The Best Movies of 2024
Honorable Mentions
The Substance
Love Lies Bleeding
Twisters
Monkey Man
Kingdom of the Planet of the Apes
Juror #2
Queer
Challengers
Lisa Frankenstien
The Devil’s Bath
Smile 2
The First Omen
A Different Man
Kinds of Kindness
Civil War
Beetlejuice Beetlejuice
Terrifer 3
Women of the Hour
I Saw the TV Glow
A Complete Unknown
#10. Your Monster
Your Monster is a wildly entertaining, hilarious, smart and subversive genre-mending film that takes almost everything you know about Beauty and the Beast and amps it up to 11. One of the freshest rom-coms of the entire year with a big splash of horror that sadly nobody seems to be discussing. Your Monster will definitely find its audience in the coming years as well for this year’s Lisa Frankenstien, a film that also seems to be flying under the radar that shares lots of similarities. Both of these will both make a delicious double future for next Halloween. Melissa Barrera is a pure angel on and off screen, she brings an abundance of charm and humor to the film’s soul as well as her co-star Tommy Dewey. Their chemistry works like wonders and the movie's thesis truly makes for one of the year's loveliest, sweetest and coziest films of the entire year.
#9. The Bikeriders
Ahhh it’s good to have you back Jeff Nichols! This is exactly the kinda film I’ve hoped it would be. Just barroom brawls, Austin Butler being the next ultra badass that film bros are gonna base their whole personality off of (sorry Ryan Gosling), Tom Hardy giving us the best Maroln Brando-aesthetic monologues in a silly accent that is barley comprehensive yet still awesome, but above all it’s just guys being guys. As much as I hate the saying “turn your brain off for this” as no film should be viewed as mindlessly as that saying goes, as for this case it really is the perfect example of pure escapism.
The Bikeriders is exactly what it sets out to be, a straight shooter existential drama about a midwestern biker gang and their last attempt at maintaining the way of the only life they know all in the span of 2 short hours. Goodfellas was definitely a heavy inspiration for this, thankfully it never feels derivative. I really miss when Hollywood gave us projects about subcultures like this and really hope to see more of these from future filmmakers. I don’t see this winning any Oscars, but Austin Butler, Jodie Comer, and Tom Hardy are all serving here
#8. The Seed of a Sacred Fig
Definitely the most contemplative film to come out of this year (probably the most ever in quite some time). The Seed of a Sacred Fig is not an easy one to talk about or even pleasant to watch. I won’t get into the dangerous paths that cast and crew had to go through before and after to get this film across as it would take up the entirety of this article. However, it is a wonder that they were able to film this nearly 3 hour film in secret and sneak the footage to Germany. For those reasons alone the film deserves to be seen. Emotionally and mentally exhausting in the best way possible. This is a lot of movie to take in during one sitting, and it's one that I find that I'll be reflecting upon as I sit and ponder so much of its runtime. It's tense, taunt, and incredibly stressful, with sequences drawn out in which the palpable tension between key characters is laid on thick and unbearably.
It's uncomfortable, but it's also done in an artful way. It's a difficult watch, as director Mohammad Rasoulof includes graphic footage of real protests within Tehran within the film's story. However, it's extremely impactful and important, garnering thought provoking questions full of a contemplative nature. The third act here is the most nail biting thing I’ve seen all year. An almost unbearably excruciating escalation of tension over the course of three hours made all the more affecting thanks to the inclusion of real world terrors occurring simultaneously. Urgent, unforgettable filmmaking. After taking a big exhale, by the end The Seed of a Sacred Fig made me realize this is why movies matter. Art has the match that lights the fuse to the dynamite of change. It’s really exhausting to write about this one because there is so much more to dissect and analyze (and I’ve only scratched the surface), but most important of all, I'm overwhelmed by the courage from the entire cast and crew. I just hope the people out there who have their eyes wide shut have the courage to seek out this movie one day and wake up to the horrors of this world.
#7. Nosferatu
He is no longer coming, He is here. Nosferatu has arrived. Like staring into the face of God and going mad at the sight. Robert Eggers playing with the bones of a story as classic as this one makes for astounding imagery that finds new ways to surprise even the most devoted of Dracula/Nosferatu connoisseurs. The beats are familiar, but the depiction of them and the emotions this festers in are refreshing to say the least.
Always struck by how the women of Eggers’ films are forever entwined with the occult. Their willingness to participate in the covenant less a prerequisite, more an inevitability. They dance in the moonlight, foretell the coming terrors, writhe in exaltation at something greater’s feet. Desire as their source of freedom and the signature on their death warrant, a tug-of-war where they’re stretched to the breaking, laughing as their flesh tears, bones breaks, and blood falls.
Egger's Nosferatu is one of the darkest, nastiest depictions of a shadow I've ever seen put to screen. It is a vision of death. And yet, here I am, happily leaving my cozy home in the dreadful winter to sit and watch a multi-million dollar film about plague, death, evil, and how sometimes some part of us desires those things. Is it my shadow that enjoys the film? Or does observing myself enjoying the movie act as a kind of shadow work, an uncovering and bringing into understanding the darkness? It's an uncomfortable question but if we ignore that darkness, and pretend it doesn't exist, as individuals or as a culture. We risk overlooking what is actually the cause of our ills. We're left fighting the mere plague when there is a darker hand influencing our own.
#6. Flow
Flow may not be remembered for its standard plot, but it will definitely be remembered for its grandiose animation and its ability to tell its narrative without a single line of dialogue. This could’ve easily been a typical animated animal movie like we’ve been seeing from DreamWorks animation. The fact that the animals actually feel and act like animals makes Flow all the more effective and stand out amongst others. Flow’s approach to a post-human world, traversed through the eyes of a cat thrust into an unexpected journey, works as an interesting contrast to Blue Twelve Studios video game, Stray.
The game has a fascinatingly similar narrative introduction, but where Stray’s long-gone humans leave their traces through their garbage and the evolving state of their still-operating technology, Flow’s approach is one grounded and easily incorporated into the natural cycle of the world. Humanity’s left behind traces are rooted in natural materials that are either repurposed or swallowed up completely in the changing state of the world. I really wish we got more movies like Flow, but sadly the majority of general audiences need everything laid out and explained before the movie even starts whether it’s a campfire story, monologue flashbacks, whatever the case usually is.
If this was made by Disney or DreamWorks we would’ve had 10-15 minutes of backstory setting up why the world is flooding, and thankfully Flow never once wastes our time with any of that. I’m so glad this and A Quiet Place: Day One have had the courage to showcase cats in a more positive light unlike most movies. Flow really really worked for me and if it were up to me this would easily win best animated feature this year, but it already looks like it’s gonna be going to another DreamWorks movie… No disrespect to The Wild Robot, it’s fine. But this just pulled at my heartstrings in the ways I was hoping the latter would. The harmony of both films establish the land succumbs to the sea for most of their respective runtimes, Flow is just able to present a much fresher take on the subject.
#5. Hit Man
Blessed to live in a world where Richard Linklater is making films. Cursed to live in a world where Richard Linklater’s films are going straight to Netflix after a virtually nonexistent theatrical run. The one thing I have to shout at the top of my lungs after seeing this delight is - KEEP MAKING MOVIES SEXY AGAIN (WE HAVE NEVER BEEN MORE BACK!) . So grateful I was able to see this at an early screening in a packed theater even if the drive was over an hour away. This movie is funny and sexy and genuinely one hell of a great time. Glen Powell and Adria Arjuna have chemistry that is absolutely off the charts and watching them together is a joy. They, as well as the entire cast around them, give stellar performances from the first frame to the last. Really exciting to see Powell in a project that truly allows him to show off his depth and range as an actor. His accent work is on point (go off king!!).
The variety of characters he gets to play around with (even though some are just for a few lines) seems so effortless to him and I can’t wait to watch his career take off to new heights after so many years of putting in the work to get to this point. The script is clever and engaging. Linklater continues to show what a masterful writer and director he is across the board - character depth and exploration, world building, distinctive style and pacing in story and aesthetics. It works just fine as a sexy comedy in the same way that something like Mr and Mrs. Smith does but Linklater and Powell decided to layer philosophizing about the nature of identity and a meta-commentary on performance into the mix. This truly is the rom-com the world needs right now, but NOT the one Netflix deserves.
#4. Strange Darling
I think part of my obsession with 70s/80s genre films is that we don't get random transgressive theatrical releases anymore. Stuff like Ti West's X trilogy is an homage, sure, but one deeply modern with its subversions— and to varying degrees of success throughout the trilogy. And when something is genuinely shocking, like say, 2022’s Barbarian, the discourse around the film is so immediate and overwhelming that unless you saw it opening weekend, your viewing will be skewed with the context of everyone saying, "It's not what you think it is!" Another reason modern genre films don't hit the same is because our culture is simultaneously tame and totally desensitized to shock because of the internet. I have long craved to buy a ticket to a small genre flick and end up seeing something like The Last House on the Left or Psycho with zero context. Well, that happened to me this year with Strange Darling.
All I knew was the brief description and that Giovanni Ribisi was the DP shooting on 35mm and by the end, I knew it was one of my favorite films of the year. Unlike so many modern genre throwbacks, J.T. Mollner's Strange Darling is subversive in how it shocks, not despite the shock. This is great value De Palma/Hooper/Craven, but hey, Sam's Cola still tastes a lot like Coca-Cola. I can't speak to any specifics without unmasking what Strange Darling is, so if anything I've written peaks your interest, do yourself the favor and watch it, please.
#3. Anora
Sean Baker makes his way back and for the first time ever attempts to break into the mainstream while still keeping to his roots with his latest entry Anora. Simultaneously the funniest and saddest film of 2024. That’s what it feels like for most of us, if you don’t laugh you’ll cry. Anora begins as a fiery dream, full of eroticism and extravagance. With his trademark saturated colors and grainy textures, Baker builds a fantasy bubble where the glitter of luxury and the heat of emotion seem incredible. However, like all dreams, this illusion is fragile, and reality begins to leak through the cracks.
Sean Baker, known for his keen eye for stories that blend glamour and rawness, delivers in Anora a visually stunning and emotionally devastating experience. In this film, Baker transforms the American dream into a jewel that shines and cuts at the same time. At the center of the narrative is Ani, a young woman who lights up the screen with her presence and magnetic beauty. Played with intensity and charisma by Mikey Madison, Ani is a woman shaped by circumstances, but who maintains a fierce desire for something more. Mikey Madison manages to bring to life the character full of intensity and ambition, thus delivering a delicate and electrifying performance at the same time. Baker uses his signature style of saturated colors and grainy textures to create an atmosphere that is simultaneously euphoric and melancholic.
Scenes of wealth and excess are wrapped in a rainbow palette, while moments of conflict are illuminated by a cold, somber light. The film explores profound and universal themes: to what extent are we shaped by the desire for something that seems unattainable? What happens when the dream turns into a nightmare? And most importantly, how do we find the strength to carry on when all that shines turns to ash? With Anora, Baker delivers more than a film; he delivers a stunning experience that envelops the viewer in layers of emotion and visual beauty. It is a tale of shattered illusions, but also of the determination of a woman who refuses to be defined by her circumstances.
The film’s strength lies in its ability to be many things at once: a social drama, an absurdist comedy, and an intimate tragedy. It’s an “anti-fairy tale” that dismantles the illusion of romantic rescues, addressing with brutal honesty the reality of those living on the margins. Baker also leaves room for multiple interpretations: Is Anora a critique of the abuse of power? A reflection on the loss of innocence? Or a tale of outsiders doing their best to survive in a cruel world? Prepare to be surprised and devastated. Anora is not just a story; it’s a mirror that confronts us with our own hopes, fears, and limits. I’ve said it before and I’ll say it again, what Sean Baker does for sex workers is what Martin Scorsese did/does for Gangsters.
#2. Furiosa
Mad Maestro George Miller has returned to the world of Mad Max and is once again, firing on all cylinders! A movie that’s so diabolical it makes you feel like you can run through a brick wall, heavy metal cinema. Has all the fire & brimstone of Fury Road but this time it’s baked into a coming-of-age revenge epic. So much of the movie’s beauty is in its ability to balance the frenzy with the tender— Furiosa as a harbinger of pain and Furiosa as a beacon of hope. That is not to say the movie abandons the joys of the screeching inferno of colliding steel, there’s plenty of that, but it’s Miller’s reminder that the mythology of the wasteland is so much more than that. The ubiquity of war and divinity— the way it effortlessly pervades society (even the seemingly desolated ones). The imagery forged by Miller in Furiosa is so effective, it makes sense why he would have disdain for dialogue, why tell us when he can show us? All while simultaneously melting our faces off. Magnificent and otherworldly. Hauntingly devastating and yet such a thrilling treat to bear witness to. Something that brings you to your knees in ecstasy and sorrow alike. George Miller has done it again. Career best Hemsworth, career best Anya… maybe? Not a single director in the world that directs action like George Miller and for that, we are so very lucky. Australian cinema friggin’ rules and is one of the greatest gifts to the entire world. I hope to Christ this isn’t the last Mad Max movie as I am still praying for The Wasteland to happen even as I’m currently writing this. But if this truly is the last in this preternatural series, Furiosa is one hell of a way to go out.
#1. Dune: Part Two
I’m always wondering to myself where the new masters are? Where are the new Speilberg’s, Hitchcock’s, Fintcher’s, and Scorsese’s at? But then I see movies like Incendies, Enemy, Prisoners, Sicario, Arrival, Blade Runner 2049, and now Dune: Part One & Part Two a new master surely amongst us. So if you asked me who not only is a new master but the best working director today, I wouldn’t even hesitate by answering Denis Villenuve. After what he has done with both Dune adaptations (particularly with this entry) I firmly believe Denis has conquered his white whale. Dune: Part Two is a rare milestone we only see maybe every 10 years or so. Part Two is triumphant. A masterpiece that has to be seen to be believed. I never wanted this to end. Denis Villeneuve has crafted a brilliant, bleak and meaningful epic that further proves he's a master of his craft. This is a sequel that takes everything that was great from the first film and somehow manages to improve upon it. Make no mistake, this is the second half of the story. Villeneuve has a deep understanding of Frank Herbert's iconic novel. I myself have had the pleasure of reading Hebert’s texts. Denis understands the world, tone, characters and ideas, though he makes changes that could anger book purists, but if I have to choose between absolute fidelity to the words on the page or a thoughtful expansion on big themes in the context of the sequels then I'll take the latter every time. The core of the film's themes-war, dangers of a messiah complex, fate vs. free will, revenge, colonialism, ecology-they're all here. I never wanted to leave Arrakis and was angry when I knew it was coming to an end the first go round because I couldn't get enough. The battle sequences don't take up a large chunk of time, but when they arrive, they're incredible. That final standoff between Paul and Feyd... tense doesn't even begin to describe it. The cast is sensational. Timothée Chalamet owns the film and completely blew me away.
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By Danny Manna @Cinemanna24
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