The Best Films of 2024
HomeThe Best Films of 2024
Posted December 30, 2024 02:25 PM by Brian Orndorf
Cardinals flock to Rome, animated animals in survival mode, Glen Powell proves his worth,
death is a curious macaw, motherhood goes feral, Olympic horror hits network televison,
revenge rides a Rascal, crime and punishment in remote Arizona, sibling misery in New York
City, and the healing power of a bat mitzvah. Brian Orndorf takes a look at his favorite films of 2024.
Conclave
One could hardly predict the most gripping viewing experience of 2024 would involve a collection of cardinals gathering to select a new pope. "Conclave" had some help, as it's an adaptation of a popular novel by author Robert Harris, but screenwriter Peter Straughan manages to transform the setting and the characters into a rich chess game of secrets and lies. Director Edward Berger generates an intensely atmospheric picture, delivering exceptional technical credits, contributing to the central mystery with unforgettable imagery. "Conclave" also collects a team of exceptional actors, with Ralph Fiennes leading the charge as a seemingly simple vote for the future of the Catholic Church turns into a complicated battle of wills. It's a riveting feature.
Thelma
Writer/director Josh Margolin creates the best comedy of the year in "Thelma," but he has help in star June Squibb, who's absolutely pitch-perfect as a senior citizen looking to reclaim all that's been stolen from her after being scammed. It's a timely story of predatory ways, but also periodically hilarious, as Margolin finds some very relatable laughs during the journey. There's a dramatic side to the endeavor, which touches on the realities of aging, doing so in an enlightening manner, but there's also a playfulness to the film that's irresistible, creating a snappy, charming ride with Squibb in Liam Neeson mode, and she makes the mission a real treat.
September 5
"September 5" takes a moment of history and brings it back to life. The "Munich Massacre" during the 1972 Olympic Games has inspired substantial examination and analysis over the decades, and director Tim Fehlbaum manages to find renewed urgency for the event in the feature, which follows the groundbreaking news coverage that captured the terrorist attack. "September 5" largely remains in the control room, watching the crew figure out the particulars of the broadcast, and Fehlbaum maintains a steady rhythm of suspense throughout the viewing experience. It's nail-biting stuff, even with full knowledge of how the emergency unfolds, creating a swiftly paced understanding of crises and concern during an unthinkable situation.
Tuesday
For her feature-length directorial debut, Dania Oniunas-Pusic (who also scripts) goes right for the mysteries of life in "Tuesday." It's a tale about death and the process of grief, automatically making it a troubling sit, but the helmer decides to use the unreal to handle the impossible, offering an imaginative understanding of loss. "Tuesday" is a strange picture, but also surprising and original, using the process of goodbyes to investigate the unreal in a most compelling manner, even when it explores the limits of its bizarre vision. There's immense beauty and pain in the picture, keeping the viewing experience quite emotional, and the lead performance from Julia Louis-Dreyfus is one of her best efforts, getting messy with material that embraces such exploration.
Between the Temples
"Between the Temples" is perhaps the most unusual relationship picture of the year. It's also one that's sold with fascinating behavioral nuances from screenwriters C. Mason Wells and Nathan Silver (who also directs), delving into the itchiness of grief and confusion with a hearty sense of humor and command of cinematic agitation. It's a sharply amusing, wonderfully idiosyncratic feature that investigates the unexpected ways of the heart as two strangers learn to trust each other with personal fears and feelings of loss. "Between the Temples" is clearly boosted by starring turns from Jason Schwartzman and Carol Kane, who find opportunities to make the central bond between their characters feel completely real, which only adds to the nervous energy of the film and its sublime moments of humor and emotion.
His Three Daughters
Acting is the main draw of "His Three Daughters." Stars Carrie Coon, Elizabeth Olsen, and Natasha Lyonne all contribute substantial performances for the picture, which makes use of their disparate styles and personalities to create a realistic understanding of sibling tensions. Writer/director Azazel Jacobs oversees a feature that's theatrical in nature, tracking relationships and the feelings of women living in a space with their dying father. It's a vividly acted film, and the writing does an exceptional job getting deep into the characters as they deal with all sorts of trauma. However, it's the final 20 minutes of "His Three Daughters" that brings the whole effort to another dramatic level, turning a terrific examination of family ties into an exceptional one.
Flow
In a film year already teeming with outstanding animated releases (including "Wallace and Gromit: Vengeance Most Fowl" and "The Day the Earth Blew Up: A Looney Tunes Movie"), "Flow" emerges as the best of the bunch due to its execution. It's a dialogue-free journey into the dangers of a changed world, riding along with a collection of animals trying to survive, endeavoring to make sense of their new surroundings. It's a suspenseful feature, but also wonderfully artful, as director Gints Zilbaodis creates a memorable odyssey that provides appreciation for life and death challenges and pure animal behavior.
Nightbitch
"Nightbitch" isn't a body horror film. There are elements of a fantasy transformation in play, but the material is more interested in the ways of womanhood as it's hit from all sides by complications and anxieties. Writer/director Marielle Heller delivers an insightful and visceral understanding of domestic responsibilities and isolation, mixing in a little realism to go with the central offering of imagination. "Nightbitch" is tough, sure to inspire PTSD for anyone who's raised children, but Heller respects the journey and celebrates the quest for identity facing the lead character, who's outstandingly portrayed by Amy Adams in one of the best performances of her career.
The Last Stop in Yuma County
"The Last Stop in Yuma County" is a B-movie that's skillfully executed and contains a rich sense of threat. Writer/director Francis Galluppi organizes a terrific tale of suspense featuring a small collection of corrupt characters, bad timing, and plenty of bodily harm, maintaining just a touch of a mean streak to keep the viewing experience thrilling. There are no big swings here, just genre moves handled carefully, doing a lot with a small budget and limited locations. "The Last Stop in Yuma County" has genuine points of pressure and surprises, supporting the endeavor with dark humor and colorful performances from the ensemble.
Hit Man
Much has been made about Glen Powell over the last year, but he certainly earns some of his hype in "Hit Man." Teaming up with director Richard Linklater, Powell does his best in a juicy part that allows him to play different personalities, offered a shot to showcase his range in a way his more Hollywood hits have prevented. "Hit Man" is certainly the best film Linklater has made in recent years, showing refreshed enthusiasm for the winding ways of storytelling and humor. There's distinct energy and playfulness to the feature, which finally permits Powell to portray a layered character going through a wild ride of identity, and it's fun to watch it all unfold.
Also of Note: Music by John Williams, I'll Be Right There, The Dead Don't Hurt, The Animal Kingdom, The Day the Earth Blew Up: A Looney Tunes Movie, Woman of the Hour, Casa Bonita Mi Amor, Wallace and Gromit: Vengeance Most Fowl, The Greatest Night in Pop, Sing Sing, Frankie Freako, The Substance, In the Land of Saints and Sinners, Dune: Part Two, and Young Woman and the Sea.
Conclave
One could hardly predict the most gripping viewing experience of 2024 would involve a collection of cardinals gathering to select a new pope. "Conclave" had some help, as it's an adaptation of a popular novel by author Robert Harris, but screenwriter Peter Straughan manages to transform the setting and the characters into a rich chess game of secrets and lies. Director Edward Berger generates an intensely atmospheric picture, delivering exceptional technical credits, contributing to the central mystery with unforgettable imagery. "Conclave" also collects a team of exceptional actors, with Ralph Fiennes leading the charge as a seemingly simple vote for the future of the Catholic Church turns into a complicated battle of wills. It's a riveting feature.
Thelma
Writer/director Josh Margolin creates the best comedy of the year in "Thelma," but he has help in star June Squibb, who's absolutely pitch-perfect as a senior citizen looking to reclaim all that's been stolen from her after being scammed. It's a timely story of predatory ways, but also periodically hilarious, as Margolin finds some very relatable laughs during the journey. There's a dramatic side to the endeavor, which touches on the realities of aging, doing so in an enlightening manner, but there's also a playfulness to the film that's irresistible, creating a snappy, charming ride with Squibb in Liam Neeson mode, and she makes the mission a real treat.
September 5
"September 5" takes a moment of history and brings it back to life. The "Munich Massacre" during the 1972 Olympic Games has inspired substantial examination and analysis over the decades, and director Tim Fehlbaum manages to find renewed urgency for the event in the feature, which follows the groundbreaking news coverage that captured the terrorist attack. "September 5" largely remains in the control room, watching the crew figure out the particulars of the broadcast, and Fehlbaum maintains a steady rhythm of suspense throughout the viewing experience. It's nail-biting stuff, even with full knowledge of how the emergency unfolds, creating a swiftly paced understanding of crises and concern during an unthinkable situation.
Tuesday
For her feature-length directorial debut, Dania Oniunas-Pusic (who also scripts) goes right for the mysteries of life in "Tuesday." It's a tale about death and the process of grief, automatically making it a troubling sit, but the helmer decides to use the unreal to handle the impossible, offering an imaginative understanding of loss. "Tuesday" is a strange picture, but also surprising and original, using the process of goodbyes to investigate the unreal in a most compelling manner, even when it explores the limits of its bizarre vision. There's immense beauty and pain in the picture, keeping the viewing experience quite emotional, and the lead performance from Julia Louis-Dreyfus is one of her best efforts, getting messy with material that embraces such exploration.
Between the Temples
"Between the Temples" is perhaps the most unusual relationship picture of the year. It's also one that's sold with fascinating behavioral nuances from screenwriters C. Mason Wells and Nathan Silver (who also directs), delving into the itchiness of grief and confusion with a hearty sense of humor and command of cinematic agitation. It's a sharply amusing, wonderfully idiosyncratic feature that investigates the unexpected ways of the heart as two strangers learn to trust each other with personal fears and feelings of loss. "Between the Temples" is clearly boosted by starring turns from Jason Schwartzman and Carol Kane, who find opportunities to make the central bond between their characters feel completely real, which only adds to the nervous energy of the film and its sublime moments of humor and emotion.
His Three Daughters
Acting is the main draw of "His Three Daughters." Stars Carrie Coon, Elizabeth Olsen, and Natasha Lyonne all contribute substantial performances for the picture, which makes use of their disparate styles and personalities to create a realistic understanding of sibling tensions. Writer/director Azazel Jacobs oversees a feature that's theatrical in nature, tracking relationships and the feelings of women living in a space with their dying father. It's a vividly acted film, and the writing does an exceptional job getting deep into the characters as they deal with all sorts of trauma. However, it's the final 20 minutes of "His Three Daughters" that brings the whole effort to another dramatic level, turning a terrific examination of family ties into an exceptional one.
Flow
In a film year already teeming with outstanding animated releases (including "Wallace and Gromit: Vengeance Most Fowl" and "The Day the Earth Blew Up: A Looney Tunes Movie"), "Flow" emerges as the best of the bunch due to its execution. It's a dialogue-free journey into the dangers of a changed world, riding along with a collection of animals trying to survive, endeavoring to make sense of their new surroundings. It's a suspenseful feature, but also wonderfully artful, as director Gints Zilbaodis creates a memorable odyssey that provides appreciation for life and death challenges and pure animal behavior.
Nightbitch
"Nightbitch" isn't a body horror film. There are elements of a fantasy transformation in play, but the material is more interested in the ways of womanhood as it's hit from all sides by complications and anxieties. Writer/director Marielle Heller delivers an insightful and visceral understanding of domestic responsibilities and isolation, mixing in a little realism to go with the central offering of imagination. "Nightbitch" is tough, sure to inspire PTSD for anyone who's raised children, but Heller respects the journey and celebrates the quest for identity facing the lead character, who's outstandingly portrayed by Amy Adams in one of the best performances of her career.
The Last Stop in Yuma County
"The Last Stop in Yuma County" is a B-movie that's skillfully executed and contains a rich sense of threat. Writer/director Francis Galluppi organizes a terrific tale of suspense featuring a small collection of corrupt characters, bad timing, and plenty of bodily harm, maintaining just a touch of a mean streak to keep the viewing experience thrilling. There are no big swings here, just genre moves handled carefully, doing a lot with a small budget and limited locations. "The Last Stop in Yuma County" has genuine points of pressure and surprises, supporting the endeavor with dark humor and colorful performances from the ensemble.
Hit Man
Much has been made about Glen Powell over the last year, but he certainly earns some of his hype in "Hit Man." Teaming up with director Richard Linklater, Powell does his best in a juicy part that allows him to play different personalities, offered a shot to showcase his range in a way his more Hollywood hits have prevented. "Hit Man" is certainly the best film Linklater has made in recent years, showing refreshed enthusiasm for the winding ways of storytelling and humor. There's distinct energy and playfulness to the feature, which finally permits Powell to portray a layered character going through a wild ride of identity, and it's fun to watch it all unfold.
Also of Note: Music by John Williams, I'll Be Right There, The Dead Don't Hurt, The Animal Kingdom, The Day the Earth Blew Up: A Looney Tunes Movie, Woman of the Hour, Casa Bonita Mi Amor, Wallace and Gromit: Vengeance Most Fowl, The Greatest Night in Pop, Sing Sing, Frankie Freako, The Substance, In the Land of Saints and Sinners, Dune: Part Two, and Young Woman and the Sea.