One word kept coming to mind when I thought about how to sum up the 2024 year in film: ambition. That may sound strange, given that this year was largely considered to be somewhat underwhelming due to a variety of reasons, most notably the impacts that the Hollywood strikes of 2023 had on the industry. However, I can’t ignore the fact that, while it didn’t always lead to great results, there was an incredible amount of ambition displayed in the films of 2024. Sometimes that ambition, like in the case of Francis Ford Coppola’s Megalopolis and Kevin Costner’s Horizon: An American Saga, led to established names failing to cash in on self-funded passion projects. But other times, like in the case of Coralie Fargeat’s The Substance, we saw unconventional films manage to garner surprisingly high levels of recognition and acclaim.
Not everything worked. In fact, I’d argue more things didn’t work than did, but we did see a lot of attempts to create something fresh and inventive in 2024. Although the annual box office total didn’t reach the heights it did in 2023, and the highest-grossing films of the year were comprised of more sequels than last year, it still feels like we’re trending in the right direction compared to where we were in the immediate post-pandemic years of 2021 and 2022. There is plenty to look forward to also, as 2025 appears to be a potentially outstanding movie year, and an excitingly unpredictable awards season is just around the corner. For now, though, let’s take a look back at my 10 favorite films of 2024.
When making this list, I tried to include the films that stuck with me the most in 2024, the ones I found myself consistently wanting to talk about.
(Honorable Mentions: Kneecap, Love Lies Bleeding, A Different Man, Twisters, Janet Planet, Rap World, Furiosa, Snack Shack, Hundreds of Beavers)
10. Good One
Undoubtedly the smallest film on my list, the debut feature from writer/director India Donaldson was a hidden gem in 2024. Good One‘s simple story centers on a 17-year-old girl navigating her way through a camping trip with her dad and his friend. Comprised primarily of this small cast of characters talking to each other while hiking or sitting around a campfire, the success of this film hinged mainly on the effectiveness of Donaldson’s dialogue-heavy screenplay. The first-time filmmaker was able to seamlessly incorporate resonant ideas about the coming-of-age experience, especially when surrounded by adults who — when beneficial to them — already treat you as more than a kid, into her story. She also was able to build a necessary sense of unease throughout the film, even when nothing happening on screen was explicitly disconcerting. Eventually, when a character is put in a situation you were hoping they wouldn’t have to face, that unease frightenly becomes much more tangible. Anchored by a standout performance from Lily Collias in the lead role, Good One is a smart film that never talks down to its audience. It is very self-assured in its storytelling, which has me excited to follow the rest of Donaldson’s career behind the camera. Although I wouldn’t necessarily describe it as a film that grows on you, it’s definitely one that I found myself considering more deeply, and wanting to return to, in the days and weeks after I first watched it.
9. A Real Pain
In my review of Jesse Eisenberg’s A Real Pain, I focused heavily on Kieran Culkin’s performance, as well as how that performance informed the complex, fraught, and charged relationship that exists between his character and Eisenberg’s. For me, the dynamic that exists between these two characters, who are cousins in the film, is what makes A Real Pain a special film. Although Benji (Culkin) is a certain archetypal troubled yet charming slacker that we’ve seen show up in other films (or television shows, notably he shares some qualities with Culkin’s most famous character, Roman Roy), Eisenberg’s writing and Culkin’s performance sparked something new, causing me to be overwhelmingly affected by this character’s interior journey. In many ways, Benji is a walking paradox. As shown throughout the film, he can have those around him, especially David (Eisenberg), loving him while hating him and envying him while pitying him. He’s the type of person that can charm anyone he meets, but who can just as easily let his emotions boil up to the point of making those around him feel uncomfortable at any given moment. It’s an incredibly nuanced performance from Culkin, aided by Eisenberg’s empathetic script that clearly respects and understands the characters at the center of his film. As one of the few people who has now enjoyed both of Eisenberg’s directorial efforts, I am looking forward to seeing where he goes next as a filmmaker.
8. Evil Does Not Exist
Ryûsuke Hamaguchi’s highly anticipated follow-up to his acclaimed, Oscar-nominated 2021 film, Drive My Car, was a further demonstration of his technical brilliance as a director. While Drive My Car — my #3 film of 2021 —was a sprawling three-hour-long exploration of grief and lost love, though, Evil Does Not Exist is a much more contained story. Of course, that doesn’t mean it isn’t fueled by some wildly thought-provoking ideas. Evil Does Not Exist is a film about the land we live off of, the pride we feel for it, what it gives us, and what we owe it in return. It interrogates those ideas through a story about a small fishing village outside of Tokyo that is chosen by a wealthy company as the site to build a high-end camping ground. The film’s cast is filled with non-professional actors, which adds to its inherently naturalistic feel derived from the simple yet powerful landscape shots Hamaguchi incorporates throughout. A breathtakingly beautiful film, Evil Does Not Exist contains some of the most visually striking images seen on screen in 2024. And it ultimately culminates in one of the most disorienting, haunting, and conversation-inducing endings I’ve seen in quite some time. I genuinely think it would be impossible for anyone to watch this film and not immediately want to talk about what they took from, and how they interpreted, the ending that Hamaguchi opts for. Worthy of repeat viewings, Evil Does Not Exist is a movie that sticks with you long after your initial watch.
7. I Saw the TV Glow
Speaking of distinct images and scenes that remain with you long after you first see them, the number seven film on my list is Jane Schoenbrun’s I Saw the TV Glow. One of the more inventive and expertly constructed films of the year, this allegory for the trans experience is equal parts psychological horror and coming-of-age movie. Led by two outstanding performances from its leads, Justice Smith and Brigette Lundy-Paine, the film follows two teenagers who bond over a Buffy the Vampire Slayer-esque television show. Eventually crossing into more supernatural territory, the story is unique and ever-evolving, but the sentiments at the heart of it remain recognizable. Reaching the point of emotional devastation by the end, the film explores what it is like to be faced with taking the first step in a journey that not only frightens you but eludes your understanding. It is a rare type of movie, one in which the skillfully crafted technical achievements elevate the deeply considered themes, and vice versa. Most notably, the virtuosic recreation of the 90s Nickolodeon-style television show, The Pink Opaque, that the main characters are obsessed with is reason enough alone to recommend I Saw the TV Glow.
6. Nickel Boys
Perhaps no 2024 movie announced the arrival of a new visionary director louder than Nickel Boys did for its up-and-coming filmmaker RaMell Ross. In bringing Colson Whitehead’s novel of the same name to the big screen, Ross took a wholly new approach to literary adaptation. The film is comprised entirely of point-of-view shots, something that works not as a gimmick, but as a genuinely innovative and additive storytelling technique. Ross proved to have a strong sense of vision and a deft touch behind the lens with his first narrative feature — he had previously directed the 2018 Oscar-nominated documentary Hale County This Morning, This Evening. Nickel Boys stars Brandon Wilson and Ethan Herisse as co-leads and tells the story of various racial injustices that take place at the fictional Nickel Academy, which is a stand-in for the infamous “Dozier School for Boys,” a reform school in Florida known for its reprehensible treatment of students. To drive home a point made in my opening paragraph, Nickel Boys is one of the more ambitious films I’ve seen in quite a while. The complex filmmaking style directly confronts the viewer’s relationship with the story seen on screen, and its historical context. Moreover, the film’s use of archival footage to center some of the travesties it is exploring effectively challenges the audience. A rich text if there ever was one, Nickel Boys leaves you with so much to consider upon its conclusion. Any film that is able to provoke that much thought is worthy of the acclaim Nickel Boys has been receiving since its release.
5. Anora
Sean Baker’s Anora is a lot of things. It’s the current odds-on favorite to win Best Picture, a culmination of the themes Baker has been exploring throughout his career, one of the most divisive and discourse-generating films of the year, and an exhilarating screwball caper donning prestigious clothing. It’s also responsible for one of my favorite trips to the movie theater in 2024. Seeing this film in a packed cinema was absolutely one of the highlights of my filmgoing year. Complete with a superb central performance from Mikey Madison and multiple scene-of-the-year candidates, there is so much to admire about this story of a sex worker who finds herself catapulted into a fairytale-turned-nightmare situation after meeting and getting eloped to the son of a Russian oligarch. Similar to Evil Does Not Exist, Anora also contains one of the best endings of the year that, regardless of how you feel about it, has you searching for someone to discuss it with the moment you leave the theater. Structurally unique, Baker implements different styles of filmmaking throughout, giving the movie multiple distinct aesthetics that match the frenzied arc of its main character. While certain aspects of the movie have been picked apart and over-discussed on social media to an almost nauseating degree, Anora was still one of the most fun films to talk about in 2024.
4. Sing Sing
No film from 2024 moved me quite as much as Greg Kwedar’s Sing Sing did. At the risk of sounding corny, I will fully admit that I can be easily affected by stories about the power of art. While that certainly isn’t the only thing this film has on its mind, it does beautifully capture how engaging with the artistic process can be a transformative experience for people. Sing Sing centers on a theater group composed of incarcerated men in the Sing Sing Correctional Facility. The film stars Colman Domingo, giving a performance worthy of Oscar gold, alongside many real-life participants of the Rehabilitation Through the Arts theater program that is portrayed in the film. Among them is Clarence Maclin, who gets my vote for breakout performer of the year. The film is partially built upon Maclin’s real-life story, a fact that can be felt through his compelling, personal, and deeply considered performance. A movie about finding your purpose, this story will resonate with anyone who has found freedom in artistic expression. It also works as a process movie, showcasing how something is made and the effects that such an undertaking can have on its creators. The authenticity granted to it by casting members of the RTA program recontextualizes those themes by giving more weight to them. Luckily, after A24 somewhat botched Sing Sing‘s initial release, they recently announced the film would make a return to theaters this month. Hopefully, this leads to more people seeking it out, as it deserves much more attention than it originally got.
3. Dune: Part Two
Considering it is one of the biggest films of 2024, there isn’t much to say about Dune: Part Two that hasn’t already been said. I will admit, however, that given the acclaim it received when it first hit theaters, I have been surprised to see it left off many people’s end-of-the-year lists. Denis Villeneuve’s second entry in his reported Dune trilogy not only blew me away, it gave me pretty much everything I want from a big-budget blockbuster: incredible performances, genuinely compelling action, a gripping story, and truly breathtaking visuals. The best thing about Villeneuve’s two Dune films is that their massive scope is never in conflict with the story being told. Despite his somewhat controversial remarks about the role dialogue should play in film, I never get the feeling that he sacrifices narrative for the sake of creating room for more setpieces. There is always space for both, as there should be. The other thing I love about this film is it feels worthy of its budget, marketing, and the moment it created. A lot of the credit for that belongs to Villeneuve, but the legitimate starpower possessed by the film’s cast is equally crucial. A movie like Dune: Part Two should feel like an event, not because it is the 20th chapter in some connected universe, but because of the resources that went into it and the people that made it. And, collecting a cast of some of the most popular and sought-after young actors in the industry helps establish these films as genuinely important cinematic events.
2. Challengers
In an era when the phrase “a fun time at the movies” is mistakenly overused, it is rare for a film to come along and actually be what so many others claim to be. Luca Guadagnino’s Challengers is a genuinely propulsive and electrifying film, which was an absolute blast to witness in theaters. Easily Guadagninio’s most commercial offering to date, the acclaimed filmmaker still remained true to himself in its construction. Led by three of the most memorable performances of the year — of course given by Zendaya, Josh O’Connor, and Mike Faist — Challengers is the type of movie I’m always hoping to see be more prevalent on the new release calendar. Nowadays, it can be hard to find actually fun and exciting films for adults with clear themes and great craft displayed throughout. But, at least we have filmmakers like Guadagnino who are keeping them from completely being a thing of the past. From the relentless Atticus Ross and Trent Reznor score, to the scintilating Justin Kuritzkes screenplay, to Guadagnino’s innovate camera movements in the film’s central tennis scenes, Challengers can be an almost overwhelming experience on the senses.
1. The Brutalist
Speaking of nearly overwhelming experiences, Brady Corbet’s The Brutalist is my number one film of 2024. The 215-minute epic remains the best blend of scale, scope, and craft that I saw all of last year. I went in with many lofty expectations and had each one of them met. A film commenting on its proposed status and its filmmakers ambition in real time, I understand why The Brutalist has proven to be a divisive film. It may not end up being for everyone, but I urge people to at the very least give it a chance. Don’t be scared off by the runtime, commit to immersing yourself in this story and you will unquestionably find something to take away from it. While I find that story to actually be somewhat more contained than people want to admit, the ideas inside of it are vast and ongoing. Corbet, along with his spouse and co-screenwriter Mona Fastvold, use the post-war immigrant experience to touch on the failed promise of the American dream, the loss of identity, the destructive relationship that exists between capitalism and art, and the power of that which endures, among other things. Containing one of the best lead, and several of the best supporting performances of the year, the film’s cast which includes Adrien Brody, Felicity Jones, Guy Pearce, and Joe Alwyn elevate the already exceptional material given to them. A truly devastating and beautiful work of art, The Brutalist is destined to stir something in anybody who takes the time to invest in it. It is truly a remarkable film, and one that I’m excited to crown as my number one of 2024.
Not A Real Person Yet 