Andrew Bank's 2023 Favorites

I casually ingested nearly 200 movies, 50 television shows, 50 concerts, and hundreds of new tunes in 2023. My annual list of lists returns for your reading, viewing, and rocking pleasure. Feel free to shame me for whatever I missed...

MOVIES

*Reviews can also be found on my Letterboxd

23. NO HARD FEELINGS

Ten years ago, I attended a LATE SHOW WITH DAVID LETTERMAN taping and Jennifer Lawrence was the principal guest (promoting CATCHING FIRE). She immediately launched into a full-on charm/quirk offensive and I was smitten. Despite Dave’s best efforts to stifle her spark (he literally smothered her in a blanket) late night’s checked-out King of Irony also couldn’t resist her serious star power.?

2022's CAUSEWAY and NO HARD FEELINGS is quite the calculated and compelling “comeback” statement.?Both movies flirt with excellence while settling for a specific type of genre competence that’s arguably more refreshing. Neither one is remotely memorable without J-Law.?

22. CHAMPIONS

After Steve Buscemi and Samuel L. Jackson, I think Woody Harrelson appears in more things I like than any other actor. Even though?CHAMPIONS is quite formulaic (and over three decades older than Woody's more iconic basketball movie), it will surprisingly win you over, broaden your perspective, and melt your heart.?

Beautiful ensemble. Farrelly comedies tend to be uncomfortably outrageous. This is empathetic, grounded, sweet, and way better for it.

Can’t stop thinking about how many movies Kaitlin Olson could’ve enriched in the past. Even though she’s a seasoned veteran, her future feels very bright.

21. DAVID HOLMES: THE BOY WHO LIVED

Throughout my TV career, I've spent a lot of time with folks who have been tragically paralyzed. While every individual's experience is unique, a shared desire for dignity and relative normalcy can offer life-altering perspective for us all.

This Daniel Radcliffe-produced HBO documentary is extra essential viewing for HARRY POTTER heads. Magically moving closing sequence.

20. THE ZONE OF INTEREST

Though it’s hard to picture of a less entertaining movie, this unusual experience effectively presents evil in a manner few films (if any) ever have.?The hauntingly casual careerism, domesticity, and proximity will stick with you.?

Saw this in Quentin Tarantino’s 100-year-old Vista Theatre (eerily older than the Holocaust itself) and it undoubtedly deepened my experience. Jonathan Glazer offers no revisionist, INGLORIOUS BASTERDS-esque relief or redemption. Only a patiently painful experience that simultaneously makes post-credits fresh air feel like a blessing, burden, and challenge.

19. THE HOLDOVERS

While I expected Alexander Payne & Paul Giamatti's overdue reunion to be a bit more eccentric, I ultimately found it refreshingly straightforward. A startling mouse in my 34th Street AMC theater didn't keep me from enjoying the rock-solid performances and throwback vibes.

Thomas Haden Church wasn't available for the headmaster role?!

18. SANCTUARY

SUCCESSION for repressed sickos. Christopher Abbott’s always good. Margaret Qualley is a generational screen presence.

17. BOTTOMS

A crowd-pleasing mix of BARBIE, EASY A, FIGHT CLUB, SUPERBAD, and Maude Apatow’s EUPHORIA play.?Just when I thought it was getting too weird, it wisely gets even weirder.?

Ayo Edebiri has a 5-star approval rating and this would’ve been significantly worse with anyone other than Marshawn Lynch. Revelatory performances.

16. FLORA AND SON

Been an Eve Hewson enthusiast since THE KNICK. She makes the most of her movie star-making role without seeming like a charmingly edgy FLEABAG or TRAINWRECK tribute act.

While I naturally found myself yearning for BEGIN AGAIN/ONCE/SING STREET-esque musical heights, FLORA would feel like fantasy if its songs were that good! John Carney and Gary Clark are talented enough to exercise purposeful restraint.

Sometimes a grounded verse hits harder than a sweeping chorus.

15. YOU ARE SO NOT INVITED TO MY BAT MITZVAH

Surprisingly sweet, meaningful, and mainstream Jewish representation. Love how the four Sandlers appear in the end credits together. Sunny has star potential. As does Sarah Sherman. Adam and Adele Dazeem need to complete a husband/wife trilogy.

Wasn't prepared for one gross moment that occurs twice. Don't think I've ever seen/heard that in a movie before. Once would've been Dayenu.

14. GRAN TURISMO

Corny, committed, predictable, and improbably triumphant. Superior to most game adaptations and sports movies. Neill Blomkamp’s kinetic direction and the steady performances pair very nicely.

13. FERRARI

“To my wife and all my sweethearts. May they never?meet.“

Revs up, refuses to pump the breaks, and narrowly surpasses its obstructive flaws (Michael Mann, for better and worse, clearly hasn’t seen WALK HARD). Makes several critical choices Ridley Scott’s bittersweet NAPOLEON avoids.?

While FERRARI is inferior to OPPENHEIMER, I enjoyed it more (entirely due to Mann’s explosive closing hour). Penélope Cruz couldn’t be more compelling.?Shailene Woodley couldn’t be more miscast.?

It remains incomprehensible that Adam Driver has only been in our lives for a little over a decade. Unparalleled run of eclectic roles.?He’s singular, seems to know it, and loves collaborating with legendary directors who will exploit his complex contradictions. No screen presence this physically imposing feels as emotionally?precise.

12. 30 FOR 30: THE LUCKIEST GUY IN THE WORLD

Bill Walton is one of my heroes. Remarkable passion, positivity, resilience, and humility. Grateful I got to meet him in 2016.

This is a perfect Steve James (HOOP DREAMS) project. Love how it fortuitously aired during 2023's NBA Finals. Bill Walton and Nicola Joki? share a selfless basketball spirit.

11. POOR THINGS

While Yorgos Lanthomis's latest prioritizes purposeful silliness over lasting profundity, Emma Stone's masterful performance warmly elevates the uncomfortable ride.?

Margaret Qualley does a lot with very little (sadistic SANCTUARY reunion!).

10. SPIDER-MAN: ACROSS THE SPIDER-VERSE

Intensely imaginative and immersive. While Marvel doesn't mean all that much to me, it's hard to articulate how special this soon-to-be trilogy must feel for so many. Expansive storytelling that feels this inclusive and inspired is quite inspiring. It's also in high demand.

Oscar Isaac's animated performance elevates the extraordinary second half. I like to think he, Jake Johnson, and David Krumholtz (sadly not present in this film) get mixed up in the INSIDE LLEWYN DAVIS-verse.

9. DUNGEONS & DRAGONS: HONOR AMONG THIEVES

Honorable and optimal execution. While I know nothing about the source material, this cinematic universe is clearly in the steady hands of folks who know what makes stars shine.

8. BARBIE

Five nights before seeing the year's biggest blockbuster, I watched Matchbox Twenty perform over twenty accessibly angsty pop-rock bangers at Long Island’s iconic Jones Beach Theater. For more than two decades, I’ve unapologetically admired this band’s skillful ability to avoid “butt rock” branding in favor of a more charming, CVS Pharmacy-friendly legacy. You probably like (or can at least tolerate) them way more than you realize.

To me, Rob Thomas is more than a sweaty himbo “Smooth” meme. His underratedly consistent discography has been a longtime emotional outlet and source of karaoke inspiration. There’s real heart, heartache, ego, empathy, loneliness, lust, and sensitivity in his music (skim the singer-songwriter’s traumatic Wikipedia bio and you’ll discover why he’s “a little bit angry”). Despite his fame, fortune (over 80 million records sold), and enduring frontman handsomeness, he’s convincingly “Unwell” and braving the “Real World” like the rest of us supporting characters. Rob Thomas is Ken and Ken is me.

Although BARBIE’s soon-to-be iconic “Push” singalong feels like it was written specifically for my enjoyment, I suspect it'll inspire a lighthearted cultural/critical Matchbox reappraisal (I can assure you the band's name was not inspired by Mattel's beloved toy cars). By finding humor in this vulnerable 1997 hit (over something more obvious like “Wonderwall” or the following year’s “Iris”) Gerwig shrewdly highlights the thoughtfulness driving countless savvy choices.

Casting Margot Robbie is a more obvious and significant example. Warner Bros./Mattel’s surprisingly worthwhile IP endeavor completely falls apart without a generational star who was born to purposefully own and selectively subvert her timeless beauty. It’s impossible to envision another lead. She (33) and Gosling (43) have crafted peerless resumes and this immediately becomes an essential text for each of 'em.

Gerwig’s clearly a SEX EDUCATION enthusiast. Another sign of great taste. Are we sure Emma Mackey isn’t Robbie’s long-lost sister?

While insecure dweebs like Ben Shapiro obviously dragged this satisfying smash's “woke” messaging, being offended by BARBIE will only make its pleasurably heavy-handed feminism more accurate, revealing, and powerful. Though Gerwig generally loves and understands who/what she’s making fun of, she has no time for the disingenuous discourse her inclusive juggernaut will continue to transcend. There's still a long way to go, but let's see how far we've come.

7. JOHN WICK: CHAPTER 4

The closing hour elevates this franchise and genre. The exhilarating overhead sequence will be poorly imitated for many years to come.

Still think CHAPTER 2 is the best. Still can’t believe Keanu Reeves has a credible case for Greatest Action Star Ever.

6. GUY RITCHIE'S THE COVENANT

30 minutes in: "Man, those first 30 minutes rip."

60 minutes in: "Man, those first 60 minutes rip."

90 minutes in: "Man, those first 90 minutes rip."

125 minutes in: "Man, that whole movie ripped."

While this straightforward story had a hook in me, I kept waiting for it all to tear at the seams. Thankfully, Guy Ritchie, Jake Gyllenhaal, and Dar Salim demonstrate impeccable commitment, command, and selective restraint.

Way less cartoonish than it could've been. Such a pleasantly surprising mix of what works well in more bloated/preachy films like AMERICAN SNIPER, BLOOD DIAMOND, LONE SURVIVOR, and THE OUTPOST.

5. BLACKBERRY

BLACKBERRY reduces AIR (immensely satisfying and way more engaging than its dramatic stakes) to the movie you'll remember seeing before BLACKBERRY. Glenn Howerton's electrically eccentric Jim Balsillie evokes past performances by Alec Baldwin, Bryan Cranston, Michael Keaton, John Slattery, and Toby Huss (AMC's cult classic HALT AND CATCH FIRE is this corporate biopic's spiritual companion) while feeling irreplicable.

Highly recommend Cinema Scope's companion feature. Fascinating STEVE JOBS (2015) comparison/contradiction.

4. MISSION: IMPOSSIBLE - DEAD RECKONING PART 1?

Despite featuring many of the franchise’s strangest choices since M:I-2, this is a top 4-5 installment (high praise) and my jaw hadn't dropped as much since TOP GUN: MAVERICK. I hope 2022's biggest domestic box office triumph doesn't dull the long-term response to Cruise's nearly as ambitious follow-up. By setting his bar so high, he's effectively become the only movie star capable of truly letting us down.

"Maybe so, sir, but not today."

Henry Czerny’s enunciation and the masterfully crafted Roman car chase flaunt some of the richest audio I've ever heard in a theater. This pursuit and the closing train spectacle make INDIANA JONES AND THE DIAL OF DESTINY feel even more forgettable (McQuarrie squeezes way more out of $300 million than Mangold). There are so many thrilling sequences that by the time you start writing your Letterboxd review, you'll likely be overlooking a sensational first-act LAWRENCE OF ARABIA tribute that will hold audiences over 'til the delayed DUNE: PART TWO.

Although the female character arcs are certainly questionable and borderline transactional (I'd love to discuss this with Rebecca Ferguson's agent), Hayley Atwell and Pom Klementieff waste no time fitting right in. Vanessa Kirby rocks and always leaves you wanting more.

Unfortunately, Ethan Hunt's mythology doesn't feel as tightly constructed and examined as before. If Gabriel's backstory is really our hero's origin story, we're going to need much more detail (I suspect we’ll get some in the next chapter). I still value the loopy plot’s conviction and AI villainy. It's timely, eerie, and arguably the only global threat that feels more plausibly inevitable than environmental neglect, nuclear war, or another catastrophic plague. "The Entity" unapologetically explores Cruise's cinematic concerns. "It's not the plane, it's the pilot" only works when humans are still capable of controlling our own narrative.?

As for the MacGuffin, I couldn't help but tip my vintage M:I-3 cap (a recent eBay find) at the overt assertion that theology is the cross-shaped key to reining in science. This is admittedly a bit awkward given our moviemaking messiah's controversial religious associations, but I respect the argument that technical wonders need to re-earn our collective faith.

De Palma's original, ROGUE NATION, and FALLOUT are genuine masterpieces. Even though DEAD RECKONING PART ONE doesn't quite get there, I choose to accept and admire how it overcomes the kinds of pitfalls that would sink any other legacy series.

JOHN WICK is the only extensive action franchise that comes close. Considering M:I is 18 years and 3 installments older, I'm more than willing to roll with some of this movie's questionable choices. How 'bout a little pandemic production slack?

3. THE KILLER

Humorously haunting gig economy/transient advantage commentary. Pretty wild how its Netflix release (Fincher's too self-aware to resist mocking the film industry as well) poetically coincided with WeWork's bankruptcy announcement.

Eight years have passed since Michael Fassbender's extraordinary 2008-15 run. While it's nice to know he has other interests (including but not limited to fast cars, Alicia Vikander, and refreshing privacy/mystery), this reflective return feels like cheeky redemption for 2016's ASSASSIN'S CREED. It's really great to have one of the modern greats back.

If Fincher's films are divided into two tiers, THE KILLER immediately joins THE GIRL WITH THE DRAGON TATTOO, GONE GIRL, SE7EN, THE SOCIAL NETWORK, and ZODIAC in the one I'll never regret returning to.

2. KILLERS OF THE FLOWER MOON

Scorsese and the Stones are eternally linked rocktogenarians and we need to savor their shared release weekend.

What happens when you've ruled your respective stage for over half a century and our torn and frayed world still depends on you to shine a light? If this could be the last time, how do you dig up the past when breaking new ground still feels like your beast of a burden?

After experiencing great loss (the Indigenous Robbie Robertson was often Marty's Charlie Watts), how do you wrestle with your creative legacy when it's so closely tied to an entire art form's current sense of meaning?

In THE IRISHMAN, Scorsese forebodingly examines his past while striving to keep the door open for a little longer. Although KILLERS OF THE FLOWER MOON is equally introspective, it's fixated on examining shame itself. The film's profound encore is instantly as unforgettable as anything in his sprawling filmography. He's slamming the door in his own face.

The 3.5-hour epic made me think about Trump's foolish fall guys, HEAVEN'S GATE, THERE WILL BE BLOOD, THE WOLF OF WALL STREET, De Niro's singular greatness, and the fact that DiCaprio needs to collaborate with the Coen brothers.

It also made me contemplate whether HACKNEY DIAMONDS could possibly cut as deep. After all, it's only rock 'n roll...

This is Cinema.

1. PAST LIVES

Tight, tender, and timeless. I suspect most people will experience this at just the right age while wishing they saw it many years ago.

Really admire Celine Song's ambitious discipline. I went in cold and left feeling refreshed by the fact it wasn't overwritten. While I unapologetically adore the now polarizing 500 DAYS OF SUMMER, Song avoids clever filmmaking gimmicks because a frozen Skype cuts deeper than any "Expectations vs. Reality" split screen ever could.

I saw some of myself in each of the characters and felt a much closer connection to this story (partially because of the New York setting) than comparable relationship dramas like BEFORE SUNRISE/SUNSET/MIDNIGHT, IN THE MOOD FOR LOVE, and LOST IN TRANSLATION.

Simultaneously eager and anxious to discuss this with countless others. Preferably over overdue drinks at 4 AM.

TELEVISION:

23. SEX EDUCATION (Netflix)

I'll miss these meaningful and memorable relationships. Great casting goes a long way and it carried this thoughtful series from start to finish.

22. POKER FACE (Peacock)

Outstanding finale. Stands alone while deepening everything that precedes it. Also makes me feel like Benjamin Bratt has been underutilized for decades. Love the MONK-ish energy. Expecting a Peacock crossover at some point.

21. TED LASSO (Apple)

Apple's sweetest show's weakest season still manages to triumphantly deploy the show’s signature strengths. Taking that for granted requires way too much effort and cynicism.

Choosing to Believe they're siblings:

20. IT'S ALWAYS SUNNY IN PHILADELPHIA (FX/Hulu)

Obsessed with Glenn Howerton in FALLING DOWN/Larry David/Ray Ploshansky mode. Delirious finale.

19. SHRINKING (Apple)

I hope Harrison Ford's unconventional turn inspires other elderly icons to lean into comedic vulnerability.

18. DAISY JONES & THE SIX (Amazon)

Satisfyingly scratches my perpetual ALMOST FAMOUS/THAT THING YOU DO!/VINYL-esque fake band itch. The inhabited tracks go a long way. You can feel the "Ooh La La" sequence reaching for "Tiny Dancer" heights and that strain is part of this show's admirably disposable charm.

Timothy Olyphant is truly one of the greats.

17. WINNING TIME (HBO)

The strikes really doomed this. Loads of overhead and countless magnetic performers who couldn’t promote their work. Gonna miss the transportive personalities and quality. Jason Clarke's Jerry West will never cease to make me cackle.

16. TELEMARKETERS (HBO)

As a former telemarketer (eight hours a day alongside eight high school friends in 2007), I can't believe how well this gripping documentary series captures the absurd mundanity. Easily my strangest summer job. These dudes had it worse.

15. DEAD RINGERS (Amazon)

Gloriously grotesque. If you can stomach it, Rachel Weisz will take you back to ORPHAN BLACK, SEVERANCE, and/or THE KNICK.

14. THE MARVELOUS MRS. MAISEL (Amazon)

Glad I stuck with it. Really admire the farewell run. Best use of 30 Rock since 30 ROCK.

13. FARGO (FX/Hulu)

While S5 doesn't reach S1-2 heights, it's better than S3-4 and gives Jon Hamm his finest acting showcase since MAD MEN.

12. BARRY (HBO)

Shared much more than a series finale air date with SUCCESSION. Here’s to a pair of eldest boys witnessing different versions of their uniquely brutal fathers.

11. GEORGE AND TAMMY (Showtime/Paramount)

Soared under the late 2022/early 2023 radar. Jessica Chastain will probably win an Emmy. I fear we take Michael Shannon's work ethic for granted. Impressive singing! Mandatory for WALK THE LINE enthusiasts.

Steve Zahn looks pissed this isn't a scripted HISTORY OF THE EAGLES (which unceremoniously turned 10-years-old in January).

10. THE OTHER TWO (HBO)

"Brooke Hosts a Night of Undeniable Good" is THE OTHER TWO at its greatest. Undeniably TV's funniest show while it lasted.

9. THE CURSE (Showtime/Paramount)

As a proud Nathan Fielder fanboy with 13 years in the home renovation television game, this series feels like a personal assault. I've been anticipating its arrival since 2020. Worth the wait.

Baffled by those who can't stomach the "cruelty" within Fielder's cringe. His "curse" is a burden to expose (often at his own expense) a widely accepted form of entertainment exploitation. In order to do his part, he's always had to play one.

By performing with a script, he's subversively acknowledging, owning, and mocking past criticism by making this commentary more conventionally palatable. It's different when they're acting, right?

Even when things get more overtly chaotic, Fielder, Stone (born for this uniquely repugnant role), and Safdie are subtly conveying contradictory emotions in every frame.

Long live the Cherry Tomato Boys. IYKYK.

8. PAUL T. GOLDMAN (Peacock)

Few shows (if any) requiring this much television literacy have been so uniquely compelling and confounding. I urge you to seek it out. You'll never forget the titular character.

7. JURY DUTY (Freevee/Amazon)

Masterful concept, casting, and execution. Glad I got to share my feelings with Ronald Gladden before he got too famous for this website. A good guy.

6. HOW TO WITH JOHN WILSON (HBO)

John Wilson spent 2+ seasons looking outward before diving deep within. He miraculously makes a "TLC Tugger" to self-castration journey poetic, logical, and moving.

5. THE BEAR (FX/Hulu)

"Forks" would probably top my standalone 2023 episode list. It all but ensures Ebon Moss-Bachrach will continue landing projects worthy of his immense talents.

R.E.M.'s "Strange Currencies" > "Everybody Hurts"

4. DAVE (FX/Hulu)

The 4 stages of watching S3's one-of-a-kind finale:

3. BEEF (Netflix)

Succulent limited series (I hope it stays one) and an unforgettable examination of 21st century American anger. Feels like the modern FALLING DOWN (second time I've referenced this 30-year-old classic) remake I've been seeking for years.

2. THE LAST OF US (HBO)

All-time great source material. Neil Druckmann and Craig Mazin nail so many challenging choices. Such brilliant and selfless collaborators.

First HBO pilot I’ve seen in an elated theater since THE NEWSROOM (I stand by Sorkin's much-mocked first season). From the chilling, world-building cold opens to every flinch, glance, and grimace. It's all so purposeful and resonant. While unforgettable episodes like "Long, Long Time" will be hard to top, I'm certain S2 is going to be even greater.

1. SUCCESSION (HBO)

One day after the flawless series finale aired, I miraculously met Jeremy Strong near a body of water and nervously told the eldest boy I was proud of him. This legendary, all-consuming, and uniquely giving lead role was a meal fit for a king. While it's hard to imagine how he was feeling in the hours after his creative journey's culmination (at least until his next Emmy coronation), it was nice seeing him smile.

"Connor's Wedding" will probably be the episode we remember and revisit most. Ruthlessly subversive, jarring, and earned. Truly felt like the medium was pushed to new depths.

ADDITIONAL TV ACKNOWLEDGMENTS:

ER (NBC):

I enthusiastically addressed one of my glaring pop culture blind spots by watching ER's first nine (of fifteen) seasons. Deep admiration for everything it was doing in an entirely different TV era.

A few key takeaways:

• NYPD BLUE is probably its closest comp. In awe of how both shows manage serialized narratives. They had to skillfully provide weekly on-ramps for those without comprehensive context. There was no simple way to catch up! It's become so easy to take this (and the era's enormous episode counts) for granted.

• Hard to believe Clooney wasn't always famous. Fully formed star.
• The Anthony Edwards Experience is quite empowering for bald men. Such a vanity-free lead. Unflattering in everyday ways that feel admirable and original. Quite different from Dennis Franz's Andy Sipowicz, though they share a late '90s network drama spirit. Sobbed on my elliptical during S8's devastating "Somewhere Over the Rainbow" montage.
• Outstanding use of Simon & Garfunkel and Don Henley. Green Day's "Good Riddance (Time of Your Life)" appears on SEINFELD one month after its ER funeral singalong.
• David Krumholtz is as underrated as underrated supporting actors get.
• Noah Wyle's performance continues to improve and meet the show's evolving demands.
• Paul McCrane is crazy talented.
• George Eads, Jorja Fox, and Marg Helgenberger's appearances drove me to discover that CSI aired 6 more total episodes than ER.
• Nobody has ever hunted an Emmy harder than Sally Field as Maggie Wyczenski.
• Matthew Glave was born to play THE WEDDING SINGER's Glenn Guglia.
• S7 features early signs of network notes calling for more action (explosions, countless shootings, manslaughter, etc.). Ultimately recalibrates and pays off.
• Especially great writing for Dr. Peter Benton. The seasonal arcs meaningfully exploit his best and most cartoonish qualities. You can understand all sides in the ethics vs. legality debates. Erik La Salle looks like Lionel Richie.

TOO OLD TO DIE YOUNG (Amazon)

Nicolas Winding Refn’s uniquely indulgent pacing is taken to defiantly jarring levels. Can’t think of another crime series with this much room to breathe. Nearly impossible to binge. Stunned Amazon backed it. Glad they did. Awesome, gruesome, exhausting, and memorable.

THE MORNING SHOW (Apple)

The gap between Billy Crudup and everyone/everything else keeps widening. Never seen anything quite like it. Crudup deserves rapturous recognition for making S3 watchable. Historic effort down the stretch. At the very least, TMS remains a singular showcase for one of the planet's best actors. I'll reluctantly return if he does.

REAL SPORTS WITH BRYANT GUMBEL (HBO)

Best in the game for nearly three decades. Will miss this courageous, collaborative, and empathetic storytelling. Watched this longer than any TV series ever. It's had a profound impact on my career and I worry about what its absence represents.

RECORDS:

23. LA LA LAND/WELSHPOOL FRILLIES/NOWHERE TO GO BUT HERE - Guided By Voices

Robert Pollard, rock's most prolific songwriter and Miller Lite consumer (still buzzed from the time he generously served me straight from his cooler in 2017), unsurprisingly cranked out *three* more LPs in 2023. Here's to 40 more years and 120 more LPs.

22. THIS IS WHY - Paramore

Jagged hooks from start to finish.

21. SUMDAY: THE CASSETTE DEMOS - Grandaddy

The stripped-down origins of a mellow masterpiece. "The Go in the Go-for-It" is especially stunning.

20. CUT WORMS - Cut Worms

Intriguing revivalist. Wholeheartedly agree with this review.

19. COUNCIL SKIES - Noel Gallagher's High Flying Birds

Although I prefer Liam's solo records, this is his older brother's most worthwhile work since (at least) 2008.

18. KILLERS OF THE FLOWER MOON (Soundtrack) - Robbie Robertson

From Big Pink to the big screen, Robertson's remarkable legacy will endure.

17. BUT HERE WE ARE - Foo Fighters

Strongest Foo release since 2011's WASTING LIGHT. Taylor Hawkins would be proud.

16. TIM (LET IT BLEED EDITION) - The Replacements

Why mess with something so endearingly messed up? Give this crisp upgrade a loud listen and I highly doubt you'll prefer the originals.

15. THE COMPLETE BUDOKAN 1978 - Bob Dylan

I've loved Bob Dylan for a quarter century and I've never really thought of him as a "fun" artist. This spirited live collection made me appreciate the joy beneath his poignant mysticism.

14. EQUAL STRAIN ON ALL PARTS - Jimmy Buffett

A bittersweet farewell. Paul McCartney's Buffett affection (he plays bass on "My Gummie Just Kicked In") warms my heart. His touching Instagram eulogy nearly broke it.

13. ENDLESS SUMMER VACATION - Miley Cyrus

Less cohesive than 2020's PLASTIC HEARTS, though its best moments (especially "Flowers" and "You") enrich an increasingly remarkable discography. Listen to "Used to Be Young" and remind yourself that Miley's somehow only 31.

12. PRETTY VICIOUS - The Struts

While I've never gravitated towards Greta Van Fleet (not a big Zeppelin guy), I'm such a sucker for Luke Spiller's singularly derivative voice and this tasteful, Stones/Queen/Def Leppard-inspired cheese.

11. WHERE THE LIGHT GOES - Matchbox Twenty

A really good record with several great ballads. If you’ve listened to MB20 and/or Rob Thomas at any point since 1996, this shouldn’t come as a surprise. The pride in their consistency shines through.

10. ONE MORE TIME - blink-182

Hard to articulate how much this feels like being shot back in time through a JACKASS-esque cannon so I'll let that simile do the heavy lifting.

9. SONGS OF SURRENDER - U2?

A generous gift for those who didn't bitch about SONGS OF INNOCENCE appearing on their iPhone in 2014.

8. HISTORY BOOKS - The Gaslight Anthem

A pensive blend of Gaslight’s gritty past and Brian Fallon’s meditative LOCAL HONEY era.

7. THE BEATLES: 1962-1966 (2023 LIMITED EDITION) - The Beatles

The 1962-1966 tapes are the most important gift/physical media I've ever received (thanks, Mom!). Blown away by the robust remixes. "I Saw Her Standing There" is especially revelatory. Ringo's on fire. These are the greatest rock songs ever recorded and they sound better (and more FUN) than ever.

6. HACKNEY DIAMONDS - The Rolling Stones

At the very least, this is a miraculously competent. Charlie Watts would be proud.

5. AURORA - Daisy Jones & The Six

Something tells me this fictional landmark will end up being one of the year's most consequential records. There's clearly a mainstream appetite for Fleetwood Mac-inspired sound. This credible collection should help get more great music made.

4. THE RECORD - boygenius

Gen Y-Z's Traveling Wilburys. Bridgers is the most magnetic. Dacus is probably the best songwriter. Baker is probably the most gifted musician. 2018's EP teased this unusually complementary trio's undeniable connection. This LP makes you wish their solo projects were the side projects moving forward.

3. THE ANSWER IS ALWAYS YES - Alex Lahey

My favorite Australian since 2017. Routinely makes thoughtful introspection feel carefree.

2. EVERYTHING HARMONY - The Lemon Twigs

Iggy Pop recently/lovingly called these Long Island brothers "over-talented" and he isn't mistaken. There's a lot going on, but this aptly-named LP is as beautiful as modern rock music gets. My sons are 4 for 4.

1. GUTS - Olivia Rodrigo

While Rodrigo shamelessly flaunts her influences, GUTS feels far too personal, relatable, authentic, and timely to be dismissed as derivative. Instant classic.

SONGS (One song per artist max):

23. "Selling Faith" - Matchbox Twenty

Matchbox albums typically start stronger than they finish. This is probably their best closing track ever.

22. "Christmas (I Think I'm Gonna Be Sad)" - Dan Miraldi

An infectious, Jeff Lynnian holiday rocker and the last addition to this list.

21. "Long As I Can See the Light" - Dolly Parton and John Fogerty

A luminous, lived-in recording of my all-time favorite song (you read that right).

20. "Easy Now" - Noel Gallagher High Flying Birds

When he isn't busy being a bitter blowhard, Noel can be strikingly pleasant!

19. "Autumn" - The Gaslight Anthem

Springsteen is famously Brian Fallon's biggest influence (he even appears on this record's first single), but it really feels like Gaslight's firmly entrenched in their Petty era.

18. "You" - Miley Cyrus

Miley naturally channels Rihanna's "Love On The Brain" and Lady Gaga's "You And I."

17. "Jealous Guy" - The Weeknd

While THE IDOL feels like an even bigger HBO misfire than 2007's JOHN FROM CINCINNATI and 2011's LUCK, I do not regret watching it all. The Weeknd remains annoyingly talented and his synth-pop Lennon cover caught me off guard.

16. "Gimme Some Blood" - The Struts

A chorus as massive as The Struts would've been in virtually any other rock era.

15. "Modern Girl" - Bleachers

Been a sucker for Bleachers since Governors Ball 2014. Well-crafted anthems for a spirited fanbase. When I first heard this tune, I thought I was extremely over Jack Antonoff's limited vocals and Springsteen for dorks shtick. Turns out, this is one of his catchiest choruses yet. I stand corrected and glad this band exists.

14. "Baby" - halfnoise

Paramore drummer Zac Farro's worthy side hustle.

13. "Black Earth, WI" - Ratboys

A euphoric guitar build with "Hey Jude"-esque spirit.

12. "Osage Oil Boom" - Robbie Robertson

"This is actually Robbie Robertson on guitar."

11. "FELL IN LOVE" - blink-182

Vintage blink debauchery with an endearing sprinkle of maturity.

10. "True Love Knows No Death" - Kele

Strangest song on this list. Bloc Party's fiery frontman literally torches his defining work.

9. "Under You" - Foo Fighters

Given this band's tragic origin story, losing Taylor Hawkins was even more unsettling. While it sometimes feels like Dave Grohl is an aggressively omnipresent rock ambassador, he's been grieving in the public eye for decades. "Under You" is vintage Foos and a good reminder that he's channeling complex emotions into his accessible work.

8. "Depending on You" - The Rolling Stones

At 80, Mick Jagger somehow sounds more like Mick Jagger than ever. I remain a sucker for these weathered ballads. 2005's A BIGGER BANG gave us the hauntingly beautiful "Streets of Love" and this is even stronger.

7. "Let Me Down Easy" - Daisy Jones & The Six

Riley Keough and Sam Claflin make you believe they are believable soulmates.

6. "Makes Me Sick" - Alex Lahey

Essentially Alex Lahey's version of the #1 song on this list.

5. "Bubbles Up" - Jimmy Buffett

Essentially Buffett's “Keep Me in Your Heart”/“I Can't Give Everything Away."

4. "Not Strong Enough" - boygenius

More than a clever Sheryl Crow homage. "Always an angel, never a god" feels like “I've got soul but I'm not a soldier” for a more inclusive generation of rock preservationists.

3. "Crave" - Paramore

A nostalgic, Daisy Jones-esque number that instantly makes you long for the first time you heard it.

2. "Any Time Of Day" - The Lemon Twigs

Nobody is making music like this anymore. Chills.

1. "bad idea right? - Olivia Rodrigo

Wet Leg spirit with a Jack White-inspired solo. Rodrigo simply can’t miss.

*Full playlist available here

CONCERTS:

23. THE WALLFLOWERS - The Stone Pony

Never take a Dylan covering Petty and Springsteen for granted.

22. STEVEN PAGE - Landmark Port Washington

An intimately enchanting experience for Barenaked Ladies purists. What a voice.

21. AJ CROCE - Town Hall

And he carries it with him like his daddy did. AJ's father clearly belongs in the Rock and Roll Hall of Fame (alongside DMB, Phish, and Oasis).

20. PHISH - Madison Square Garden

Just when I thought I was out, The Phish from Vermont reeled me back in with a "Loving Cup" opener, "Divided Sky", and the kind of classic rock-fueled symphony I prefer.

19. THE BETHS - Brooklyn Steel, Music Hall of Williamsburg

Third and fourth time seeing these experts in a dying field since two pandemic postponements.

18. ALEX LAHEY - Baby's All Right, Rough Trade

Braved wildfire skies for a smoldering "Torn" cover I'll never forget.

17. TEARS FOR FEARS - Madison Square Garden

You will never regret attending that endearingly elusive Tears For Fears MSG debut. It felt equally surprising and surprisingly overdue. Don't sleep on 2022's THE TIPPING POINT.

16. THE STRUTS - Pier 17

I really appreciate how these brash Brits make no secret of their desire to become the world’s biggest rock band. They go for it each and every night. Cynicism be damned.

15. BILLY JOEL - Madison Square Garden

Simultaneously wanted the "Uptown Girl" crotch grabs to cease and go on forever.

14. JACK WHITE - Brooklyn Steel

"Seven Nation Army" was released on February 17th, 2003. Olivia Rodrigo was born three days later. Watching her rock out during Jack White's Brooklyn Steel encore made me feel very, very old.

13. JOHN FOGERTY - Radio City Music Hall

Fogerty got his top tier American songs back and somehow sings them as well as ever. Hope he keeps on chooglin' deep into his eighties.

12. THE LEMON TWIGS - Irving Plaza

One of my better Twigs gigs (and I've seen nearly 20 since 2017). They continue to put in the work, evolve, and stay true to themselves while honoring countless influences.

11. RED HOT CHILI PEPPERS - Global Citizen Festival, Sound On Sound Festival

Savoring the Frusciante 3.0 era. Virtuosic performances. 2022's “Carry Me Home” and “Eddie” deeply rocked.

10. EAGLES - Madison Square Garden

Final Eagles tour opener and their first show since my beloved Randy Meisner's passing. Got choked up during the the bittersweet "Take It to Limit" tribute.

This was also their first gig since Jimmy Buffett's passing, and the least spontaneous band of all time played two Parrot Head classics.

"Buffett is now sailing on that cosmic ocean, having that cheeseburger with Glenn and Randy." - Henley

"Jimmy and I got thrown out of some of the finest hotels in the world." - Walsh

9. BLINK-182 - Barclays Center

"Tom stopped searching for aliens to play tonight. Mark survived cancer. Travis survived a plane crash. This is effectively Led Zeppelin.”

Received this motivational text from a wise friend named Samuel Friedfeld and he couldn't have been more accurate. First time seeing this wholesomely tumultuous trio in fourteen years. Enduring bangers. 2003's "Always" really stood out.

8. THE STROKES - Forest Hills Stadium

No recent “Best Rock Album” has aged better than 2020’s THE NEW ABNORMAL. Fans love these songs. The Strokes clearly do. Killer setlist and Regina Spektor cameo.

7. MATCHBOX TWENTY- Jones Beach Theater

Matchbox 2023, man. So many hits that hold up better than most. In the not-so-distant future, I'm going to get very petty about Rob Thomas not getting inducted into the Rock and Roll Hall of Fame. You've been warned.

(I swear this is the last time I'll mention Matchbox Twenty until next year)

6. ARCTIC MONKEYS - Forest Hills Stadium

Younger fans (all wearing black) adore “505” and the kids are alright. After an extended absence, “Fluorescent Adolescent” felt like a warm hug. I lost it when the lads performed my favorite 21st century tune (SUCK IT AND SEE's "Suck It and See").

5. PARAMORE - Madison Square Garden

Best band I’ve seen for the first time in quite some time.

4. QUEEN?+ ADAM LAMBERT - Madison Square Garden

An arena rock miracle. Brian May is way more spry than I'd anticipated. Lambert is a rare gift from the reality TV gods.

3. THE CURE - Madison Square Garden

Took a pandemic for me to get into The Cure. Special weirdos. Three hours of the deepest grooves. Entrancing experience.

2. BRUCE SPRINGSTEEN AND THE E STREET BAND - Madison Square Garden, UBS Arena, MetLife Stadium)

If eligible, this is the greatest American rock band of all time and it isn’t all that close. "Static"setlist snobs pain me. How many more E Street stadium shows are we going to get? The current tour proves that nobody thinks about this more than Springsteen himself.

The Boss is nearly 74. Since 2016, he's delivered The River Tour, a 528-page bio, SPRINGSTEEN ON BROADWAY, WESTERN STARS (LP/film), RENEGADES (podcast), LETTER TO YOU, ONLY THE STRONG SURVIVE, and months of 3-hour post-pandemic celebrations. What fans are more blessed?

As the Long Island son of a New Jersey native, Springsteen’s first UBS Arena show felt like the culmination of something special. The peak: Bruce’s reaction to my dad removing his hat and revealing his shiny scalp after BORN TO RUN's very best song's “let the wind blow back your hair” verse.

1. U2 (Sphere)

While unabashedly adoring, admiring, and defending U2 hasn't always (or ever?) been easy, no rock band has had a bigger impact on my passions, values, and worldview. These four friends simultaneously made me appreciate live music and ways entertainers can use their influential platforms to incite spiritual introspection and sprawling connection. Since May 21, 2005 (my Madison Square Garden U2 baptism), their songs have made me feel something and go somewhere others can't.

Spent my 35th birthday in the future with the band that’s meant most to my past. Countless rock and roll memories and this will always be right up there. Deeply blessed and grateful.

Genuinely proud of James Dolan! Sphere feels like one giant leap for fankind.

BOOKS:

CINEMA SPECULATION - Quentin Tarantino

If I could study five human brains, Tarantino's would be one of 'em. His encyclopedic cinematic knowledge and unrivaled passion oozes from the pages. This immediately inspired some rewarding viewing (including 1971's CARNAL KNOWLEDGE, 1977's ROLLING THUNDER, and 1979's HARDCORE).

JUST KIDS - Patti Smith

Hadn't read a book written by a female in a damning amount of time. Smith's relationship memoir deepened my New York City affection.

EVERYTHING IS COMBUSTIBLE: TELEVISION, CBGB'S AND FIVE DECADES OF ROCK AND ROLL: THE MEMOIRS OF AN ALCHEMICAL GUITARIST - Richard Lloyd

Has to be one of the crazier rock memoirs. Intestinal poison ivy poisoning is the least of it. "Misty Eyes" rules.

PODCASTS:

WTF WITH MARC MARON

2023 was the year I started looking forward to Maron's pre-interview ramblings.

KNICKS FILM SCHOOL

Spent way too much time on the Julius Randle roller coaster alongside Jonathan Macri, Andrew Claudio, Benji Ritholtz, Jeremy Cohen, and several other fellow maniacs.

THE WEDDING SCAMMER

Compelling, George Santos-esque con man drama.

THEATER:

RACHEL BLOOM: DEATH, LET ME DO MY SHOW - Orpheum Theatre

Really enjoyed CRAZY EX-GIRLFRIEND and REBOOT (which deserves to be rebooted). Glad I experienced Bloom's Death-affirming traumedy.

A DOLL'S HOUSE - Hudson Theatre

Chastain patiently makes you sit with her pain.

GOOD NIGHT, OSCAR - Bellasco Theater

Had no idea Sean Hayes was *this* talented. Up there with ALL THE WAY and NETWORK Bryan Cranston as the best I’ve ever seen on Broadway.

MJ: THE MUSICAL - Neil Simon Theatre

You can choose to check valid morality issues at the door or wrestle with them. Felt like I was able to do a bit of both. The layered "I'll Be There" made me really sad.

THE SHARK IS BROKEN - Golden Theatre

Hilarious and surreal. It'll intensify your connection to JAWS and countless other classics.

THE SIGN IN SIDNEY BRUSTEIN'S WINDOW - BAM

In my experience, the world’s divided into two kinds of people: Those who divide the world into two kinds of people…and those who believe Llewyn Davis and Mrs. Maisel occupy the same 1960s Greenwich Village/Upper West Side universe. Midge shares an elevator attendant with the Gorfeins!

PERSONAL WORK:

GEORGE TO THE RESCUE recently surpassed 165 episodes. I interned on the very first and couldn't be more proud of our show's resilient journey. We need these inspiring people, places, and stories.

In Season 14, our scrappy team brought hundreds of humans together to help deserving communities affected by 9/11-related illness, ALS, muscular dystrophy, PTSD, tragic accidents, sudden medical episodes, and other hardship.

My life's work continues to fill me with pleasure and purpose. Can't wait to share our milestone 15th season this spring.

Wishing y'all a happy, healthy, and fulfilling 2024!