(This article is part of our Best of 2024 series.)
Every year brings its own unique flavor to the world of cinema, and 2024 was no exception. This year, more than any in recent memory, felt overstuffed with quality. Most blockbusters were DOA but there were a lot of gems — from the big budget to the extremely independent — sprinkled throughout the year. It was also a strong contender for the greatest year in horror in at least the decade. It was the gift that kept on giving and I hope this year is at least half as great.
These are my five favorite films of 2024 (plus 65 honorable mentions).
70. Street Trash
The original Street Trash is an advanced level vibe check movie. Since it’s dirty and gross and over the top in every way, I can tell we have a similar taste in garbage cinema if you vibe with it. It’s the type of film lovers of WTF oddities hold dear because there’s nothing else like it, which is why it was a shock to many of us when a sequel was announced. I was optimistic because I dug the director’s previous film Fried Barry and could tell this was a passion project because this isn’t the type of film any studio is dying to reboot. In fact, it’s the exact opposite of a cash grab. I can see producers paying him to adapt literally anything else because the audience for this type of movie just doesn’t exist anymore, so it’s guaranteed to lose money. And he should’ve listened to these non-existent producers I just invented because he ended up making the absolute worst movie of the year and I saw Brats. You could tell the director’s heart was in the right place. He really set out to make something that had the spirit of the original while doing its own thing and while the practical effects are great and there’s a couple of clever jokes, it fails in almost every other regard. It’s such a disaster, that it couldn’t even fail properly because if it was worse, it would’ve been better. Because then I at least would’ve remembered more about it.
69. Krazy House
I hate blaming popular things for ruining shit due to the influx of imitators and copycats that flood the market but what hath Adult Swim wrought. The network fundamentally changed the landscape of comedy for better, and in the case of shit like Krazy House, definitely for the worst. The movie has one joke (a father in a stereotypical sitcom type reality watches as his family slowly fall apart because of a family of Russian plumbers take over his house and refuse to leave) that was done better at a third of the time with Too Many Cooks. We’re getting to the point where the phrase “a premise in search of a plot” isn’t accurate enough to describe how thin these films are on story. The film’s plot is literally the one joke it has and it’s not a funny or clever enough joke to justify a ten minute short, let alone a feature length film. It does include a scene where the main character kills Jesus, so that’s something.
68. Destroy All Neighbors
If you’ve seen Freaked or The Idiot Box, you know that Alex Winter is a subversive genius. His comedic talents have been wasted for the last 30 years. Since Hollywood only saw him as Keanu’s buddy in those Bill and Ted movies, he decided to step behind the camera to make documentaries and from the ones I’ve seen, he clearly has the knack for it. But as Destroy All Neighbors proves, he misses being weird. The film is about a struggling rock musician (Jonah Ray) who finds himself in a living nightmare when he accidentally kills the neighbour from hell. Winter’s role as Vlad, the annoying neighbor that looks like a cross between an Armenian pawn shop owner and a hard drinking leprechaun, is easily the best thing about it. His make up, along with his almost indecipherable accent, makes it impossible to tell it’s him. He’s fully committed to the role and is clearly having a blast being an annoying piece of shit. He’s so good, I lamented the fact that he didn’t write or direct it. The film is desperately trying to recreate his distinctive brand of humor but it ultimately fails to capture even a fraction of it. The best way to describe it is a cult classic by way of Temu. Winters deserves better.
67. Tarot
Everything about this film screams the 1990s. Which isn’t exactly a bad thing, as long as you miss that decade of horror. It feels exactly like the kind of movie you saw once at a sleepover you went to when you were ten, forgot about immediately because someone else brought Mortal Kombat II and years later when it popped up on TV and you rewatched it, you convinced yourself it must be an edited version because you misremembered it being way more violent. The film’s premise isn’t terrible (a group of college friends unwittingly unleash a deadly curse after interacting with a mysterious Tarot deck) and the tarot monsters are well designed but the characters are all annoying and all the kills happen off screen. It’s not charming enough to be a kinder trauma classic and not scary enough to be a gateway horror. It’s a horror movie made for an audience that doesn’t exist. You could make very slight changes and show this on the Disney channel but even that audience would most likely be bored by it. And why the fuck did they decide to go with the blandest title imaginable when the novel it’s inspired by was called Horrorscope?
66. Last Stop in Yuma County
Jim Cummings is quickly becoming one of my new favorite voices in comedy. He’s the closest we have to a modern day Coen Bros. His movies, and especially his performances in them, remind me of the duo at their comedic best. No one plays a stressed out idiot/asshole better but it seems like he’s the only one that knows how to properly utilize his talents. I’ll give the director of Last Stop in Yuma County credit, he at least cast Cummings in the lead instead of a bit part but even he doesn’t know what to do with him. In the film, he plays a traveling knife salesman who finds himself stuck in a hostage situation at a diner. To reveal anymore would ruin one of the film’s midway twists and that’s all the movie has going for it. It’s genuinely a shocking and unexpected turn that changes the narrative and has you wondering “where is this film going next?” But the answer is unsatisfactory. It’s a twenty minute short stretched to ninety minutes.
65. The Zone of Interest
When the 2024 Oscar nominations were announced, everyone was shocked that Greta Gerwig was snubbed. Nolan, Scorsese and Lanthimos were obvious locks, which meant the other two slots were anyone’s game. Cooper never had a chance and Jefferson had no heat, but everyone else — Payne, Triet, Glazer, Gerwig and Song, were all legit competitors for those last two slots. At least that’s what I thought until I saw Zone of Interest. I assumed a Holocaust drama from the point of view of a Nazi family from the director of Under the Skin would be a flawless masterpiece and I was wrong. The film follows
Rudolf Höss and his wife, Hedwig, as they strive to build a dream life for their family in a house right next to the concentration and extermination camp he helped create. The hook is that you never see the horrors perpetrated just 500 feet away. Glazer wanted to portray an atrocity without ever showing it. Instead, he focused on the banality of evil. We’ve all seen the images and footage from Auschwitz. It’s a tragedy almost unfathomable and instead of putting an audience through that again, he shifts focus to a family living their best life just outside of hell. In concept, it’s a brilliant idea. The best way to truly depict evil isn’t by showing evil people doing evil things but by showing evil people being normal people. But in execution, the film ultimately doesn’t work because it might be a bit too effective in its presentation. Not in the sense that it’s too hard to watch but by being boring as fuck. I understand what Glazer was going for and I find it successful to a degree, but that doesn’t mean I found it entertaining or compelling in the slightest. I wasn’t invested in their lives nor was I given a reason to be. And it’s not because they’re Nazis, I’ve seen many a film about a Nazi that had me riveted. This just felt like two hours of the director going, “hey, do you get it?” I got it, what else do you got?
64. Winnie-the-Pooh: Blood and Honey 2
Every horror fan that has this listed as the worst film of the year obviously hasn’t seen it. An argument that’s hard for me to make, considering this is nearly at the bottom of my list but I also skipped a bunch of Blumhouse garbage released last year and I also don’t watch every horror movie that comes out. The first is pretty bad but it is still far from the unwatchable cynical cash grab haters make it out to be. I mean, it is a cynical cash grab but it’s not the worst thing ever. This sequel is a vast improvement in every way. There are more Milne inspired monsters (I wasn’t ready for Tigger to be cracking Freddy Krueger style jokes while massacring people but here we are), more kills and unfortunately more of a backstory explaining Christopher Robbin and the creation of the murderous humanoid animals. It’s still cheap and amateurish in a lot of ways but if you’re just looking for some mindless mayhem, it surprisingly delivers.
63. The Primevals
If you had no idea the history behind this film’s production and went into it blind, you would, if you were being generous, call it a charming and/or quaint throwback to the cheapo VHS era of filmmaking. Where movies could be made for five dollars and still be entertaining as long as they had enough nudity, blood and/or fun effects. This doesn’t have either nudity or blood but it does have amazing stop motion effects, which are worth the cost of admission alone.
Those stop motion effects are the reason why this an event for exactly five people on the Internet. The Primevals, a movie you’ve never heard of, has been in development for 50 years. The history of this is too complicated to get into but long story short, David Allen wanted to make an Edgar Rice Burroughs inspired adventure film in the ’60s, that project got turned into an unreleased Hammer film called Zeppelin vs. Pterodactyl.
He then revisited the idea in the ’70s, wrote a script but got busy doing other things. He gave the script to Charles Band in the ’80s, who immediately jumped on it but after numerous delays and financial issues, the project kept getting stalled. Allen kept working on the effects while he was in between work but he eventually passed in 1999. Band never forgot about it and twenty years after his passing, launched an Indiegogo campaign to finally get it finished.
Now, is this movie worth the wait? Not even close. The acting is subpar, the adventure is kind of boring and everything feels cheap. But the fact that it finally exists is cause for celebration. Not just because Allen’s passion project finally got to see the light of day but because the world finally gets to see his effects. If this came out in the ’60s, it would be hailed as a masterpiece. No film from that era has effects as good as this. Ultimately, the film suffers simply from being released fifty years too late.
62. Riddle of Fire
Some films invite you into their world not with spectacle, but with wonder. Riddle of Fire is a charming, if slight imaginative journey that captures the fleeting magic of childhood while echoing the fables and adventures of old. This isn’t merely a movie; it’s an ode to the power of play, friendship, and the small yet significant battles of youth. The story revolves around a trio of mischievous kids—Hazel, Jodie, and Alice—who, after a playful act of rebellion involving a stolen cake, find themselves on a whimsical quest. Their goal: reclaim their video game privileges by retrieving their mother’s favorite blueberry pie. This simple errand transforms into a fantastical odyssey involving secretive neighbors, treasure maps, and the type of small-town mythos that feels like it sprang from a summer afternoon’s daydream. A good kid adventure film either has a normal kid thrust into a fantastical or extraordinary adventure that teaches him some life lesson or has a solid cast of young actors with great chemistry that are more interesting than their journey. Riddle of Fire is most definitely the latter. What separates it from other nostalgic throwbacks is its refusal to condescend to its young protagonists. The film respects their perspective, treating their small world as vast and complex. Their quest, absurd as it may seem to adults, carries a weight that mirrors the grand adventures of Arthurian legends or Tolkien epics. For them, the stakes couldn’t be higher, and the director ensures we feel that too. While it wasn’t exactly my vibe, I appreciate the tone it was going for and think it was successful in everything it set out to do. I just didn’t connect with it. In about ten years, this will be on every hidden gems list on Letterboxd.
61. Azrael
Within the last five years or so, there’s been a glut of films involving a silent protagonist either fighting a bunch of people who are trying to kill them or running away from a bunch of people who are trying to kill them. I don’t know if they were all inspired by 1917 but that seems to be the catalyst for this subgenre. I’m hoping their popularity is a coincidence because if they were inspired by Mendes’ film, they all misunderstood what made that film work. What made that film work wasn’t the constant barrage of enemies or his fight for survival, it was his determination to complete his quest. He had to keep moving because the stakes were astronomical. If he failed, countless lives were going to be lost, which automatically gets the viewer engaged.
All of these copycats lose the stakes and just make it a video game. That’s not to say they’re not good but I’m less engaged. Which is exactly my issue with Azrael. If you told me this was based on a game, I would’ve 100% believed you. The story unfolds in a bleak, dystopian future, where society has fractured into warring factions, and survival is the only currency that matters. It stars Samara Weaving as a mute survivor who’s trying to outrun and then eventually get revenge on a cult that wants to sacrifice her to a monster. Since it’s narratively simple, it relies on mood and action to hook you and neither was strong enough to keep my interest. It gets points for not over explaining the world we’re suddenly thrust in, but I do wish there was more going on in that world.
60. Daddy’s Head
Due to that title, you’d be forgiven for thinking this was the type of weird fetish film they used to show at NY leather bars in the ’80s. Instead, it’s a strange, unsettling, and dread-inducing exploration of trauma. After the sudden death of his father, a young boy is targeted by a creature that is mimicking his appearance. Once his step mother realizes the boy isn’t losing his mind to grief, she has to protect him from falling under its malevolent spell. Daddy’s Head is a competently made, slow burn thriller that has some legit creepy imagery and a couple of effective jump scares but ultimately doesn’t do enough to keep it from sliding off your brain within a week.
59. Sasquatch Sunset
David and Nathan Zellner are unique in that they never make the same movie twice. They love to mix it up and this is their biggest gamble yet. Sasquatch Sunset is an absurdist fantasy drama that chronicles a year in the life of a sasquatch family. The film is divided into four segments, each representing a season, and features performances by Jesse Eisenberg, Riley Keough, Christophe Zajac-Denek, and Nathan Zellner, all portraying sasquatches. Notably, the film is devoid of dialogue, relying instead on grunts and gestures to convey emotion and narrative. Your enjoyment of Sasquatch Sunset is dependent on how many illicit substances you have in you while you’re watching it. If you’re high as fuck, you will most likely find this hilarious and alternatively, if you’re sober, it’s most likely going to be a chore. I was sober and yeah, it moved at a glacier pace and felt repetitive. Almost every scene involves a sasquatch doing something either dumb or gross and then paying a price for their stupidity, horniness or curiosity. I like that it exists but wish it did more to justify its existence.
58. The Coffee Table
I’ve criticized a lot of films from 2024 for feeling like shorts stretched to feature length and while this isn’t the most egregious example of that (In a Violent Nature wins that hands down) trend, it most definitely qualifies. This pitch black comedy delves into the macabre consequences of a seemingly mundane purchase. The film centers on Jesús (David Pareja) and María (Estefanía de los Santos), a couple whose lives spiral into chaos following the acquisition of an ostentatious coffee table. To say anymore would be criminal, just know the film isn’t about a haunted coffee table and when I said it was pitch black, I meant it. It is one long sustained horrible joke where the punchline is the end of the world. It overstays its welcome and would’ve been more effective at half the length but it’s still worth experiencing at least once.
57. Lowlifes
Nothing sounds less appealing to movie watchers than the words “Tubi original.” They might be kicking everyone else’s ass as a streamer, but their original content is subpar at best. I don’t think they’ve produced a single note-worthy film yet. Save for one. Lowlifes came out of nowhere and surprised everyone who saw it. This isn’t much since again, everyone avoids their original films but the ones brave enough to roll the dice were rewarded with one of the best horror films of the year. The plot synopsis on IMDb says “the survival instincts of a road-tripping family are put to the test when they have no other choice but to stay the night at a remote homestead” and honestly, that’s all you need to know going in. The film has more twists than a Chubby Checker concert, so going in blind is key to your enjoyment. Good job Tubi, you finally did it.
56. In a Violent Nature
In a Violent Nature offers a unique twist on the traditional slasher genre by presenting the narrative from the killer’s perspective, focusing on a mute murderer named Johnny who is inadvertently resurrected by a group of teenagers in the Ontario wilderness. Most of the shots are so close to our murderous undead lead, it’s almost first person. And that’s one of my major issues with the film. I have no issue with it being a cinematic walking simulator because that’s the premise but it commits the cardinal sin of the gimmick: it doesn’t commit to the bit. There’s a scene about thirty minutes in set around a camp fire that breaks from the established perspective. We are no longer following Johnny but are now with the group as one of them spends about ten minutes dumping lore at is. This scene, along with the excruciatingly long ending, are proof positive that the makers had no idea how to tell this story in this specific way without breaking their own rules. And even though I think it easily could’ve been done, the fact that they couldn’t pull it off, tells me this should’ve been a thirty minute short. But it does have that yoga kill, so it’s basically in the hall of fame regardless.
55. Cuckoo
I do not think Cuckoo is successful at what it’s trying to do. I don’t think director Tilman Singer ever really gets a hold of the story nor do I think the story is all that interesting, to be honest. But I do think it makes for a helluva calling card. Singer may be bad at telling the story but he does an excellent of presenting the story. It’s the kind of film you’d see images of in a movie article or magazine and immediately be interested in but if you discovered it simply through a plot synopsis, you most likely would never pull the trigger. The narrative centers on Gretchen (Hunter Schafer), a teenager who relocates to a secluded resort in the Bavarian Alps with her father and stepmother. As the story unfolds, Gretchen encounters a series of unsettling events and enigmatic characters, notably the ominous hotel manager, Herr König, played by Dan Stevens. It moves at the same glacier pace and has the same kind of incoherent plot of an Italian horror film from 1978-1990, which is most likely why I didn’t vibe with it. The performances are all great (Schafer is one to keep an eye on and Stevens continues to be the weirdest actor alive) and it has scenes that definitely got under my skin, I was just never invested in anything that happened. Pretty to look at but I wish I was looking at something else.
54. Frankie Freako
Frankie Freako is a throwback to 1980s creature features like Gremlins and Critters, but with a unique, over-the-top twist. Directed by Steven Kostanski (Psycho Goreman), the film centers on Conor (Connor Sweeney), a stressed-out yuppie, who accidentally summons Frankie Freako, a chaotic, rock ‘n’ roll goblin leading to a series of outrageous and hilarious misadventures. Frankie isn’t the only Freako unleashed to cause havoc. There’s also the gunslinging cowgirl Dottie (Meredith Sweeney), and Boink (Adam Brooks), the gadget wizard with the catchphrase “Shabado!” They’re old-school looking puppet monsters that feel like a cross between Charles Band and Garbage Pail Kids. They’re delightful. The movie’s practical effects, particularly its puppetry, are the standout. It’s clear the filmmakers had a deep love for the quirky, low-budget horror-comedies of the past and created the perfect nostalgic homage. The humor is absurd and often self-aware, making it a love letter to fans of campy, offbeat cinema. If you have a deep affection for low budget horror comedies involving puppets, this is the movie for you.
53. Humane
Brandon is no longer the only Cronenberg trying to pick up where his famous father left off. His daughter Caitlin announced to the world last year with her debut Humane that she too has the skills and the same dark sensibilities to carry the mantle. Set in a near-future grappling with severe climate crises and overpopulation, the government mandates a controversial policy requiring 20% of the population to undergo euthanasia to preserve dwindling resources. The narrative centers on the York family, led by former news anchor Charles York (Peter Gallagher), who convenes his adult children to announce that he and his wife, Dawn (Uni Park), have volunteered for the program. Tensions escalate when Dawn retracts her decision, compelling the family to confront the harrowing task of selecting another member to meet the quota.
The film delves into themes of privilege, societal responsibility, and moral ambiguity. In short, it’s the film The Purge tried and failed to be. The ensemble is great, most notably Jay Baruchel, who has privileged scumbag turned up to 11. Another stand out is Enrico Colantoni who plays Bob, the technician assigned to carry out the procedure. He brings a darkly comedic touch to the grim proceedings. It has all the elements to make a phenomenal thriller but just can’t pull it all together. The film’s major flaw is its ending. Caitlin throws us into a house filled with the worst people imaginable and then gives a couple of them a happy ending. It reads false and is counter to the film’s ultimate message, which is “we’ve finally fucked the world up, now it’s time to eat each other alive.” Doesn’t exactly work if the film still refuses to eat the rich. Still a solid debut regardless.
52. Stopmotion
Stopmotion is a haunting exploration of the fragile boundary between art and reality, brought to life through the visceral descent of its protagonist, Ella Blake (Aisling Franciosi). After her mother’s sudden death, Ella, a stop-motion animator, retreats into her craft, pouring her grief and turmoil into her latest project. But the deeper she delves into her work, the more her creations seem to come alive—not as extensions of her artistry, but as manifestations of her unraveling psyche. You can tell director Robert Morgan has a background in stop-motion animation because that’s the real meat (pun intended) of the story.
Morgan’s direction skillfully blurs the lines between Ella’s internal torment and the external threats posed by her animated creations. The film’s claustrophobic settings and meticulous attention to visual detail heighten the sense of disorientation and dread. If the effects weren’t up to snuff, her downward spiral wouldn’t land as hard. You have to feel the crazy and there’s no better way of convincing you that someone is crazy but by showing you the horrific things they’re seeing. The stop motion monsters in this are a stand out and are worth the price of admission alone. Everything else is just a bonus. It’s not perfect but the film’s shortcomings are overshadowed by the film’s ability to evoke a visceral reaction through its nightmare creatures.
51. MaXXXine
I’m not a fan of Ti West but I am a fan of a big swing and an even bigger fan of an event. Releasing connected horror movies almost back to back is a gimmick that got me to watch the Fear Street trilogy and while I feel about the same about X and Pearl as I do that trilogy (they’re both fine), they did a good enough job getting me excited for the conclusion. But in true West fashion, he fumbled the ball. Each film in the trilogy was designed to evoke the style of a famous movie. X was clearly The Texas Chainsaw Massacre and Pearl drew inspiration from old timey musicals such as The Wizard of Oz. Since MaXXXine is set in the ’80s, this is his De Palma movie. It’s meant to feel grimy and seedy and sexually violent in all the ways Body Double and Dressed to Kill are but since West is nowhere near as talented as De Palma, it ends up feeling like an empty homage. The titular character has zero agency, the story has zero mystery since you know who the killer is almost from the beginning and the kills (save for one) aren’t memorable. Thank God Bacon is there to chew on the scenery because without him, there would be almost nothing here to recommend.
50. The Order
Justin Kurzel’s filmography is filled with more hidden gems than an undiscovered diamond mine. The worst thing he’s made is unfortunately the most well known thing he’s done, which is his terrible adaptation of Assassin’s Creed. It’s the only dud in an otherwise stellar career. Snowtown is a harrowing, unforgettable experience, Macbeth and the True History of the Kelly Gang are expertly crafted dramas with stellar performances and Nitram is easily one of the best films you’ve never seen. His latest film, while not as good as his previous work, still has enough great shit in it to recommend. It’s just missing that one stand out scene to make it an all timer.
The film follows Jude Law as FBI agent Terry Husk, a man torn between duty and the moral toll of battling a white supremacist group in the 1980s. His performance is easily the film’s highlight. He brings a weary gravitas to the role, embodying a man who sees too much and says too little. Opposite him, Nicholas Hoult gives a chillingly magnetic performance the charismatic yet terrifying leader of The Order. If the film around them was as good as their performances, you would’ve seen this by now or at the very least, have heard of it. The reason it flew under the radar is simply because critics have no reason to rave about it. Which is a shame because it’s a well made movie with great performances but nowadays, that’s simply not enough to stand out.
49. Rap World
All of the best new comedians seem to be coming from YouTube, which makes sense since it allows them the freedom to do whatever they want. Shane Gillis is a perfect example of this. He gets hired and fired from SNL before he even tapes an episode but because of YouTube, his career is bigger than it would’ve been if they never fired him. Conner O’Malley will never reach that level of stardom because his comedy is far too niche for the mainstream but for those who dig his brand of humor, there’s no one better. He’s done enough shit outside of the platform that he technically doesn’t count as a YouTuber but the content he produces on there, is what his fans really connect with.
It’s impossible to explain why The Mask (2023) or Top 10 Haunted Houses For Free Pulled Pork are funny to someone that doesn’t connect with it. You either get the joke and appreciate his dedication to the bit or you think it’s stupid as fuck. Rap World is the only movie he’s made on YouTube so far that I would say is accessible and it’s a movie I’ve described as “Lonely Island circa 2008 directed by Harmony Korine.” It’s about four middle aged dudes trying to record a rap song over the course of a night. Insanity ensues. O’Malley perfectly captures what the Internet felt like in the late ’00s and if this didn’t have it’s ridiculous ending, you would swear what you were watching was real. It’s as authentic as it is funny but again, it isn’t for everyone. If you stick it out, you’ll be rewarded with one of the funniest endings in recent memory.
48. Late Night with the Devil
This had all the elements to be my favorite horror film of the year but like In a Violent Nature, it doesn’t commit to the bit. Set in 1977, the film is structured as a documentary about a lost broadcast of a fictional late-night talk show hosted by Jack Delroy (David Dastmalchian). Jack has something special planned for this Halloween themed episode: an interview with a possessed little girl. As you can imagine, all hell breaks loose. The period-specific aesthetic is lovingly rendered (despite using some AI images for the title cards), evoking a nostalgic authenticity that draws us in before unsettling us.
There’s an eerie power in the idea of something horrifying unraveling in real-time, with no buffer between the audience and the escalating nightmare. Movies like Ghostwatch and WNUF Halloween Special have treaded similar ground but where they succeed and where this one fails is that it ultimately doesn’t work once you dismantle the logic of it. If it’s a documentary about a lost broadcast, it’s the most important documentary of all time because it confirms the existence of hell. The framing device just doesn’t work nor do the commercial break segments.
Instead of having fake commercials, the film instead follows Jack around to provide additional story beats but since this is a television broadcast from the ’70s, those cameras would never be able to move around the set that freely nor would the footage be that crisp. It breaks its rules to provide additional information that is ultimately pointless. We find out that Jack sold his soul to a Bohemian Grove style cult for fame but that also doesn’t make sense because he’s constantly on the verge of cancellation. Who the fuck sells their soul to be number 2 in the ratings? Late Night with the Devil is a perfect example of a great idea executed terribly. Dastmalchian deserves better.
2023 | Part II
What do you think of my ranking so far? Which films from 2024 do you think will crack my Top 5?