And unless you count the 40th anniversary rerelease and restoration of Andrzej Zulawski’s magnificently messed-up and terrifying Possession, no other horror movie came close.

Nayman: Back in April, I wondered whether anything would clear the bar set by Rose Glass’s uncannily well-executed debut. In a moment when a company like Netflix can claim that Red Notice amassed 328 million hours of total viewership without producing a single receipt, it’s hard to feel certain about anything-except the fact that Red Notice isn’t on either of our lists. In terms of the bigger picture, moviegoing-and with it, processes of evaluation and canonization-may be getting back to something more like normal, and yet larger questions about the industry’s overall health and how films will (or won’t) reach audiences remain urgent and unanswered. Even when there were instances of crossover in our lists, we seemed to be coming at the films themselves from different angles. The upshot of this exercise wasn’t just to spotlight as many worthy movies as possible, but to contrast different ideas about what constitutes cinematic value beyond taste. This year, in the spirit of The Last Duel, Sean Fennessey and I decided to put our lists head-to-head-yet we still didn’t find room for the best Ridley Scott movie of the year, which will only make Sir Ridley crankier. Last year, I wrote about how hard it was to get two movie lovers to agree on a mutual top 10.

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