My 2024 Movie Year In Review!
Ahhh it’s that time once again! That time when I reflect on the year that was in film. I’m happy to report that the reports of cinema’s demise have been greatly exaggerated. While I wouldn’t call 2024 revelatory, it certainly offered a crop of excellent films, one of which I consider to be in the top ten of films released this century. As with other years I tried to take in as many films as I could. Of the 208 movies I watched, fifty-one were 2024 releases and sixty-four were non-2024 releases. I really made a concerted effort this last year to watch classic films; everything from The 400 Blows and 12 Angry Men to multiple Kurosawa flicks. Expanding my film palette was one of the best decisions I ever made and I hope to continue to do that in 2025.
I have a few things to note about this article before we get cookin’. Thankfully I was able to see all of the Oscar nominated films this year with the exception of Nickel Boys and I’m Still Here, neither of which I have access to right now. All of the films on this list have at least a score of 9/10. As a consequence of that last sentence, my list is not a top ten but rather a top thirteen. Lastly, and maybe most importantly, this is a list of my favorite films not necessarily the best films. That’s why you may see movies on this list near the top that have a lower rating than other films on the list. “Best” is a relative term based on who is making the list, whereas “favorite” wears its subjectivity on its metaphorical sleeve.
But enough preamble! Let’s get to it!
MOST UNDERRATED MOVIE OF THE YEAR: In the Land of Saints and Sinners
To say that director Robert Lorenz’s film about a contract killer living in a small Irish town during The Troubles flew under the radar is a massive understatement. From a macro level, Lorenz’s film appears like just another in the endless stream of low budget actioners Liam Neeson has starred in over the last decade. Closer examination reveals that couldn’t be farther from the truth. A tight, small-scale action thriller set in 1974 during the height of The Troubles, it’s an impeccably acted and tightly directed film that completely surprised me. Liam Neeson stars as Finbar Murphy, a recovering alcoholic who came back from WWII only to find his wife dead and his life without purpose until he’s given a job as a contract killer. It’s an excellent examination of how larger ranging issues in a country (the IRA in this instance) can have a stark and brutal impact on small town life. Oscar nominee Kerry Condon puts on a truly venomous and ruthless performance as Doireann McCann, an IRA operative who runs afoul of Finbar. Jack Gleeson of Game of Thrones fame also plays an unhinged but desperate killer who secretly seeks for more. However, it’s Neeson who leads the way in one of his most nuanced and powerful roles in years.
MOST OVERRATED FILM OF THE YEAR: Longlegs
The appeal of Longlegs is going to have to be studied in a government lab someday. While I respect Osgood Perkins and I’m looking forward to his adaptation of Stephen King’s short story “The Monkey” later this month, I’m perplexed as to why this movie got so much hype. It’s an adequate police procedural with a horror element but I was promised this movie was the second coming of Silence of the Lambs. I assure you it is not. While it sports some terrifying moments and gives audiences a delightfully twisted performance form Nicolas Cage, that’s really all there is to it. There’s nothing particularly surprising or unique about Longlegs. I wouldn’t say it’s a bad film, but there’s nothing that really distinguishes it from other police procedurals involving psychotic serial killers.
BEST NON-2024 RELEASE I SAW LAST YEAR: Memories of Murder (2003)
Of the sixty-four non-2024 releases I watched last year, Memories of Murder topped them all. After nearly six years we are finally about to get a new movie from director Bong Joon-Ho in April called Mickey 17, but if you’re only familiar with Parasite or Snowpiercer, I highly recommend Joon-Ho’s neo-noir crime thriller from the early 2000s. A serial killer police procedural that also serves as a moral tale about corruption, Memories of Murder had me riveted from the jump. This is an incredibly atypical film for the genre as it does not leave you with easy answers and–just like life–there’s a firm layer of ambiguity. Song Kang-ho and Kim Sang-kyung are brilliant as the mismatched lead detectives. Grim and funny, it’s also an exploration of the fallibility of memory. There’s more layer and nuance in Memories of Murder than a seven layer bar Christmas cookie.
WORST MOVIE OF THE YEAR: Megalopolis
Oy vey this movie. Listen, I’ll always be a proponent of aspiring to greatness. Increasingly our society seems to denigrate those who aspire to excellence. While Megalopolis may be Francis Ford Coppola’s attempt at greatness, I’m here to say he failed miserably. This movie is an absolute mess. An incomprehensible plot with ludicrous dialogue, acting straight out of a third-rate improv group, special effects care of Spy Kids 3, and direction that’s so frenetic it’s like a full body dry heave, I cannot fully express how abysmal Megalopolis is. I haven’t hated a movie this much in a long, long time. If this ends up being Coppola’s last movie, it will be an ignominious end from a stellar director who delivered audiences legendary films like The Godfather, The Conversation, Apocalypse Now, and Bram Stoker’s Dracula. What a shame.
HONORABLE MENTION #1: Horizon: An American Saga Chapter 1
Kevin Costner is sadly the last of a dying breed. A director and actor who’s always viewed cinema as the highest artform, Horizon is an epic saga he’s had in development for several decades. In fact, Costner believed so strongly in this project he walked away from the smash hit television show Yellowstone and his own marriage. That’s dedication. Horizon: An American Saga – Chapter 1 is a sweeping, ambitious Western in the vein of classics from John Ford and Howard Hawks. Several intercut stories embody the American West, whether it was the plight of certain native Americans, or the desperate attempt of settlers migrating to better lives. Costner’s stalwart but fierce Hayes Ellison is a sight to behold and Jamie Campbell Bower’s Caleb Sykes is one of the best villains in the genre I’ve seen in quite some time. If this was 1995, Chapter 1 would have made $100 million at the box office and the other three chapters would have been greenlit immediately. Sadly it’s 2025 and unfortunately Costner and his like have become people out of time. I sincerely hope all three movies are eventually released but I have my doubts.
HONORABLE MENTION #2: Late Night with the Devil
Even though I’m a huge fan of the horror genre, most movies in that category don’t scare me. So when I tell you that co-directors Colin and Cameron Cairnes’ Late Night with the Devil scared and disturbed the shit out of me, that should tell you something. Spearheaded by character actor David Dastmalchian in a rare lead performance, Late Night with the Devil chronicles the disturbing events that happened on the fictional late night talk show Night Owls With Jack Delroy on Halloween night 1977. The occult themed episode is highlighted by an appearance from Lilly (Ingrid Torelli), a child who survived a satanic cult and is frequently possessed by a demon named Abraxas. What unfolds throughout the evening is a Hellish nightmare, culminating in a gut punch of a finale that left me shaken. This one is going to stand the test of time in the horror genre and if this is your bag, I can’t recommend it enough.
Alright! Without further ado, here are my thirteen favorite films of 2024!
#13 Challengers (9/10)
When it comes to director Luca Guadagnino, I’m typically in the minority. Call Me by Your Name was pretentious and overrated as Hell, Bones and All was merely fine, and the less said about his Suspiria remake the better. Having said that, Challengers was an absolute delight. A deliciously dark erotic thriller of the kind we never see anymore, it sports some dynamite cinematography from Sayombhu Mukdeepro and another kick-ass electric score from Trent Reznor and Atticus Ross. A non-linear story, ostensibly about tennis, it’s really an examination of obsession, what it means to be the best, and winning at all costs no matter who you have to manipulate or eliminate. Zendaya gives a powerhouse performance as Tashi Duncan, a rising tennis star cut down by a devastating injury. Seeking to reclaim relevance she becomes the coach of Art (Mike Faist) who goes on to success on the pro tennis tour. However, it’s Art’s rivalry with his former best friend Patrick (Josh O’Connor) and the strange dynamic between the three main characters that result in beautiful, sexually charged tension. And the final scene is the very definition of chef’s kiss.
#12 The Substance (9/10)
For whatever reason body horror has always gotten a bad rap. As horrific and disgusting as Cronenberg’s The Fly is, there’s a ton of social commentary that gets overlooked. The critical recognition and accolades Coralie Fargeat’s The Substance has received has to please body horror enthusiasts to no end. A twisted tale of an aging starlet attempting to remain relevant in an industry that values youth and beauty above all else, The Substance‘s overtly feminist themes never take away from an incredibly horrific and intriguing tale. The color palette in this film is a delight and it sports tour de force acting performances from both Demi Moore and Margaret Qualley. This film had so much buzz around it that I was certain I’d be let down. On the contrary, The Substance is one of the best films of 2024 and one of the best body horror films of all time.
#11 Music By John Williams (9/10)
One of two documentaries on my list, this retrospective on the greatest movie composer of all-time warmed the heart of this geeky 80s kid. Covering a career that’s spanned into an unbelievable eighth decade, Laurent Bouzereau’s documentary provides an insightful look into the man behind the conductor’s baton. The Queens native originally wanted to follow in his father’s footsteps and become a jazz musician before, almost by chance, entering the world of television and movie scoring. Music By John Williams proved to be much more emotional than I was expecting. I was touched by how the death of his first wife Barbara Ruick fueled some of his greatest works of the 1970s, and his beautiful fifty year friendship with Steven Spielberg. Hard to imagine that at 93 years old, this man has not only scored my childhood but all of my adulthood as well. If you’re a fan of the man at all, this is an essential documentary.
#10 Alien: Romulus (9/10)
When a franchise nears fifty years old (!) it’s hard to keep it fresh and relevant. Leave it to director Fede Alvarez to resoundingly succeed in the attempt. Bolstered by a fresh crop of faces led by Cailee Spaeny, Alvarez and crew breath new life into this storied franchise. Beautifully shot with some of the best sound effects of 2024, Alien: Romulus was the perfect blend of Alien and Aliens while simultaneously telling a unique story. It gave audiences sequences we’ve never seen before while providing a high octane, tension fueled romp that connected to the roots of the franchise in unexpected ways. Galo Olivares’ cinematography is gorgeous, Benjamin Wallfisch’s score stacks up against Goldsmith and Shore, and David Jonsson steals the show as the android Andy. With Alien: Romulus quadrupling it’s budget at the box office and an Alien television series set to hit this summer, fans can look forward to more xenomorph action for years to come.
#9 A Quiet Place: Day One (9/10)
Great horror is always talking about something else. The first A Quiet Place film focused on the futility of keeping the world’s evils away from your children. The second addressed having the confidence that you’ve raised your children well enough that they can stand on their own two feet. With John Krasinski stepping down from the director’s chair and moving into a story and producer role, I was worried A Quiet Place: Day One might not measure up to the first two installments. I couldn’t have been more wrong. Not only was this film chock full of scares and top-notch action, it also had a lot to say about finding purpose and beauty in life, even if your life is nearing its end. Lupita Nyong’o gives a powerhouse performance as terminal cancer patient Sam that, in a just world, would have netted her an Oscar nomination. Nevertheless, director Michael Sarnoski’s film proves an excellent addition to the franchise.
#8 Conclave (9/10)
A political thriller set in the Vatican starring Ralph Fiennes, Stanley Tucci, and John Lithgow? To quote Philip J. Fry from Futurama, “Shut up and take my money!” Hard to believe that a film about the election of a new Pope and the political maneuvers behind the event could play out like a cross between Three Days of the Condor and All The President’s Men, but leave it to director Edward Berger to stick the landing. Berger’s first English film proves to be his best to date, with an all-star cast led by Ralph Fiennes. His Cardinal Lawrence proves to be a moral anchor amidst a sea of backstabbing and political manipulation. Conclave is also an excellent social commentary on the difference between serving God and his people faithfully and serving your own self-interest. It’s also just a damn good political thriller that gets its hooks in you from the beginning and doesn’t let go until the stunning and unexpected finale.
#7 Juror #2 (9/10)
Juror #2 is what I like to call a “fish hook movie.” It’s one of those movies that gets in your head and you can’t stop thinking about it for days. I didn’t expect what is purportedly legendary filmmaker Clint Eastwood’s last film to be one of his best but here we are. Eastwood has always been the master of morality tale movies and he succeeds once again with Juror #2, delivering his best film since Mystic River. Nicholas Hoult is riveting as Justin Kemp, a juror on a murder trial who discovers the killing at the center of the trial may have been done by him. It’s a movie that constantly asks the question, “What is the right thing to do?” but never offers an easy answer. In a world that’s become increasingly polarized, Juror #2 reminds us that life is often very gray and context and nuance matter. If this is indeed the directorial caper from the man who brought us Unforgiven, Midnight in the Garden of Good and Evil, Million Dollar Baby, and The Outlaw Josey Wales, it’s a Hell of a film for Eastwood to hang his hat on.
#6 The Wild Robot (10/10)
I’ve said it multiple times but one of the great things about filmgoing is the ability to be surprised. I was expecting The Wild Robot to be your typical, run-of-the-mill animated feature when my wife and I took our son to see it. Boy was I wrong. What I got was essentially a Monet painting come to life. Director Chris Sanders delivers a beautiful meditation on parenthood; how a lot of us are making it up as we go, the heartbreak at watching our children leave the nest, and the struggle to get them to stand on their own two feet. It’s complemented by a beautiful score from Kris Bowers and excellent voiceover performances from Lupita Nyong’o and Pedro Pascal. What an emotional gut-punch that left me sobbing.
#5 Super/Man: The Christopher Reeve Story (10/10)
The first superhero film I ever saw in the theaters was, unfortunately, Superman IV: The Quest for Peace. While the movie was atrocious, Christopher Reeve was still the definitive Superman for me as I watched the first three films constantly. When Reeve suffered his devastating neck injury in 1995 I was in high school. I remember being just devastated. How could Superman be in wheel chair? Directors Ian Bonhote and Peter Ettedgui do an excellent job of exploring Reeve, the man behind the Superman. Reeve was a man forever shaped by his parents horrible divorce and his constant need to gain his father’s approval. A family man who loved his children and physical activity, he nevertheless could be selfish and self-centered at times. Super/Man is far from a hagiography. Rather it demonstrates how a horrific tragedy can define us in the best way possible. It can move us towards activism and a sincere desire to make the world a better place, It can make us see and value what’s really important in life. Super/Man is a stunning tribute to an amazing human being and a life well lived.
#4 The Brutalist (10/10)
Of all the films on this list, this is the most recent one I’ve seen. At a whopping three and half hours, plus a fifteen minute intermission, director Brady Corbet’s movie is a beast of a film. Breathtaking, beautiful, ambitious, and captivating, Corbet shoots for greatness and succeeds. When I finished watching The Brutalist, I felt like I’d just had a heavy meal. To continue the food analogy, I’m still digesting The Brutalist several days later. There’s so much to take in. It’s a look at what it means to be an artist, what are you willing to sacrifice for your art, does trauma forever define you, what’s the reality of the American Dream, and how artists are often at the whim of the people who have power and wealth. It’s a lot to take in. This is the kind of film that will be taught in film schools for years. Adrian Brody is simply stunning as Laszlo Toth and it’s very likely he’ll garner his second Oscar in a few weeks. Felicity Jones is just as good as Erzsebet Toth. Fierce, fiery, and blunt, Jones is a revelation and doesn’t even show up until the second half of the film. What a whale of a film.
#3 Nosferatu (Masterpiece)
It occurs to me that this is the fourth horror film on my list, which just goes to show you how great a year for horror 2024 was. A remake of F.W. Murnau’s silent film and an adaptation for Bram Stoker’s Dracula, director Robert Eggers’ vampire flick is like a 19th century oil painting come to life. Nosferatu succeeds at every possible cinematic level from the set design, to Robin Carolan’s haunting score, to Jarin Blaschke’s absolutely stunning cinematography. It’s horrifying and deeply nuanced and possibly Eggers best work to date. Bill Skarsgard’s Count Orlok is evil personified and his performance is only exceeded by Lily-Rose Depp. The depths Depp is able to plumb from an emotional and physical standpoint is breathtaking. The fact that the Academy shut out Nosferatu in the major categories shows what a bunch of effete snobs they are. This isn’t just a monumental horror film, it’s a monumental film period.
#2 Furiosa: A Mad Max Saga (9/10)
Mad Max: Fury Road is one of the best theatrical experiences I’ve witnessed. In the decade since it’s release I’ve come to believe it is the best action film ever made, and that includes Die Hard. Having said that, I was excited for director George Miller’s prequel but I also had my trepidations. How could Furiosa possibly live up to its predecessor? Well it turns out it could. While not as good as Fury Road, Furiosa still delivered a high-octane, action packed thrill ride that also happened to be a fascinating commentary on revenge and justice. Anya Taylor-Joy absolutely crushes this role in a performance that’s extremely limited in dialogue. Chris Hemsworth also plays against type in an absolutely unhinged performance as the villain Dementus. Charming and despicable, you can’t help but love and hate him at the same time. At nearly eighty-years-old, director George Miller still can bring the heat and delivers a much welcome return to the Wasteland and the world of Mad Max.
#1 Dune: Part Two (Masterpiece)
There’s been years where the difference between my #1 and my #2 films have been razor thin. That was not the case in 2024. Director Denis Villeneuve’s science fiction masterpiece was far and away better than any film I saw in 2024. It is truly a stunning cinematic marvel, that defies all superlatives. From Villeneuve’s precision direction, to Greig Fraser’s moving cinematography, to Hans Zimmer’s memorable score I’ve played on repeat for months, to Joe Walker’s brilliant editing, to the costume and set design, I can’t stress what a monumental achievement Dune: Part Two is. Yet this film wouldn’t work if it wasn’t for Timothee Chalamet and Zendaya’s performances as Paul Atreides and Chani respectively. Captivating doesn’t begin to cover it. This film is beyond the pale when it comes to the science fiction genre and it’s easily one of the best films of the 21st century.
Well that’s a wrap on 2024! Here’s hoping we enjoy just as solid a year for film in 2025!
