrill ride, this ain’t it. But if you’re after some cinema that can speak to you on a deeper level, hell, that dives into what it means to be human – covering both the good and the bad – you won’t find a better fit than this gorgeous work of art. – George White, Sub-Editor
10. Anatomy of a Fall
As the title suggests, Justine Triet’s courtroom mystery is a forensic examination of both the fall that kills Sandra Voyter’s husband Samuel, and the personal fall from grace the lead character suffers when she is accused of his murder. The Palme d’Or-winning film spins its enthralling web around two of the absolute best performances of 2023.
Sandra Hüller is mesmerising at the centre of it all, equal parts vulnerable and inscrutable, both in control and spiralling. A flashback argument between the central couple is one of the most electrifying and brutal pieces of cinema all year.
Plaudits also deserve to go to young actor Milo Machado Graner, who plays the son caught up in all the fall fallout with a performance of such rare maturity that he really should be generating much more Best Supporting Actor Oscar talk. Speaking of which, honourable mention to Messi the dog – the Daniel Day-Lewis of canine performers. – Christian Tobin, Production Editor
9. Rye Lane
Every now and then, a film arrives that feels like a big deal, a proper moment that announces the arrival of a fresh talent that is sure to become a star of their generation. In Rye Lane, a truly charming romantic comedy, this happens not just in front of the screen – twice, in the form of David Jonsson and Vivian Oparah – but also behind it, as Raine Allen-Miller’s debut feature is imbued with the distinctive voice of a filmmaker that feels like they’re set to craft one hell of a career.
For all of this to happen in a genre that has certainly been lacking of late – the romcom – feels even more significant. This fun, funny and heartfelt trip through the streets of South London provides a reminder of how to get the best out of the genre: take two loveable, flawed leads, give them a platform to bring personality and chemistry to the screen and wait for the magic to happen. – George White, Sub-Editor
8. Talk To Me
It really shouldn’t be a surprise by now, but A24 still managed to catch us off guard earlier this year when, out of nowhere, they delivered one of the best horror films we’ve seen in a very long time.
Directors Danny and Michael Philippou took the premise of what is essentially a séance, something so simple and which has been done so many times before, and gave it not only a modern twist, but added pitch-perfect social commentary, and still made it a truly unnerving, unbearably tense time at the movies.
Add in an astounding performance from Sophie Wilde and you’ve got one of the most unique, atmospheric cinema experiences of the year, which both made us think and also haunted our dreams. – James Hibbs, Drama Writer
7. Barbie
Does this film even need an introduction? Directed by the masterful Greta Gerwig and starring the impossibly perfect Margot Robbie as every little girl’s favourite childhood toy, Barbie is a technicolour dream that follows our titular Barbie as she seeks to find the source of her disillusion with Barbieland following an existential crisis.
With a superb cast, iconic one-liners, beautiful costume design and an important lesson on misogyny that, despite smacking you right in the face, a lot of people somehow still managed to miss, Barbie is the perfect blend of comedy and social satire that is, at the end of it all, just a whole lot of fun.
There is no doubt that Barbie is destined to go down in history – if not for how many records it broke, then for its ability to have us all shouting “Hi Barbie!” whenever we saw someone wearing the colour pink – and there’s no denying that it deserves every accolade coming its way. – Chezelle Bingham, Sub-Editor
6. The Fabelmans
With The Fabelmans, Steven Spielberg crafted the most personal film yet of his astonishing career – drawing heavily from his childhood to create a moving portrait of an aspiring filmmaker growing up. Gabriel LaBelle takes on the central role of Sammy Fabelman, with Paul Dano, Michelle Williams, Seth Rogen and a scene-stealing Judd Hirsch among the stellar supporting cast.
The film contains generous helpings of nostalgia and charm, but avoids straying into mawkishness thanks to a deep undercurrent of melancholy, best exemplified by a dialogue-free scene in which Sammy discovers that his mother has been unfaithful to his father while editing home video footage. Meanwhile, the film’s closing scene – which features one great American director making a cameo as another – is one for the ages. – Patrick Cremona, Senior Film Writer
5. Mission: Impossible – Dead Reckoning Part One
After breaking records with Top Gun: Maverick last year, Tom Cruise returned to his other great action franchise in this seventh instalment of the long-running Mission: Impossible series. This time, IMF agent Ethan Hunt must tackle his most menacing threat yet: an AI weapon known only as “the Entity”.
The weapon has been causing significant disruption to the world’s digital infrastructure, and so, aided by his accomplices – including series newcomer Hayley Atwell – Hunt races to stop various nefarious players from accessing the key to control it.
The film is the first half of a planned two-parter, but audiences needn’t worry about being short-changed – there are more than enough high-octane stunts and anxiety-inducing moments to set pulses racing, and the film adeptly tees up its successor while offering a satisfying narrative arc of its own. With several thrilling set-pieces and more breathtakingly death-defying stunts from Cruise, this is the epitome of popcorn cinema. – Patrick Cremona, Senior Film Writer.
4. Killers of the Flower Moon
Adapted from David Grann’s non-fiction best-seller of the same name, Martin Scorsese’s late-career opus tells of a chilling chapter in American history. It follows events as scores of Osage Native Americans are systematically murdered in 1920s Oklahoma, shortly after the discovery of oil on their tribal lands had made them extremely wealthy.
Dealing primarily with the experiences of First World War veteran Ernest Burkhart (Leonardo DiCaprio), his rancher uncle William Hale (Robert De Niro) and his Osage wife Mollie (Lily Gladstone), the film is unsparing in its depiction of the cold-blooded evil with which the conspiracy’s orchestrators operated.
At three-and-a-half hours, it’s a true epic – a richly detailed film that tells its story with patience and precision, slowly unfolding until it reaches a crescendo that is more powerful for the sustained build-up. Gladstone is impeccable, while the pounding beat of Robbie Robertson’s score lends the film a great urgency and Scorsese’s unorthodox choice of ending is a move of genius, giving the film an even greater power. – Patrick Cremona, Senior Film Writer
3. Past Lives
Celine Song’s Past Lives highlighted perfectly the age-old saying of right person, wrong time, and it broke hearts everywhere as it hit the silver screen. At its core, the movie follows two childhood friends, Nora (Greta Lee) and Hae Sung (Teo Yoo), over 24 years from their time as children through to their adult lives and all the roadblocks in between.
As described by Nora in the movie, Past Lives symbolises the idea that our souls have existed in previous lifetimes, with our lived experiences shaped by what happened to us in the past, which makes the final scene in the movie the most heartbreakingly beautiful moment of the entire film.
Despite my eyes being filled with tears, the message of the movie became explicitly clear when Nora and Hae Sung say goodbye to one another for what seems to be the last time. While the pair were meant to be together, their paths crossed at the wrong moment, but maybe in another lifetime, they grew old together and nothing stood in their way. – Katelyn Mensah, Entertainment and Factual Writer
2. Tàr
Few film protagonists have taken on such a life of their own as controversial conductor Lydia Tár.
Director Todd Field has made only three feature films in the past two decades, but Tár proved his talents were worth the wait in this darkly comic, unsettlingly enigmatic, and propulsive maelstrom of a film that charts the downfall of celebrated conductor Lydia Tár after revelations about her personal life threaten to destroy all else she loves.
Unpacking professional power dynamics, the age-old debate of ‘art versus artist’, identity politics and the supposed new age of ‘cancel culture’, and all with a crackling script, Field’s ambitious filmmaking combines the surreal and the naturalistic, particularly in the enigmatic third act – which might leave you questioning what is reality, what is nightmare, and what is both.
Field’s ambition and style are matched in the almost otherworldly performance from Cate Blanchett, cementing herself as one of our greatest living actors in the first few scenes alone.
A dark odyssey and a portrait of an artist, Tár remains stands as a true artistic achievement in any year. – Lewis Knight, Trends Editor.
1. Oppenheimer
A three-hour, R-rated portrait of the father of the atomic bomb, where glossy Hollywood spectacle is largely eschewed in favour of dialogue-heavy security hearings, discussions of quantum physics in fusty universities and McCarthy-era political machinations – that Oppenheimer got anywhere near $1 billion at the box office is enough of a marvel, the fact it’s also the best film of the year is nothing short of seismic.
Cillian Murphy’s J Robert Oppenheimer is as fascinatingly evasive as his first initial – moving from active to passive in his own story, as the film urges viewers to pass their own judgment on his formidable legacy. Meanwhile, a never-better Robert Downey Jr is a scene-stealer as Lewis Strauss, stripping back his movie star charisma to fly under the radar with devastating effect (his frustrated smirk-cum-grunt during a tense group meeting is worth the price of IMAX admission alone).
But in truth, the real star is Christopher Nolan. While the Trinity test is the much-talked-about showstopper, there are daring narrative choices throughout. The framing of the infamous “destroyer of worlds” quote is not a filmmaker playing it safe, while the film’s final moments are horrifying in ways most horror movies could only dream of. Pacy, prescient and provocative, no other director could have made this film, this big, this well. A remarkable achievement. – Christian Tobin, Production Editor
The following writers submitted lists for this poll: Patrick Cremona, James Hibbs, George White, Molly Moss, Chezelle Bingham, Katelyn Mensah, Christian Tobin, Lewis Knight, David Craig, Sam Moore, Max Copeman, Josh Winning, Calum Baker, Jeremy Aspinall, Kevin Harley, Alan Jones, James Mottram, Jayne Nelson, Matt Glasby, David Parkinson, Emma Simmonds and Amber Wilkinson.
Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what’s on.
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