It’s possible that 2022 and 2023 spoiled us with event films like Top Gun: Maverick, Avatar: The Way of Water, and of course the “Barbenheimer” phenomenon, all of which gave their respective years a cultural touchstone to remember them by. The year 2024 didn’t have anything even remotely resembling that, and as we’ve seen over the last several weeks, the awards race has been all over the place. Has this made 2024 a weaker year in film? Well, on one hand it certainly wasn’t as consistent. But on the other hand, that lack of consistency has given 2024 something that recent movie years haven’t really had – a lack of consensus. The year has done a great job spotlighting vast differences in opinions among critics and audiences, and if anything, that has made 2024 a more intriguing film year to dissect. This year highlighted the “little engines that could”, specifically up-and-coming indie filmmakers who all found new and exciting ways to challenge the form. I’ll take that over any “event film” any day of the week.

Let’s celebrate those who made 2024 worth talking about. Hopefully you also listen to Episode 619 for a more in depth (ahem, 7-hour) analysis, but for those who need less suspense in their lives, here are my Top 10 Movies of 2024.

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RELATED: Brendan’s Top 10 Movies of 2021

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10. How to Make Millions Before Grandma Dies

Pat Boonnitipat’s feature debut from Thailand is the most egregiously manipulative movie of the year, and it knows it. To achieve this level of emotional trickery without sacrificing sincerity is no easy feat, and should be just as heavily praised as those that sidestep saccharinity. This is a sweet and often very funny movie about familial connection and inheritance, featuring a pitch perfect performance from Usha “Taew” Seamkhum, who makes her acting debut here at 78 years old.

9. Hundreds of Beavers

Many films this year attempted to challenge the form, but Hundreds of Beavers is the one that had the most fun doing it. Mike Cheslik’s feature debut functions like a live action Looney Tunes episode (the references to the Acme Corporation are a dead giveaway) in the style of a 1930s silent comedy, but through some very clever comedic timing and editing, the film proves that it’s not just pastiche. Despite its visual familiarities, there’s a newness to Hundreds of Beavers that feels sincere and loving, functioning like a reinvention of a classic form of comedy. It also helps that it’s funny as hell.

8. The First Omen

With Disney now exploring the back catalog of their newly acquired 20th Century Studios (with movies like Prey, Alien: Romulus, and Kingdom of the Planet of the Apes), it’s here where they seem to be most comfortable letting their filmmakers really cook (low risk, high reward, I guess). Case in point The First Omen, which is too good to believe it stems from that same Disney umbrella. Arkasha Stevenson’s directorial debut is a confident, artful, and truly frightening depiction of the church using fear as a weapon to increase attendance (no joke), featuring a lead performance from Nell Tiger Free that should be getting massive awards consideration. Until its final coda, you might have forgotten you were watching a prequel to The Omen all along. Click here to listen to our full review.

7. Rebel Ridge

Jeremy Saulnier’s latest has been described as First Blood meets Michael Clayton (by Saulnier himself), and it’s an apt description for what is at its core an ‘80s genre film made with contemporary sophistication. Rebel Ridge is a film that slowly reveals itself the more you think about it, as its notions on small town corruption and how bigotry stems from desperation have sneaky staying power. But taken simply on the service, it’s thrilling entertainment, featuring a star-making performance from Aaron Pierre. If Pierre doesn’t become the next big thing, we may have failed as a human race. Click here to listen to our full review.

6. Red Rooms

It’s hard to believe a movie like Red Rooms even exists, and it has become even more frighteningly relevant today in light of recent events. This French Canadian thriller from Pascal Plante may seem like a conventional courtroom murder mystery at the onset, but as it progresses, it instead taps into a growing culture of murder groupies and cosplayers, rooted in this contemporary (almost celebratory) obsession that many have with true crime. While not the most literal “horror” movie of the year, it may be the year’s evilest movie, featuring a lead performance from Juliette Gariépy that should garner Hannibal Lecter levels of comparison. I may never listen to an episode of Crime Junkie ever again. Click here to listen to our full review.

5. Nickel Boys

Much has already been said regarding RaMell Ross’ direction in Nickel Boys, but it’s worth emphasizing as much as possible. Based on the 2019 novel by Colson Whitehead (inspired by the historic Dozier School), Nickel Boys depicts the Nickel Academy reform school’s abuse of black children in Jim Crow era Tallahassee, utilizing one of the most unique and effective forms of first person perspective shifting to ever grace the screen. It is a one of a kind experience, the purest definition of what it means to “put yourself in their shoes”, all fronted by a central friendship between its two subjects (Elwood and Turner) that is genuinely moving. We may be looking at a new trendsetter here. Click here to listen to our full review.

4. Close Your Eyes

One of the most celebrated Spanish filmmakers makes his triumphant return 30 years later with arguably the year’s most reflective film. On its own, Close Your Eyes functions as a deeply moving mystery about the tie between cinema and memory, but when you consider it through the lens of director Victor Erice, the film becomes even more thoughtful and heartbreaking, how growing old and being forgotten might be the thing we fear the most. The bookends to this film (and its clever sleight of hand) rank among the best of anything I witnessed in 2024.

3. Anora

The ending to Sean Baker’s latest should be studied, as it makes for a compelling thesis about what happens to a film when it outright sticks the landing. Anora is not Baker’s best or most thoughtful film (I would certainly rank The Florida Project and Red Rocket above it), but it might be the film from this year that has aged the most gracefully, given how successfully it concludes. In its final 20 minutes, Baker transforms Anora from “raunchy sex-comedy-thriller” to a thoughtful exploration of workers at the mercy of the almighty dollar, coupled by a cathartic exchange between Mikey Madison and Yura Borisov that I won’t soon forget. It may not be the movie of the year, but its ending might be the scene of the year, and that has to account for something. Click here to listen to our full review.

2. All We Imagine As Light

It’s astounding that All We Imagine As Light is a narrative feature debut. Payal Kapadia’s work might be the most confident display of direction this year, a film so precise you would think she had been making movies for decades. All We Imagine As Light is one of the most remarkable contemporary films about urban life and its cultural restrictions, how a place that’s more populated and opportunistic can actually be a lonely hindrance. This is especially true for Prabha, played beautifully by Kani Kusruti, and those final scenes tying all the film’s central characters together are among the most magical moments of the year. It also features the greatest performance of all time from a rice cooker. Click here to listen to our full review.

1. Furiosa: A Mad Max Saga

It’s a shame hardly anyone went to see George Miller’s return to the Wasteland, because Furiosa is a pretty special movie. It’s a film that challenges blockbuster and franchise expectations, and kudos to George Miller for shifting gears into something this solemn, grief-stricken, and regretful. Furiosa is the epic power ballad of a heavy metal franchise (if Fury Road was “Enter Sandman”, then this is “Nothing Else Matters”), sharing similarities with the likes of Clint Eastwood’s Unforgiven as a tale of vengeance corrupting the soul, all crystallizing in a surprisingly artful and psychological way that pays tribute to the legends of Miller’s Australian homeland. I cannot recall the last time a franchise epic felt this mythic and spiritual, and it just may be the most spiritually charged film of 2024. Hot take or not, I can see a world where this becomes my favorite George Miller film. Click here to listen to our full review.

Honorable Mentions that round out my Top 20:
11) A Different Man
12) Soundtrack to a Coup d’Etat
13) Queer
14) Juror #2
15) The Substance
16) Evil Does Not Exist
17) Hit Man
18) Love Lies Bleeding
19) Sometimes I Think About Dying
20) Challengers

Let us know what you think. Do you agree or disagree? We’d like to know why. Leave a comment in the comment section below or tweet us @InSessionFilm.

To hear us discuss our InSession Film Awards and our Top 10 Best Movies of 2023, subscribe to us on iTunes, Stitcher, Soundcloud or you can listen below.

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InSession Film Podcast – Episode 567 (Part 1)
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Each year we do a Top 10 list for our awards show, and it’s some of the most fun we have on the podcast. This year was very exciting to me because it didn’t have a cultural-defining moment like 2023 or any other previous year. You could argue that Dune: Part Two held that spot with how audiences reacted, even bringing their own sandworms to the theaters. But I’m not entirely sure how much it moved the zeitgeist needle comparatively. Most of what we saw from mainstream Hollywood was middling and uneven.

However, the cinematic landscape still had an abundance of riches. This is particularly true in regards to animated film, documentaries, American indie and International film – which was dominant. If anything, the year will be defined by innovative and resourceful filmmaking. Young filmmakers brought something to the table this year that is potentially game-changing. I do wonder if we’ll look back at 2024 decades from now as some sort of pivot point for modern cinema. And what’s really interesting is that it’s from names that the general public won’t recognize. No Spielberg. No Nolan. No Scorsese. No Fincher. 2024 was the year of young, ambitious, provocative filmmakers looking to make a difference. With perhaps an exception or two.

We do encourage you to listen to Episode 619 to hear more about our picks, but as we do every year, listed here (after the jump) are my Top 10 Movies of 2024.

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RELATED: JD’s Top 10 Movies of 2021

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10. The Wild Robot

There is clearly a lot of love for The Wild Robot across the board, but how many people would be willing to put it up against the likes of The Boy and the Heron or Across the Spider-Verse? Because that’s exactly where I’m at with this film. It’s one of the best animated films of the decade and one of the most poignant of 2024. There’s something about Chris Sanders’ writing that’s so magical here. The idea of Roz realizing that her programming has to change to take on the responsibility of being a parent is really powerful. Her dynamic with Brightbill is really endearing and charming to boot. Culminating in a sequence utterly obliterated me when The Wild Robot suddenly transformers into Midnight Special. The migration scene isn’t just the best of this film, it’s one of the best of the year, heightened by a rousing score from Kris Bowers (my pick for Best Original Score btw). Words can barely articulate its emotionally affect, but that’s the beauty of animation. It does all the work and it’s utterly beautiful. Roz urgently running up the mountainside to see Brightbill one last time is a moment I will soon not forget. Click here to listen to our full review.

9. Dune: Part Two

Denis Villeneuve is one of my guys. Not sure how he convinced a studio to let him make, not one, but two large-scale Dune movies when the original bombed so hard. Yet here we are, and I couldn’t be more thrilled. As was the case with its predecessor, Part Two is an incredibly immersive and transportive experience. Continuing its dusty and arenaceous aesthetic, the cinematography and production design is out of this world. The remarkable scope of the film is what makes cinema a unique form of art. But beyond its bombastic qualities, it’s a riveting cautionary tale for messianic worship and blind followership. The nuances of religion and its fanatical dualities are equally as striking. All heightened by an electric cast who are all terrific. Not to mention another great score from Hans Zimmer, who deserves an apology from The Academy. Click here to listen to our full review.

8. Evil Does Not Exist

Evil Does Not Exist is one of the best overlooked movies of 2024, even by critics and cinephiles. Ryusuke Hamaguchi’s latest may not be for everyone, but it’s 100% my jam. It is slow and methodical. It isn’t interested in pandering or hand-holding. It’s exquisitely crafted. The camera isn’t afraid to linger and simply observe. The score is excellent, edited to coexist with the film’s dramatic pauses. The performances are immaculate. Yet, for all of its technical merit, where Evil Does Not Exist really thrives is with its magic trick. The film somehow operates with this entrancing, redolent realism with how it weaves a modern-day landscape and conflict that’s easily attainable. Yet, at the same time, it plays out as an eco-fable, all the way down to invoking Little Red Riding Hood as young Hana frolics in the forest. As the film crystalizes, it is clearly working as some sort of cautionary tale or parable about the intrusion of corporate greed against natural beauty. But I love how deeply grounded and pragmatic it is from moment to moment. There’s something about that duality here that is magical. Click here to listen to our full review.

7. Do Not Expect Too Much From the End of the World

Radu Jude’s Do Not Expect Too Much From the End of the World is the most dense and complex film of the year. It intertwines social and political dramas of the past, as the film shifts from a 1980s Romanian drama about a female taxi driver to the modern day where Angela (our lead character) drives around Bucharest visiting the exact same places, just with a different context. That on its own terms is impressive. The parallels between the two timelines is absolutely striking. But that’s just scratching the surface because it also wrestles with corporate greed and the tendency of capitalism to blame injuries of workers on the workers themselves. It’s about the Romanian government selling itself to Europe. It’s about racism and toxic masculinity (and how the film uses TikTok as a literal filter for that idea is absolutely hysterical). There’s a Uwe Boll cameo that had me on the floor. There is commentary about filmmaking itself. Hell, it’s even about bad roads and dangerous intersections in Romania. There is no way it should all work, and yet it does. Because ultimately it’s a movie about how it’s a miracle that we’re able to get through the day as it is. The world is too f***ed up. The fact we make it though is an achievement.

6. I Saw the TV Glow

Jane Schoenbrun is a Best Director nominee for me at the InSession Film Awards. For good reason. Their work here is astounding. The use of neon hues and smoke is visually entrancing. The use of the camera, particularly with how it lingers at times, is incredibly inspired filmmaking. Every shot in I Saw the TV Glow is thoughtfully designed to heighten or further bring clarity to the emotions of these characters. Not to mention the creation of “The Pink Opaque” – this amalgamation of Nick At Night and Buffy the Vampire Slayer – is straight out of the 1990s. Perhaps what I admired most, however, is how those redolent images compliment the film’s themes. I was viscerally moved by the storytelling and its meditation on the role art plays as both a tool for self-discovery and something that can trap us. As a trans allegory, it is deeply poignant and stirring. Justice Smith with one of the very best surprise performances of the year. Truly, truly incredible what he does here. Those final moments at the birthday party are chillingly melancholic. Click here to listen to our full review.

5. Red Rooms

Red Rooms is one of the most disturbing, yet thought-provoking and bold serial killer films we’ve seen in a long time. Horror comes in many forms, but there’s something about the sadistic torture and brutality at the core of Red Rooms, that is then used as a cypher for obsessive behavior, that I find immensely more unsettling than the gore and violence itself. We actually never see graphic violence in the film, a ploy that’s very effective as the film examines the polarity between fantastical desires to be involved and the consequences of anonymity. Eventually, that duality crumbles and there comes a moment Kelly-Anne (our lead character) removes the mask of anonymity. What plays out is *the* scene of 2024 as she makes a very deliberate choice in the courtroom. It’s shocking. It’s spine-tingling. Truly one of the most evil actions we’ve seen from any character in film. Click here to listen to our full review.

4. Furiosa

Furiosa is not at all what I expected and that’s why George Miller rules. It is the inverse to Mad Max: Fury Road, a film that is structured around its spectacle but infuses moments of poetry throughout its chaos. Whereas Furiosa is structured around its parable and infuses moments of spectacle in-between its beautiful moments of symbolism. Miller isn’t interested in regurgitating the same formula, despite the insane success of Fury Road, and I love how Furiosa bares its heart and rage in an attempt to find hope in a wasteland of grief. It’s why I could care less that we learn nothing new about this world or Furiosa herself. When the film is this beautiful and poetic, that’s the last thing on my mind. Miller’s work as a writer (my winner for Best Adapted Screenplay – totally underrated) and director is arresting, but I cannot say enough great things about this cast. Alyla Browne and Chris Hemsworth are especially striking. Hemsworth might give a career best performance here. Click here to listen to our full review.

3. The Brutalist

The Brutalist is intellectually stimulating. Bet you haven’t heard that one before. Seriously, though, this film is the literal definition of “they don’t make movies like this anymore.” It’s a large-scale epic that’s reminiscent of the scope and excess of the New Hollywood Era. Everything is grand in presentation; the cinematography, the setting, the architecture, the performances, the score. It’s all gloriously imposing and redolent. Anchored by two images that define the film, The Brutalist is a brazen look at America’s hollow DNA. The Statue of Liberty in the opening scene. A cross in the closing scene (before the coda). Both of these objects in frame are upside down, a scathing reminder of the lie that is the American Dream and the vacuous theology that preaches it. The conviction of the film is palpable, and its parallels to filmmaking itself will only make it hilarious when it wins Best Picture at the Oscars. Click here to listen to our full review.

2. All We Imagine As Light

All We Imagine As Light is my winner for Best International Film of 2024. I loved this film with every fiber of my being, leaving me with an immense euphoric feeling as the end credits rolled. Payal Kapadia isn’t just one of the best directors of the year, but she is my pick for Best Movie Discovery. Her work here is nothing short of sublime. Everything is wonderfully internalized and reflective. It’s emotionally very stirring. The cinematography is exuberant. The score and soundtrack is vibrant. Yet, for all of its evocative craft, its thematic fervor is equally as radiant with how it uses light and nocturnal aesthetics to grapple with loneliness and geographical dislocation. The story may take place in Mumbai, a massive city that is always awake, but our characters find themselves lonely, uncertain and disconnected. And there’s something about them yearning for life in the nocturnal light that deeply moved me. Light in the darkness becomes this magical space for longing and memory. The way all of that concludes in those final scenes is everything Nicole Kidman talks about in her AMC ad. It’s why we go to the movies. It’s beautiful and stirring. Kani Kusruti, you deserved more this awards season. Click here to listen to our full review.

1. Nickel Boys

Nickel Boys is a game-changer. Perhaps in the ways that 2001: A Space Odyssey became a pivot point in the history of cinema, that may be Nickel Boy‘s story as well. Time will tell, but perhaps that’s what will define 2024 in film. The filmmaking here from RaMell Ross, in collaboration with cinematographer Jomo Fray, is simply among the most intuitive and creative filmmaking we’ve seen this century. There have been other attempts at POV, but none as graceful or assiduous as Nickel Boys. The POV isn’t a gimmick. It’s a brilliant way to expose how an abusive system gives you perspective, a viewpoint that shifts as your worldview evolves dramatically. The alternating viewpoints offer up a subjective and objective observation on what’s really happening at this reform school with these characters, and the results are devastating. Not only does it deconstruct decades of film language, but it gives the film a very unique pathos as we get just a small glimpse of what it’s like to see the world through Black eyes. Click here to listen to our full review.

To round out my Top 20, here is the rest of my list:
11) A Different Man
12) Janet Planet
13) Sing Sing
14) The Beast
15) Anora
16) Close Your Eyes
17) Queer
18) No Other Land
19) A Real Pain
20) Ghostlight

Because it was such a deep year, and I felt so compelled, I compiled a full Top 50 on Letterboxd.

Let us know what you think. Do you agree or disagree? We’d like to know why. Leave a comment in the comment section below or tweet us @InSessionFilm.

To hear us discuss our InSession Film Awards and our Top 10 Best Movies of 2023, subscribe to us on iTunes, Stitcher, Soundcloud or you can listen below.

This year, we’ve seen many exciting films, from bold international releases to indie films that push storytelling boundaries. Big studio blockbusters have done well, but so have smaller, deeply personal dramas, showing how diverse voices are becoming more prominent than ever. These films continue to redefine what both big-budget and independent cinema can do. Without further ado, here is a list of the ten best movies of 2024 and fifteen honorable mentions in alphabetical order!

A Real Pain

A comedy that packs an emotional punch, Jesse Eisenberg’s directorial debut hits home with a relatable story of mindfulness and inherited trauma. A Real Pain stars  Eisenberg, who also wrote the script, as David and crafts the dynamic character of Benji, portrayed by Kieran Culkin in one of the year’s standout performances. The two play Jewish-American cousins who travel to Krasnystaw to visit their recently deceased grandmother’s home—a survivor of a Nazi concentration camp. The result is a touching, funny, and deeply moving tale of shared trauma passed down through generations.

Cobweb

Cobweb offers a subversive film experience that pokes fun at the establishment and challenges it, raising the question of why truth is essential in any artistic medium. Kim’s South Korean tale of obsession is a darkly funny, skillfully crafted work of meta-cinema, reminding you of films like Black Bear and Birdman in the way it blurs the line between reality and illusion. The film explores an obsession with an artist’s vision, but what’s particularly striking is how Cobweb puts truth on trial, especially in its highly entertaining third act. Ultimately, Cobweb becomes a story of redemption, seen through Song Kang-ho’s portrayal of Kim’s moral and professional character. It’s a filmmaker’s journey of self-discovery and reinvention.

How to Build a Truth Engine

Director Friedrich Moser delivers a mind-blowing exploration of how information is fed to us—and how we consume it—in How to Build a Truth Engine. The film is absolutely chilling, undeniably powerful, and riveting from start to finish. This vital documentary tackles morally complex issues, revealing how higher powers leverage the evolution of modern technology to shape perspectives in their favor. Examining how news is produced, consumed, and understood forces viewers to question: Who benefits, and why? 

His Three Daughters

Occasionally, a film comes along that delivers a profoundly poignant punch that never quite goes away. His Three Daughters is that film—a beautifully complicated slice of sour family drama with a glimmer of light at the end of the tunnel that few can truly experience. You know the feeling where deep down, you secretly long for them to comfort you as they pass away and reassure you that everything will be alright. This moment in Netflix’s His Three Daughters cuts through all the family angst, resentment, and uncomfortable silences—the ones you hope will wash away before your time is up—because nothing is more precious than time.

The Imaginary 

The Imaginary evokes wonder, explores modern cultural themes, and employs innovative storytelling techniques. It is one of those films—a wonderful and creative breath of fresh air destined to be hailed by critics and audiences alike. The animation is gorgeous, and the story lives up to its limitless possibilities. Brimming with unparalleled empathy and unspeakable compassion, this family film sparks a passionate fascination with what movies are and what cinema can be. There’s magic in it.

Longlegs 

Longlegs, along with Nicolas Cage’s performance, will leave you breathless. From the moment Oz Perkins’ terrifying new psychological horror thriller begins, with a reddish glow on the screen during the credits, you start to feel the physiological hold and effect this movie has on you. Your heart begins to race, and the fight-or-flight response kicks in as your pulse feels like it will burst through your neck and wrist, much like the Kool-Aid Man. Perkins masterfully builds and layers tension, mood, and pace, leaving you in a psychological catatonic state, afraid to move. It’s a throwback to the fabulous ‘90s thrillers, peeling back the curtain on religion’s Dr. Jekyll and Mr. Hyde, with more on its mind than gutless jump scares.

Monkey Man

Monkey Man, Dev Patel’s directorial debut, is a triumph that straight rips and f*cks, grabs you by the throat, and maintains its steadfast ironclad grip. It is a revenge-fueled, vengeful thriller through Mumbai’s gritty, sweaty streets and the unseemly acts of the rich and powerful that unfold high up in towers and shadowy, smoke-filled rooms. However, Patel’s directorial debut is that this isn’t just John Wick in Mumbai, but a thriller for the freaks, the downtrodden, Dalits, slumdogs, hustlers, prostitutes, and the religiously oppressed fighting against a system stacked against them.

Música

A filmmaker rarely finds a fresh angle for the left-for-dead romantic comedy. Yet, an exciting new voice occasionally reminds us why we used to love the genre in the first place. That filmmaker’s name is Rudy Mancuso, and his latest movie, Música, is sweet, laugh-out-loud funny, and downright adorable from start to finish. Música is a sincere romantic comedy that embraces community and personal growth, never forgetting that life is a journey and we should enjoy the ride. The script thoughtfully acknowledges that humans evolve and dares to let their characters’ lives move on, no matter how the movie ends—something rare. Mancuso’s film is a vibrant, rhythmic, and eclectic rom-com that sets itself apart from the rest.

Only the River Flows

Shujun Wei’s Only the River Flows feels like a throwback while offering a fresh perspective. It skillfully blends classic and modern cinematography, anchored by the brooding intensity of its main character. The third-act shot, filmed digitally to create a distinct visual contrast with the rest of the movie, weaves Zhe’s haunting memories—past, present, and future—in a way I’ve never seen before. Moments like this, paired with a deep respect for the genre’s traditions, make the film a neo-noir with a psychological edge that chills to the core and lingers long after the credits roll.

The Order

The Order is a powerful film that thrives on the career-best turn of Jude Law and Nicholas Hoult. An extraordinary amount of relentless intensity and obsession fuels each turn. In particular, Law’s portrayal of Agent Husk, as Hoult’s Matthews continually raises the stakes, brings a gripping emotional urgency to the film’s core, which resonates deeply with today’s audience. On the flip side, Hoult is mesmerizing, capturing the dark side of obsession—how hate distorts a false sense of identity and superiority. Justin Kurzel has crafted a film that transports you to a different time and place while still feeling relevant, with scenes that stay with you long after the credits roll. 

Saturday Night 

If the opening title sequence didn’t credit Jason Reitman as a co-writer alongside Gil Kenan, you might think this was a home-run swing from Aaron Sorkin. That’s because the script crackles with a distinctive style and dialogue with a rhythm all its own. Saturday Night is funny, anxious, and packed with rapid-fire, razor-sharp wit that few films can replicate. Gabriel LaBelle, who was so impressive in Steven Spielberg’s The Fabelmans, is phenomenal as Saturday Night Live founder Lorne Michaels. He captures the youthful exuberance—and arrogance—of a maverick creative with something to say.

September 5

September 5 is a gripping true-life tale of an unlikely journalist chronicling one of the most tragic terrorist attacks in history. Featuring a stellar cast, including Peter Sarsgaard, John Magaro, Ben Chaplin, and Leonie Benesch (as Peter Jennings), Tim Fehlbaum’s film brims with energy, despair, and suspense. At the same time, September 5 underscores the wherewithal, ethics, and critical importance of responsible journalism—particularly in an era when most people consume information through social media.

Sing Sing

Sing Sing features two astonishing performances: Colman Domingo as the lead, John “Divine G” Whitfield, and Clarence “Divine Eye” Maclin, who portrays himself. Director Greg Kwedar (Jockey) infuses the film with humanity, community, and unexpected poignant moments that stay with you long after the credits roll. Sing Sing is a richly layered film, anchored by Domingo’s exceptional performance, as it navigates themes of denial, acceptance, and redemption, delivering an empowering real-life story of inspiration. 

Wicked

Wicked is an all-encompassing grand spectacle that combines old Hollywood grandeur with modern special effects, enhancing the script rather than detracting from it. The cast is exceptional, with Ariana Grande displaying a real knack for comic timing and a talent for physical comedy. This big-stage musical adaptation is overstuffed but never feels stuffy. While overly long, it never overstays its welcome. Most importantly, director Jon M. Chu doesn’t fumble the big moment with its stunning musical conclusion, keeping you under its spell with a handful of immersive musical numbers and a powerful, show-stopping performance from Cynthia Erivo.

The Wild Robot

Every so often, we encounter an animated film that pulls at the heartstrings and immerses the audience in animation that reminds us of the magic of movies. That film is The Wild Robot, a big, beautiful, animated family film that may be passed down from generation to generation as an enduring classic. It’s a wildly entertaining, touching, and poignant adventure of the heart. Chris Sanders has carefully captured the essence of Peter Brown’s book, making it the year’s best-animated family film. The experience will make you laugh, cry, and cheer—perhaps all at the same time. At least, it did for me.

Woman of the Hour

Woman of the Hour is a masterful crime thriller filled with scenes of unwavering anxiety and almost unbearable whiteknuckle tension. Director Anna Kendrick holds the viewer’s attention with a contextual experience unlike any other crime film this year. Watch the opening scene and then feel the hairs on your forearms stand at attention. However, that’s not what will sell Netflix’s latest streaming sensation to fans and critics. The nuances of McDonald’s script and Kendrick’s lens offer a unique perspective—not on the killer, but on society’s role of the victims, by being a film that believes in women.

10. Conclave

Conclave is a stunning, subdued, and provocative morality play that is exceptionally acted, flawlessly shot, and superbly written. The very definition of an actor’s showcase, Ralph Fiennes delivers one of the best performances of his career as a cardinal burdened with navigating a conclave of “saints” full of sanctimonious ambition and fundamentalist zealots, where the righteous are few and far between. Edward Berger and Peter Straughan’s script employs addictive, provocative, and sharp dialogue as its carrot, with razor-sharp subtext as its stick. Conclave’s desire to put faith versus power on trial is an all-encompassing high-wire act with breathtaking results.

9. Day of the Fight

Loosely based on Stanley Kubrick’s 1951 documentary short film of the same name, Day of the Fight is a powerful story of redemption that is both cathartic and uncompromising. Actor Jack Huston—part of the legendary Huston clan that includes Hollywood icons like John and Anjelica—makes his directorial debut and pens the script, delivering a true knockout. Michael Pitt gives a jaw-dropping performance as “Irish” Mike Flannigan, capturing raw intensity and vulnerability. His portrayal makes you empathize with an unlikable character and cheer for his triumph—a feat few actors can achieve.

8. Anora

If there is any film that lives up to the phrase “wildly entertaining,” it’s Sean Baker’s Anora. Part romance, part crime film, part road picture, part buddy comedy, Baker’s phenomenal script leaves you giddy with sheer entertainment while slowly sneaking up on you, culminating in a devastating final scene. At its heart, Anora is a sociological character study featuring a transformative performance from its star, Mikey Madison. Her spitfire, firecracker portrayal is nothing short of sensational from start to finish.

7. Civil War

I cannot imagine a more dangerous film to enter our lives now. Civil War is jaw-dropping, downright incendiary, and brutally obtuse in its stubborn frankness. Yet, the gloriously mercurial writer and director Alex Garland paints a picture of modern-day dystopian America in peril. Initially, you may think you’ve figured the movie out, but after leaving your local Cineplex, you won’t be pondering which side you would choose. Instead, you’ll find yourself asking, “Which side of patriotic fervor won?” His tenacious, riveting, and staggering vision isn’t the American dream, but an American nightmare.

6. Nickel Boys

Many will find it difficult to shake off the film’s unique point of view. Some may even argue that it prioritizes style over substance. However, such claims would miss the mark. Nickel Boys is a film of extraordinary patience, meticulous structure, and undeniable power. This is because RaMell Ross’s adaptation of Colson Whitehead’s novel of the same name is fundamentally rooted in perspective. The film delivers an impactful and unforgettable story by prioritizing empathy and immersing the audience in another time and place. Haunting, unrelenting, and profoundly influential.

5. Sugarcane

Sugarcane sneaks up on you with the concept of the gatekeepers of indigenous cultures that keep history alive for the next generation and beyond. The idea is essential in modern culture because of the practice of assimilation and acculturation among these vast and varied populations across North America. These stories not only impact the individual but have devastating effects across generations. Sugarcane’s presentation of the issue is horrifyingly honest and thoughtful, which makes Emily Kassie and Julian Brave NoiseCat’s film essential viewing.

4. All We Imagine As Light

All We Imagine as Light is extraordinary and a picture of moving tranquility and restorative empathy. In her first narrative feature, documentarian Payal Kapadia delves into the fragility of human connections and the elusive nature of self-discovery in a world that refuses to allow such introspection. No film this year has been such an evocative and lyrical presentation, connecting these women through multiple generations and their shared hardships that remain steadfast. Kapadia’s film manages to transport the audience to another place while also making the story unique to its culture and, somehow, universal.

3. The Brutalist

A remarkable fusion of the American dream, shared cultural trauma, and the ambition of art versus commerce, The Brutalist is one of the best American films about the immigrant experience in decades. Adrien Brody is astonishing in the role of László Tóth, a Hungarian-Jewish architect and Holocaust survivor who was separated from his wife during his migration to America. Enhancing the film is the booming and exhilarating score from Daniel Blumberg and the cinematography of Lol Crawley, which is expansive and captures the darkly intimate nature of the immigrant experience. In short, Brady Corbet’s The Brutalist merges the concept of human survival and an artist’s vision through existential philosophy, creating an epic, transcendent experience.

2. Dune: Part 2

Hollywood has turned to one filmmaker to bring Frank Herbert’s smart, sleek, and ultra-cool science fiction epic to life in all its glory: Denis Villeneuve. Dune: Part 2 continues the French-Canadian maestro’s follow-up to the opening chapter, featuring complex characters, an indescribable mood, a visually captivating aesthetic, an intense atmosphere, and meticulous attention to detail that transport the viewer to another time and place. It is a sophisticated sci-fi masterpiece, an instant classic, and an unprecedented sequel—not to mention an exemplary showcase of world-building that most can only dream of.

1. Strange Darling

There are a few rules before watching Strange Darling. First, avoid trailers, reviews, and all talk of the year’s best thriller. Second, I implore you to avoid all fluid intake one to two hours before showtime because you want to avoid taking unnecessary bathroom breaks and missing a moment of the year’s boldest script. Finally, after watching JT Mollner’s instant classic, you must talk to everyone about Strange Darling (while avoiding spoilers, you filthy cinephiles). Put it out there—tell family, friends, strangers, and even your local clergy—because this movie is that good.

Strange Darling offered a chilling escape from last year’s searing hot summer heatwave, but after multiple viewings, this thriller is so much more than the year’s most inventive thriller. The experience is arresting—a real armrest-grabber that won’t let go—and masterfully blends classic horror-thriller filmmaking’s gritty realism and psychological depth with modern visual techniques. Much of that can be credited to the year’s most unheralded performance (and one of the year’s very best) from Willa Fitzgerald, which is wickedly good and, at times, jaw-dropping.

Fitzgerald’s performance is electric, transforming what could have been a one-note character into a profoundly complex portrayal shaped by internal pain you never see coming. This pain drives the story, culminating in a closing sequence with a devastating emotional impact. It leads me to reflect on the film’s psychological depth—a profound exploration of the duality of trauma, its cyclic nature, and the obsessive turmoil within us as society’s atrocities converge upon our mind, body, and soul. It’s the year’s best film. 

2020-2022 spoiled me with a streak of masterpieces that’s yet to be matched, but this year was stronger than the one preceding it. I can’t say I completely fell in love with any of the movies I’ve seen over the past twelve months (except maybe one or two, which is already a lot to be thankful for), but there were plenty of solid efforts that gave me reason to be excited about the medium even when I thought they fell short in some critical way—stuff like Challengers, MaXXXine, The Bikeriders, Blink Twice, Cuckoo, and Saturday Night. And those aren’t even my honorable mentions, which, for what it’s worth, I had difficulty selecting. That’s generally a good sign. While the order of my list changes every few days, the top three spots do not.

Notable titles I missed include Janet Planet, The Beast, Armand, Better Man, The Glassworker, The End, Evil Does Not Exist, Bird, and Girls Will Be Girls.

Honorable Mentions (alphabetical order):

Back to Black – Marisa Abela deserved a real awards campaign. Good on BAFTA for longlisting her.

Dune: Part Two – Whaddaya want? It’s really, really good—too much chanting, face-serving, and fist-pumping, but it’s really good.

Longlegs – Seeing Nicolas Cage’s makeup job for the first time halfway through the year’s most original horror movie after months of an ingenious marketing campaign that promised to show the icon in a radically new way is an experience viewers years from now won’t be able to replicate.

Love Lies Bleeding – Kristen Stewart incredulously saying “whhhaaaaatt” after witnessing a violent act remains one of my favorite moments in any movie this year.

A Real Pain – Couldn’t stand this Sideways riff (“A Real Payne,” my pal likes to joke) when I saw it in January, but after Jesse Eisenberg’s next directorial effort was announced as a musical, everything I’d initially found off-putting started to make sense.

10. The Wild Robot

Though I wish The Wild Robot had taken a pointer from the ending of The Iron Giant—kids can handle a little bit of melancholic uncertainty!—I cried harder during this movie than I have in years. All I wanted to do afterwards was play Kris Bowers’ score on a loop and read my Jack Londons again. A win for nature fakers everywhere!

9. Femme

I wish Steve McQueen and Andrea Arnold were still making movies like Femme. The shifting power dynamic between a drag performer and the closeted bully who one night viciously assaults him makes for the grittiest and most complex thriller I’ve seen in a long time. Despite two incredible performances and an immediately arresting hook, Femme hasn’t received much attention, but future retrospectives of the new genre known as “queer noir” will ensure its reappraisal. The film has held up nicely for me in the year since I first saw it at a local festival. In 2023, I would’ve probably listed it closer to my No. 5 slot.

8. The Apprentice

The version of this film made by Adam McKay or Craig Gillespie is easy to envision and far less interesting. Like Pablo Larraín’s Jackie (the best film of 2016), The Apprentice is advantaged by its non-American perspective. Will Ali Abbasi’s snuff pic retain any edge upon review a decade from now? Hard to say, but there’s no doubt that in 2024 it’s a hella ballsy film. What will forever remain undeniably brilliant about it are Sebastian Stan and Jeremy Strong’s performances. As another film on this list demonstrates, Stan is unusually gifted at embodying the arcs of the characters he plays. His gradual transformation from an insecure slumlord into today’s most controversial figure is a masterclass in fine-tuned vocal and physical modulation. An urgent, entertaining, and fearless swing (by a director of Iranian descent, coincidentally) in the face of extreme opposition, The Apprentice is an oddly appropriate pairing with my next pick.

7. The Seed of the Sacred Fig

You’d think a movie made with the sort of risk Mohammad Rasoulof has taken is an Important™ piece of political filmmaking, but underneath its significance as a bona fide act of rebellion in an era of self-righteous grandstands, The Seed of the Sacred Fig is a plain old banger of a thriller. For all the talk this year of independent artists who’ve turned water into wine, there hasn’t been enough about Rasoulof making out of what is essentially a guerilla production a film that has the look and feel of a mid-aughts Soderbergh or Iñárritu studio release. The third act’s redirection hasn’t paid off for everyone, but thanks to a lean script constructed with the razor focus of a man’s mind on the eve of his execution, I was fully invested by the time this paranoid domestic potboiler literally veered off the road. Soheila Golestani is terrific. 

6. Conclave

A use of Volker Bertelmann’s score early into Edward Berger’s deadly serious, irresistibly fun papal thriller reminded me of May December’s hotdog line, and that’s when I knew what sort of ride I was in for. Between its high camp, stellar ensemble work, and fantastic photography, Conclave served me the best time I’ve had at the movies this year (with a matching curial vape-and-robe set on top).

5. Anora

At least one movie every year enthralls and frustrates me in equal measure and I end up, after an ungodly number of rewatches, loving it despite its flaws. This year, that movie’s probably Anora. The lead character is thinly drawn, and just as I thought the film’s rhythm should’ve escalated, things flatlined and grew repetitive. But the arrival of Vanya’s parents in the third act (Darya Ekamasova is better than nearly every actor currently contending for an Oscar nomination) delivers the highly specific type of dark humor I want from Sean Baker. My feelings about this one are all over the place, but Anora is ultimately a movie I can’t take for granted. To this Jew from Brooklyn with Resting Ruski Face, the madcap adventure through Coney Island that Baker takes us on has a special kinda something.

4. I’m Still Here

I’m Still Here is the only entry on this list that I’ve seen just once, which is possibly why it continues to grow on me. What I first considered a very good movie with an absolutely incredible lead performance I now think might simply be great. A lesser drama would’ve presumed the stakes inherent to its central dilemma are reason enough for us to care, but Walter Salles’ film takes its time introducing the Paiva family and immersing us in their home—making the event upon which the movie pivots all the more heartrending. Finding the distinction between an actor’s contribution to a role and what’s on the page is tricky, but there’s no question from where the intelligence and quiet dignity of I’m Still Here’s lead character resonate: Give Fernanda Torres all the awards.

3. A Different Man

Ari Aster apologists wish he could make a movie as good as A Different Man. This genre-bending exercise in hysterical realism marries theme and technique more successfully than any other movie I saw in 2024, which is perhaps why the months I’d spent after Sundance thinking and writing about it were my most rewarding movie-related experience this year. But before I could understand how A Different Man’s sardonic visual metaphors for cosmic misfortune and allusions to Woody Allen romcoms and Toni Morrison all tied together, I had already become immersed in its De Palma-coded aesthetic. The textures and colors of the urban hellscape director Aaron Schimberg creates with the help of cinematographer Wyatt Garfield and production designer Anna Kathleen would look as stunning on the pages of an underground graphic novel published in the ‘90s and set in the ‘70s as they do on the big screen. 

2. Nosferatu

Call me a snob, but labelling Robert Eggers’ Nosferatu a horror movie feels reductive. This nightmare is just too much of a cinephile’s wet dream. Does the narrative lose some steam toward the end? I was too busy marvelling at every intricately detailed composition of this folkloric tragedy to care. Eggers’ films have always played like anthropological discoveries; Nosferatu is his most exquisite artifact yet, as well as the most visually immaculate movie I’ve seen since 2022’s Babylon.

1. Sasquatch Sunset

Nothing during the past twelve months has fully entranced me as much as Sasquat Sunset. As I wrote in my review of the film, the Zellner brothers’ chutzpah alone couldn’t have produced this 

miracle without an actor of Riley Keough’s expressivity. How did such a beautifully realized, strikingly original piece of work get written off as scat porn with bigfoots because of a few contextually appropriate examples of humor involving bodily fluid (by the same people, no less, who don’t mind when movies pair unseemly amounts of it with violence)? The Zellners’ masterpiece runs on the stuff of pure moviemaking magic.  

It seems that, nowadays, everybody on Film Twitter likes to say it was a bad year for movies. To that I say: there’s no such thing. 2024 is no different. There was such an eclectic range of cinema to be found regardless of where your tastes might lie, from indie darlings and mega-blockbusters to midnight genre films. On a personal note, 2024 was the year I attended several film festivals for the first time. Sundance, TIFF, Fantastic Fest, and NYFF. Attending these festivals for the first time presented me with the opportunity to discover even more exciting films. So with that being said, there’s nothing more exciting than gushing over film. Let’s get into what I believe are the best films of 2024. As a slight disclaimer, I will be holding any films off this list that didn’t have an official 2024 release. Two films in my Top 10 (Mike Flanagan’s The Life of Chuck and Kiyoshi Kurosawa’s Cloud, both seen at festivals) did not officially release in 2024, so they are the only outliers in my personal top 10 films of 2024.

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10. Dìdi (弟弟) – Directed by Sean Wang

What a special film Wang gave to the world. In 2008, I was 12 years old. Chris (Izaac Wang) plays a 13-year-old in 2008, and in his character, I was instantly whisked back to a period in my life that has been long dormant. It’s the power of cinema working its magic. There are moments in life which feel so specific, and yet, Dìdi is a testament to many of these moments actually being rather universal. It’s a brutally honest film about what it meant to grow up in a time where the Internet was deeply ingraining itself in the behaviors, decision-making, and everyday lives of youth culture. I can so vividly recall the moments in this film that echoed my real-life experiences: friends stealing cell phones to text a crush embarrassing messages. The thrill of making absurd YouTube videos for personal enjoyment and the hopes of capturing a viral hit. The anxieties and worries that come with not understanding how we fit into the world around us. Bolstered by a great lead performance in Wang and a deeply touching supporting turn from Joan Chen as Chris’ mother, Dìdi is a special film that allows us to look back at our own lives with plenty of fond laughs to go alongside the retrospective thoughts. My original review from Sundance 2024 can be found right here.

9. Nickel Boys – Directed by RaMell Ross

Upon the premiere of Nickel Boys, there were a lot of extravagant statements being thrown around about the magnificent quality of the film. And I have to be as frank as possible when discussing Ross’ film: believe them all. Nickel Boys is a staggering achievement any way you look at it. Adapted from the Colson Whitehead novel, Ross and Joslyn Barnes’ script soars with a humanity that few films this year could hope to achieve. Some may hear about the film being shot in a first-person POV and think it’s nothing more than a gimmick. That couldn’t be further from the truth. In a just world, cinematographer Jomo Fray would be a lock for the Best Cinematography Oscar. The visual language of this film is otherworldly, capturing the beauty to be found around us despite such horror and ugliness perpetrated by prejudiced systems of power. There is a moment where Fray and Ross pivot from their style, and it’s equal parts exhilarating and devastating. It is a marvel of a film and a massive achievement. My Chasing the Gold piece highlighting Fray’s cinematography from NYFF 2024 can be found right here.

8. Queer – Directed by Luca Guadagnino

Going into Queer, the second Guadagnino film we received in 2024, I think many people had some preconceived notions about what it was going to be. Many suspected it to have certain links, either stylistically or thematically, to Call Me By Your Name. And while there are similarities, I was beyond thrilled to walk out of my screening feeling as if it had much more in common with Guadagnino’s 2018 take on Suspiria. This film was so excellent it even made me want to revisit Bones and All with the intent of a possible reassessment. Never taking the easy way out, Guadagnino and screenwriter Justin Kuritzkes’ adaptation of William S. Burroughs’ novella is a surreal look at the pain and longing that comes with love. This isn’t just a story about love. It’s instead about what the lack of love can do to us. So much of Daniel Craig’s performance, paired with the beautifully haunting score from Trent Reznor and Atticus Ross, make Queer feel more like a ghost story than anything else. And by the time its soul-crushing finale rolls around, Guadagnino will have once again proven himself as one of the most exciting filmmakers currently working today. My original review from NYFF 2024 can be found right here.

7. Hit Man – Directed by Richard Linklater

Hit Man quickly became a comfort film of mine. It’s no surprise that Linklater has provided the world with yet another breezy and entertaining film to bask in. And of course, there’s the Glen Powell of it all. Anybody who knows me personally knows the love I hold for Powell at this point. He brings a truly dynamite presence and charisma to the big screen that is simply unmatched. And Hit Man, which he co-wrote alongside Linklater, almost operates solely as a vehicle to allow him the opportunity to shine bright. There are two sequences in this film that are worth the price of admission alone. The first is one that proves Powell can practically do anything on screen, and you can wholeheartedly buy into his performance. It’s hysterical and exciting and fully solidifies his status as a movie star in the making (as if he’s not already one). The second scene comes late in the film, and it’s just a potent example of the chemistry Powell can share with his co-stars (in this case, Adria Arjona). It’s explosive and tense, building to a crescendo that was justifiably talked about for months online. Glen Powell forever, I’ll watch Hit Man many more times in my life whenever I need a pick-me-up.

6. Anora – Directed by Sean Baker

Baker’s film is much more than the bubblegum pop visuals it initially lets on. It’s more than the modern-fairytale logline audiences sat down for. Beyond being a brilliant comedy inspired by screwball comedies and classic slapstick antics, Anora is a film about America. It’s a film about how America is the land of excess. It’s about how capitalism can distract us with enough bright lights, extravagant parties, and reckless spending in the name of vanity, while all the while bleeding us dry emotionally. It traps individuals, especially those in marginalized communities, in vicious cycles. All of this is funneled through Anora, a character that feels destined to be remembered as one of the greats of the decade. Certainly of the year. She’s hilarious, ferocious, layered, headstrong, and confident. It’s an unbelievable performance from Mikey Madison that’s more than deserving of all the acclaim. And while this film, or rather its antagonistic family of characters, seems determined to knock Anora back down to her Brighton Beach home quietly, audiences will instantly latch onto the battle of seeing her trying to desperately hold onto the life she feels she deserves. And best believe she puts up a fight that’s both wildly entertaining and moving. It’s cruel to show somebody the upper crust of life and then snatch it away from them due to boredom or immaturity. That shouldn’t be a criticism of how Baker treats his character. It should be understood as Baker criticizing the very systems that encourage this type of behavior.

5. Challengers – Directed by Luca Guadagnino

Guadagnino decided he was coming to take over 2024 from very early on in the year. A trio of lead performances with unreal chemistry, visuals from the great Sayombhu Mukdeeprom that electrify anybody who lays eyes on them, and a Reznor & Ross score designed to break speakers in movie theaters and nightclubs alike. Challengers literally has it all. Alongside Brat (my personal album of the year, but let’s not get into ranking albums right now), Challengers captured the zeitgeist in a way few modern films have the ability to. It reaffirmed the notion that audiences still want to see exciting films and stories play out on the big screen, and they want to see movie stars being energized off one another in the process! It’s a film riddled with sexual tension that bubbles and bubbles until reaching one of the great climaxes of the decade thus far. The extended final sequence is guaranteed to raise your heart rate based simply off pure tension and release alone. It’s an electrifying piece of cinema, and I adore it deeply. My Chasing the Gold piece highlighting Mukdeeprom’s cinematography can be found right here.

4. I Saw The TV Glow – Directed by Jane Schoenbrun

I briefly met Schoenbrun when walking to grab lunch at TIFF this year. They were incredibly kind throughout the conversation. When we got to discussing films, I had to mention how I Saw the TV Glow has remained in my top 5 since I’d seen it at its premiere at Sundance. Schoenbrun replied very humbly and mentioned how many great films were at the festival that might possibly surpass it. I politely replied with something I had been telling friends and colleagues since I first saw the film. That it’s unlikely, for I Saw the TV Glow is a once-in-a-generation film. Beyond the quality of its filmmaking (which is stellar) or all the ideas bouncing around throughout its runtime (which are poignant and moving), it is an astonishing film that feels like it will define this generation. Upon watching it, you can imagine all the artists it will inspire. More importantly, it will possibly help countless individuals examine parts of their lives they may have repressed or felt worried about living in truthfully. This is a film that will help and inspire change, while also piercing you with a true dread that many horror films wish to achieve. That it can do both, serve as a vital piece of art and an exciting piece of entertainment, makes this one of the best films of the year. My original review from Sundance 2024 can be found right here.

3. Dune: Part Two – Directed by Denis Villeneuve

There was obviously no reason any of us had to doubt Villeneuve when settling in for the second half of his Dune adaptation. But of course, the bar has been set incredibly high. Even if we ignore his stellar run of films which has few rivals, if any, he still would have to match quite a lot of expectations set by his first chapter of Dune. Lo and behold, from the first moments of this second half, many sighs of relief were likely taken as Villeneuve whisked us right back to Arrakis in one of the most cinematic moments of the year. From there, Dune: Part Two is a treasure trove for fans of hard sci-fi, thrilling adventures, and above all, a twisted morality tale about the ways in which absolute power can corrupt even the most noble of individuals. As somebody who is not a fan of the source material, I find this film to be quite the miracle. It effectively condenses so much of the dense novel, while also expanding upon its ideas in fascinating ways. It certainly helps that its visuals are perhaps some of the most impressive we’ve ever seen in blockbuster filmmaking. In a just world, the look of this film and the care that was put into it would be the template for any big-budget spectacle moving forward.

2. The Brutalist – Directed by Brady Corbet

Perhaps the most dense film of the year, Corbet’s The Brutalist has so much for audiences to chew on. And it’s one of the great films where, upon rewatch, its ideas continue to layer atop one another to perfection. For every revelation you might have about its plot, or characters, or setting, countless more fascinations pop up. It’s a film that you want to revisit again and again, yet also savor for understanding how special it is. As soon as that 70mm projection begins rolling, and the beautiful brass of Daniel Blumberg’s score kicks in, you feel as if you’re being whisked away to a time where films like this would still announce themselves on a regular basis. The Brutalist is a deeply special film, with Adrien Brody turning in an undeniably profound performance that will likely be one of the defining roles of his career. I’ll never forget when the intermission card first popped up, and the air of bewilderment swept around my audience as if we’d never seen anything like it before. My Chasing the Gold piece highlighting Lol Crawley’s cinematography from NYFF 2024 can be found right here.

1. Furiosa: A Mad Max Saga – Directed by George Miller

There’s a moment in Furiosa which basically caused me to ascend out of my seat. I found myself in that rare situation so few films pull out of me nowadays. I was truly breathless, and the only thing I could do was begin making noises to myself quietly. Of course, I’m referring to the extended “Stowaway” sequence that arrives around halfway through this film. At 79 years old, Miller is serving up some of the best action and best uses of VFX and digital-heavy filmmaking we’re likely to see all decade. There’s an energy that pulses throughout Furiosa where you feel like absolutely anything can happen. And I can almost assure you that it will, though you may not expect what it hides up its sleeve. This is a film set just before the world seems to have completely lost its mind in Mad Max: Fury Road. With that, there comes a sense of hope. The entire thematic battle taking place between Furiosa and an astonishing Chris Hemsworth as Dementus is the opportunity to pull back from the cliff’s edge we’re racing towards. In a current society that feels discordant and frightening, where it feels like people amongst us and those in power are actually losing their minds, the final act of Furiosa is beyond powerful. If we fight for the chance to move forward peacefully and it still fails, perhaps there’s some hope in knowing that we remained true to ourselves along the way. And holding onto that, if not for the immediate future but for the future that is still on the horizon, is essential. Furiosa is an absolutely wild film any way you look at it. And Miller certainly “made it epic.” But he also made it very beautiful, fun, and moving. May he be allowed to return to the Wasteland whenever he likes, and we’ll be all the better off for it as a movie-going audience.