Best Movies of 2024 (#25 - #11)
For the first time since I started publishing this “Best of the Year” list, I no longer live in Los Angeles. I spent this past year soaking up as much of movie-going in LA as I could, knowing that my time there would be coming to a welcome end soon. Whether it was Q&A screenings with the artists behind this year’s releases, or getting to see classics on 70mm film at the historic Egyptian Theater in Hollywood, I squeezed every drop I could out of the LA movie scene.
All in, I hit my goal and saw 100 new releases that came out in 2024, and I’d be lying if I didn’t admit a little part of me seeing that many films was always in search of the next best thing for this list. I care about this year-end list, and for some reason other people seem to as well! It’s diverse, it’s exciting, and it gives me hope for the future of the industry that so many bold innovative films are still finding success. So, hopefully there’s a film you’re inspired to check out or even revisit from these recommendations. As always, feel free to reach out and tell me all about how you agree or disagree. It was another great year at the movies!
(#25) Longlegs
Evil is an understatement to describe Osgood Perkins’ Longlegs: a horror movie where every frame overflows with dread and anxiety. The dark plot centers on Maika Monroe’s (It Follows) Agent Lee Harker of the FBI as she hunts down a serial killer calling themself Longlegs. For most of the film, we’re only given glimpses of Nicolas Cage’s transformation into this monster, but what Cage does with his voice and movements are chilling to the core.
As the plot unravels and the film’s sinister intentions are revealed, I felt my entire movie theater hold its breath waiting for it all to come to a close (in the best sense possible). Longlegs’ unbelievable climax had me quite literally on the edge of my seat. If you’re a fan of true-crime, horror, or even just anything that will give you nightmares, Longlegs will do the trick.
Available to rent on VOD (Itunes, Amazon, etc.)
(#24) Wicked
What can I say? I’m a sucker for movie musicals, especially those I’ve been desperate to see for over a decade. Green and pink seemed to take over the world this year as the marketing for Wicked ramped up, and to me this fun, beautiful, touching musical lived up to the hype. There are some structural issues with the plot functioning as only the first part of the story, but otherwise I was fully enamored by this new take on Oz.
In Oz, Cynthia Erivo’s Elphaba and Ariana Grande’s Glinda are perfectly cast. I truly hope that Ariana Grande takes home the Oscar for Best Supporting Actress this year, but the Academy unfortunately refuses to reward the funniest performances of the year. Every hair flip, toe point, and look of disgust are precisely what each moment needs to insert the character of Glinda’s self-importance. The movie was indeed “popular”, as was its soundtrack in my car this year.
In theaters now; available to rent in 2025
(#23) Dìdi
I hate that movies are being made that make me nostalgic for when I was a kid, because I didn’t think it was that long ago…but I’m glad they’re being made as well as Dìdi. Set in 2008, Dìdi is a coming-of-age story firmly rooted in the social media/internet boom. Largely autobiographical, director Sean Wang captures what it was like to grow up in the late 00’s and the complicated relationship he had with his Taiwanese heritage in America.
17-year old actor Izaac Wang must be far too young to remember this era, but his squeaky adolescent performance, as Chris, proves that the feelings teenagers have using social media change very little. Flirting, friendships, and career aspirations all changed when digital became the main method of communication for teenagers. Acclaimed actress Joan Chen’s performance as Chris’ mother also displays layers of love, frustration, and a genuine care to understand the younger generation for her son. Adding even more to the authenticity is the casting of the director’s own grandmother to play Chris’ grandmother in the film, who steals the scene anytime she hits the screen.
Now streaming on Peacock
(#22) Furiosa: A Mad Max Saga
Mad Max: Fury Road is one of the greatest action blockbusters ever made, so creating a follow-up to that movie was an already impossible task. With George Miller returning to direct the backstory of the character played by Charlize Theron in the last installment, Furiosa: A Mad Max Saga never tries to posture itself as the “next Fury Road”. Rather it sets itself apart tonally and structurally as a satisfying prequel in its own right. The action, elaborate vehicle designs, and world-building are still there, but the narrative follows a different course, charting Furiosa’s quest for revenge against those who ripped her from her family when she was young.
Taking over the character of Furiosa, Anya Taylor-Joy (Queen’s Gambit, The Menu) bares a ferocity that seems to come from decades of thinking of nothing but unimaginable horrors for her enemies. The main target of this anger falls to Chris Hemsworth (Thor), who shocked the world with his eccentric villainous turn as Dementus. It’s exhilarating to immerse yourself in the world of Mad Max on the big screen, so it’s disappointing how poorly this film performed at the box office. How can this not be one of the best movies of the year when a character proudly proclaims “I am Scrotus!”
Now streaming on Max
(#21) The Substance
Have you ever dreamt of a better version of yourself? Younger. More beautiful. More perfect. One single injection unlocks your DNA, starting a new cellular division, that will release another version of yourself. This is…The Substance. Will you accept?
The originality of Coralie Fargeat’s horror feature makes it the most exciting film to come out of the genre this year. Demi Moore is an unrelenting force of nature as an aging celebrity taking a new drug that unleashes a younger version of herself played by Margaret Qualley (Once Upon a Time in Hollywood, Poor Things) for seven days at a time. The process of creating this “other”, especially as it spirals out of control, is an over-the-top gory gross out that women rarely get to play with on screen. History will look very kindly on The Substance’s impact on the body horror genre, as was very clearly evident by the audible and physical reactions to the most batshit crazy ending of the year.
Available to rent on VOD (Itunes, Amazon, etc.)
(#20) The Wild Robot
Without a doubt in my mind, The Wild Robot is the best animated film of the year. Its painterly animation style stands out on its own in an industry chasing the style of the Spider-Verse movies, but the performances are the real draw here. The star-studded cast includes emotional voiceover performances from Lupita Nyong’O (12 Years a Slave, Us), Pedro Pascal (The Mandalorian, The Last of Us), and many others inhabiting the island of wild animals that a lost robot finds itself stranded on.
This movie features the maturity children’s movies not only need, but deserve. The film bravely confronts the circle of life head on and holds younger viewers’ hands through that depiction with both humor and heart. When Roz the robot adopts a young orphaned gosling, named Brightbill, we see how motherhood isn’t so different whether you walk on two legs, four legs, or if you’ve got metallic claws for legs. The Wild Robot reminds me thematically of the best Pixar movies, where both adults and children can learn and appreciate something new about life together.
Available to rent on VOD (Itunes, Amazon, etc.) on December 31, 2024
(#19) Blitz
In 2020, director Steve McQueen dominated my End of the Year List, with five incredible films released, so much so that I lumped them altogether in one slot at #1 and called it a day. Since that day, I’ve been eagerly anticipating his next feature, and Blitz does not disappoint. After being separated from his mother, played by Saoirse Ronan (Lady Bird, Little Women), 9 year old George is thrown into a hellish journey to return home amidst the bombing of London in WW2.
While Blitz does not feature the more intimate depth of his earlier films, especially with its grander scale, there is still much to be gained from McQueen’s vision of an “Oliver Twist”-esque tale. This type of journey can seem episodic by nature, as George faces obstacle after obstacle to get back home, but each encounter purposefully challenges his resistance to growing up and being on his own. The cast of characters that populate this twisted adventure through a war-torn United Kingdom show the wide breadth of humanity & compassion (or lack thereof) that can you find in the darkest times.
Now streaming on Apple TV+
(#18) The Remarkable Life of Ibelin
I play my fair share of video games, but the world of World of Warcraft is too “gamer” even for me. It’s something I, and likely many others, have chalked up to a soul-sucking game for only the most hardcore of gaming nerds. That being said, I felt the same way about VR chatting until I watched the incredible 2022 documentary We Met in Virtual Reality, which opened my eyes to how these games can sometimes bring people even closer together.
In this documentary, The Remarkable Life of Ibelin, the gaming exploits of a young Norwegian man named Mats, who was born with Duchenne Muscular Dystrophy, are recreated by animators and his friends after his tragic death. In his life, Mats’ parents feared the worst; that his debilitating disease and constant gaming cut him off from the world. It wasn’t until messages of support came from dozens in his online community following his passing that Mats’ family finally began to understand the indeliable impact Mats left on those he connected with. Mats’ story is so unique and personal, but speaks to a wider human connection many would incorrectly argue you can’t find online. I never thought I’d see a day where I’d watch anything involving World of Warcraft, let alone cry because of it…but here we are.
Now streaming on Netflix
(#17) About Dry Grasses
There was a moment, probably an hour into About Dry Grasses’ massive 3-hour runtime, where I forgot I was watching a movie. The lack of score, believable performances, and realistic dialogue given through drawn out conversations had captivated me into a trance. Another hour passes, and I start to forget I’m watching a movie again. Right as I’m approaching that point of complete immersion, director Nuri Bilge Ceylan chooses to do something so bold to remind you you’re watching a film that it took my breath away.
The film depicts a young Turkish teacher in a remote village whose hopes of transferring to Istanbul are put at risk when two students accuse him of inappropriate conduct. About Dry Grasses is remarkable and one of a kind in its purposeful realism if you can brave the extended length. These stories aren’t real, but they might as well be for how much Ceylan and the performers get you to invest in characters despite/because of their flaws.
Available to rent on VOD (Itunes, Amazon, etc.)
(#16) My Old Ass
My Old Ass is one of the most surprisingly great films of the year, especially from any expectations that incredible title might set. The premise of a teenager who’s about to leave home taking mushrooms and imagining a conversation with her older self could have been a one-note comedy. Thankfully, writer/director Megan Park embues this film with so much heart it might burst at the seams. There’s also plenty of humor, as the older version of Elliott teases her younger self about things to come. Wouldn’t you be excited to find out you’re still in school for a PhD?…
Every character in My Old Ass feels authentic, anchored by one of the best feature debut performances I’ve ever seen from Maisy Stella and a small but incredibly impactful supporting performance from Aubrey Plaza. Everyone has quirks. Everyone’s a little weird. My Old Ass makes you realize those are the little things you’ll remember and love about the people you surround yourself with.
Now streaming on Amazon Prime
(#15) How to Have Sex
How to Have Sex was one of the first movies I saw in 2024 and has remained high on this list since then. Director Molly Manning Walker’s debut feature is a stunning examination into sexual coming-of-age from the female perspective. When Tara and her two girlfriends take a holiday to the Greek islands hoping for good times, cheap drinks, and attractive guys, it should have been a harmless, if tastefully debaucherous, trip. As Tara and the girls connect with another group of young travelers, however, How to Have Sex becomes a brutally honest portrayal of sexual assault and those who are complicit in encouraging that behavior.
The performances, island night life, and relationships between these kids feel so real and lived in that the film at times seems as if you’re watching a documentary. Mia McKenna-Bruce’s performance as Tara has gone largely ignored this year due to the early release date, but should be considered among the year’s best. It takes a confident hand and complete trust in a director to pull off subject matter this harrowing, but How to Have Sex sticks the landing as an eye-opening look at modern sexuality and the dangers women face, especially from those they least expect.
Available to rent on VOD (Itunes, Amazon, etc.)
(#14) A Complete Unknown
It’s incredibly hard for me to remove bias from my review of A Complete Unknown, because I am a massive…MASSIVE…Bob Dylan fan. That being said, I’ve been validated by others who I’ve recommended this movie to that I’m correct in saying it deserves its spot as one of the best musical biopics I have ever seen. Timothée Chalamet as Bob Dylan completely immerses himself in the role, and director James Mangold’s (Logan, Walk the Line) commitment to having actors sing for themselves pays off wonderfully. Edward Norton (Fight Club, Glass Onion) and Monica Barbaro (Top Gun: Maverick) also lend songs to the soundtrack that have already been on daily repeat.
Admiration for Dylan’s music radiates off the screen, as much of the movie finds other figures in Bob Dylan’s life reacting to and becoming stupefied by his unique talent. Dylan becomes a mythical figure in his own movie. A Complete Unknown isn’t concerned with who Bob Dylan is, because he isn’t either. It’s all about the music.
In theaters now; available to rent in 2025
(#13) Will & Harper
In 2021, Will Ferrell received an email from his friend of close to 30-years, known to Ferrell as Andrew Steele, announcing that she was coming out to him as a trans woman named Harper. In order to process what this means for their friendship and Harper’s place in a world that constantly tells her who she can or can’t be, Ferrell and Steele set out on a road trip across America. Filled with heartwarming reunions with SNL alumni (where Harper was a head-writer) and harsh realities of trans life in this country, Will & Harper is a must-watch documentary from this year.
In the hands of anyone else, this project could have easily fallen on the alter of a lesser celebrity’s ego. But in the hands of Will Ferrell, the focus remains on Harper while still acknowledging that this journey would not be the same if a mega-star like Ferrell wasn’t with her for the ride. Harper loved to take road trips on her own before she transitioned, but didn’t yet feel comfortable enough to take that step before first testing the waters with Ferrell. Having a massive celebrity like Will Ferrell attached helps normalize Harper and so many other’s stories to the general American audience they meet along the way and that will hopefully feel touched when they watch this documentary.
Now streaming on Netflix
(#12) Anora
Mikey Madison’s starring role in Anora was an absolute revelation. She has had small but impactful roles in films like Once Upon a Time in Hollywood or the Scream franchise, but has never landed a part as beautiful and complex as the titular Anora. Madison plays a sex worker who builds a connection with Ivan, the son of a Russian oligarch, who she believes could change her life. The movie matches their playful chemistry and similar tone until word reaches Ivan’s parents of his and Anora’s marriage. The film, much like its central character, then begins to spiral as we try to hold onto that rush of the beginning of this twisted Cinderella romance.
Anora also features an introduction to some of cinema’s greatest “goons”: the henchmen sent by Ivan’s parents to “rescue” him from Anora. Actors Karren Karagulian and Vache Tovmasyan are hilarious as they try to control the wild Anora, but it’s Yura Borisov, playing the soft-spoken henchmen Igor, who goes toe-to-toe with Madison’s powerhouse performance. Borisov is able to do magnificent things with his eyes in the compassion he shows for Anora despite the circumstances.
Sean Baker’s previous films, Red Rocket and The Florida Project, have both also landed on my top 12 films of their respective years. Baker is one filmmaker that I would follow to the ends of the Earth and know that I’ll always have new appreciation for any actor involved in his projects.
In theaters now; available to buy on VOD (Itunes, Amazon, etc.)
(#11) The Seed of the Sacred Fig
Filmmaking as brave and technically brilliant as Mohammad Rasoulof’s The Seed of the Sacred Fig deserves to be celebrated. Set against the backdrop of revolutionary protest by women in Iran, the film follows an Investigative Judge whose traditional values are challenged when he suspects that his wife or two daughters were involved in the disappearance of his gun. Rasoulof builds tension through parallels between the family’s growing mistrust of each other and the growing levels of mistrust the Iranian youth found in their government. Even more impressive than the narrative itself however…is how the film was made in secret.
Due to censorship laws in Iran regarding this kind of political material, The Seed of the Sacred Fig needed to shoot entirely in secret. Rasoulof has been arrested multiple times by the authorities in Iran for his films and his vocal critique to violence inflicted by the state. Because of this, the film was shot covertly over 70-days before the film and the filmmaker had to be smuggled out of the country on a treacherous journey to Germany.
Speaking on the film at a festival, Rasoulof said, “It’s very difficult for me to speak about the cast and the crew, especially the ones who are left behind in Iran, because almost all of them have tribunal cases against them. I am also here with mixed feelings, because every time I face the audience and I get the applause, I feel like the crew should be here. They have a big role in this, and I like to be happy, but I can’t be entirely happy.”
In theaters now; available to rent in 2025
