Best Films of 2024
By Chuck Koplinski
Not much changed from 2023 to 2024 where the world of consumer cinema was concerned. We got more of the same regarding where studio output was concerned, movies continued to be far too long and just how to release a movie in the Post-Covid-Streamer-Dominate Era to ensure its success remains a mystery.
There were big-budget movies that underperformed (The Fall Guy, Furiosa: A Mad Max Saga, If, Joker: Folie a Deux), small films that deserved a wider release (The Dead Don’t Hurt, Ghostlight, Juror #2, Kinds of Kindness, Small Things Like These), passion projects that failed to find an audience (Horizon: An American Saga-Chapter 1, Lee, Megalopolis)) and star-driven hits that would have been major hits, had they been released properly (Fly Me to the Moon, The Instigators, Wolfs, Young Woman and the Sea).
There were films I liked that you didn’t (Fly Me to the Moon, Goodrich, Joker: Folie a Deux, The Ministry of Ungentlemanly Warfare, One Life, Young Woman and the Sea), movies you liked that I didn’t (Deadpool and Wolverine, It Ends with Us, Means Girls, Miller’s Girl, Smile 2, Wicked), and those no one liked (Argylle, Aquaman & the Lost Kingdom, Horizon: An American Saga-Chapter 1, Lee, Madame Web, Megalopolis).
Despite megahits from Disney (Deadpool & Wolverine, Inside Out 2) and sequels that performed well (Alien: Romulus, Beetlejuice, Beetlejuice, Dune 2, Kingdom of the Planet of the Apes, Smile 2, Twisters), the box office total for the year was lagging 13% behind the 2023 take. The studios were saved by a Barbenheimer like phenomenon when Gladiator 2, Moana 2 and Wicked combined to take in $420 million over the five-day Thanksgiving holiday. That number was so significant, it shrank the deficit to 9%.
For the most part, big-budget fare failed to impress me, as I tended to connect with smaller, more intimate movies. A feeling of oppression and doubt cloud the minds of many of the protagonists in my favorite 2024 films. A sense of worry and hopelessness in the face of oppressive social institutions and mores plague them, doubt and confusion leading to desperate actions. Who says movies aren’t timely?
Of course, I did not see every movie released this year. What with theatrical releases and premieres on a variety of streaming services, no one could. As such, lists such as these are far from comprehensive, but based on the nearly 200 new films I did see, these features that managed to rattle around in my mind, long after the end credits rolled.
Small Things Like These– The most subtly powerful film of the year, Tim Mielants’ adaptation of Claire Keegan’s novella is driven by a haunting performance by Cillian Murphy. As Bill Furlong, a kind-hearted man tormented by his own inaction in the face of a tragic occurrence, the actor’s deft approach proves all too relatable. Set in Ireland during the mid 1980’s, he witnesses the abuses of the Magdalene Laundry that exists in his town, becoming conflicted over whether to intervene on one young woman’s behalf or not. Though her runs the risk of alienation from those in his community, he becomes tormented by his lack of action. Quietly rendered but powerful, Mielants’ film gets under your skin, its timely message is inescapable, as many soon will likely find themselves in Furlong’s shoe, longing to act, yet fearing the repercussions.
Emilia Perez– Jacques Audiard’s audacious musical-gangster-melodrama-dark comedy is a shot of adrenaline in an age of moribund cinema. The story of three oppressed women, each trying to find a way to carve out a life of independence in an oppressive world, is fiercely rendered, its daring, nature, making for a compelling viewing experience. The three principals, Karla Sofia Gascon, Zoe Saldana and Selena Gomez, give revelatory performances, each of them pushing the boundaries of our perceptions of them. While the film at times seems a bit ungainly, there’s no denying its ambition or the power of its message. Another timely movie, this clarion call for acceptance without apologies gets better with subsequent viewings, its message ringing louder each time. Streaming on Netflix.
Dune: Part 2– With this continuation of the Frank Herbert novel, director Denis Villeneuve delivers a brilliant, old-school epic, its sand-bound visuals hearkening to the grandeur and scope of Lawrence of Arabia. Its message of the dangers of absolute power and blind faith resonating throughout, this singular vision never feels overly long, though clocking in at nearly three hours. The stacked cast, which includes Javier Bardem, Dave Bautista, Josh Brolin, Austin Butler, Rebecca Ferguson, Florence Pugh, Stellan Skarsgard and Christopher Walken, bring the necessary gravitas to ensure this is no mere space opera, but a powerful cautionary tale of politics and idolatry run amok. Surprisingly, Timothee Chalamet convincingly grows into the role of Paul Atreides, the messiah who remains unaware of the true cost of his actions. Here’s hoping Villeneuve can reunite all concerned for Dune: Messiah to complete this saga. Streaming on Max.
My Old Ass– Perhaps the biggest surprise of the year, writer/director Megan Park’s second feature proves to be much more than a simple coming-of-age comedy. Beneath its surface is a story about living life without fear, and coming to accept that moments of happiness, as well as incidents of tragedy will occur along the way. Maisy Stella is a spunky delight as the adventurous teen Elliott, who improbably meets her 39-year-old self (Aubrey Plaza) while tripping on mushrooms. The older Eli gives the younger some solid advice regarding her familial relationships and a cryptic warning not to fall in love with Chad (Percy Hynes White), a worker on her father’s cranberry farm. Of course, this advice is not taken, which results in a surprising conclusion that proves to be the most moving ending of the year. Whether you’re 18 or 88, Ass is an entertaining, poignant reminder that life, with all of its complexities, should be embraced. Available on Amazon Prime.
Ghostlight– Another low-budget wonder, filmmakers Kelly O’Sullivan and Alex Thompson take an improbable premise and turn it into moving examination of denial, grief and healing. Keith Kupferer gives a powerfully understated performance as a construction worker who improbably gets cast as Romeo in a local production of Shakespeare’s romantic tragedy. As time passes, it becomes evident he, his wife and daughter (Tara Mallen and Katherine Mallen Kupferer) are each trying, in radically different ways, to cope with a tragedy that’s befallen them. In dealing with their trauma through art, they each come to terms, directly or vicariously, with their pain, their perspectives of life, death and love, radically changed in the process. Again, the premise should not work but the sincerity of the performances from the three principals – a family in real life – make for something memorable. Streaming on Acorn TV and AMC+. Available for purchase on Amazon.
Conclave – One of the most entertaining films of the year, Edward Berger’s adaptation of the Robert Harris novel is a prime example of how a talented group of artists can elevate material to give it added meaning and import. The Pope has died, and it falls to Cardinal Lawrence (an exceptional Ralph Fiennes), to convene a conclave of his peers to determine who the next leader of the Catholic Church will be. Underhanded machinations, overt instances of sabotage and shifting loyalties occur behind closed doors, as seemingly worth candidates are fell by their all-too human failings. An out-of-left-field conclusion – which feels like it’s REALLY out of left field – may, initially, seem a bit much. Yet, it proves to be an urgent plea for the need of the largest organized religion in the world, to address the concerns of all its 21st century followers. Streaming on Peacock. Available for purchase on Amazon.
Inside Out 2 – Though it’s stumbled in recent years, Pixar Studios remains the gold standard for animated fare that appeals to both children and adults. Kelsey Mann’s brilliant sequel does just that as it further examines the feelings of its female protagonist, now in the throes of puberty. Riley (voice by Kensington Tallman) is contending with her ever-changing body, peer politics and her self-esteem as she tries to make the high school hockey team. We’re privy to her inner thoughts and emotions, led by Joy (Amy Poehler), who is suddenly replaced by Anxiety (Maya Hawke). Chaos ensues as the teen’s mind becomes more scattered, her lack of confidence undermining her best intentions. The script is spot on in its portrayal of the mercurial nature of a teenager, but its power lies in the way it makes all Riley is going through relatable. Engaging, smart and poignant, this is also a valuable teaching tool and instrument to prompt discussion of difficult topics. Streaming on Disney+. Available for purchase on Amazon.
September 5 – Engrossing from the word “go,” director Tim Fehlbaum’s employs a documentary-style approach in recounting how ABC’s sports division covered the tragedy that played out at the Munich 1972 Summer Olympics. A masterful example of building tension unfolds as ethical decisions present themselves to a crew of journalists whose expertise lies in covering sports not geo-political crises. What information should be shared, so as not to compromise hostages that have been taken, if potentially violent acts should be televised live and if their acts will directly impact the events they are following, are all questions Roone Arledge (Peter Sarsgaard) and his reporters are forced to contend with. Gripping and taut, the film is not simply a record of this tragedy but a preview of how networks report news today and as well as how viewers’ insatiable consumption of it would come to affect that reporting. In theaters January 17th.
The Brutalist– Like its protagonist, Brady Corbet’s ambition regarding this examination of a Jewish architect’s troubled life and career may exceed his grasp. Yet, in the end it doesn’t matter. The sort of challenging, epic cinema that is rarely made anymore, this grand effort is a captivating work of art that encourages multiple viewings, the depth of its artistry emerging with each subsequent examination. Adrien Brody is Laszlo Toth, a World War II survivor who comes to America to begin again. An industrialist (Guy Pearce) takes him under his wing and sponsors his work, a relationship that becomes tumultuous when their conflicting opinions about a massive project reaches a boiling point. The issue of untreated trauma is at the core of the film, as neither of these men are unable to outrun their pasts, which ultimately taking a toll on them both. A must-see on the big screen. In theaters January 17th.
Day of the Fight – While its premise may seem threadbare, Jack Huston’s day-in-the-life drama of a beleaguered boxer still packs a punch. Michael Pitt, as you’ve never seen him before, impresses as Mike Flannigan, a former boxing champion who gets a chance to reclaim his title after serving a seven-year prison sentence. Hoping to mend tattered emotional fences, he looks up his father (Joe Pesci) and ex-wife (Nicolette Robinson) in an effort to make amends for the hurt he’s caused. Shot in black-and-white, the raw visual aesthetic is complimented by the unadorned performances. There’s a fly-on-the-wall intimacy to the film that beautifully compliments the actors’ work, while the ending, though predictable, is well-earned. A small film that’s well-worth seeking out. In theaters this January.
Tied for 11th Place – Zoe Kravitz’s impressive MeToo horror story Blink Twice…. James Mangold’s Bob Dylan biopic A Complete Unknown…the taxi-bound, two-hander Daddio…Aaron Schimberg’s darkly humorous examination of identity, A Different Man…the latest chapter in George Miller’s dystopian epic, Furiosa: A Mad Max Saga…the fascinating, poignant examination of a medical breakthrough, Joy…Clint Eastwood’s taut morality tale, Juror #2…the progressive, kinetic Irish musical, Kneecap…the invigorating coming-of-age musical, Musica…Justin Kurzel’s timely and frightening examination of White Nationalism, The Order…Minhal Baig’s low-budget look at modern poverty, We Grown Now…the criminally overlooked biopic, Young Woman and the Sea.
