(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).
35. Conclave
There’s something inherently cinematic about the Catholic Church, with its rituals steeped in mystery, its imposing architecture, and the gravitas of men in robes debating divine destiny. It’s a seemingly impenetrable world to an outsider but what makes Conclave work is the fact that it’s less about the faith of its characters than the politics of power—a chamber piece with the suspense of a psychological thriller. When the Pope dies under mysterious circumstances, the College of Cardinals convenes in the Sistine Chapel to elect his successor. Leading this process is Cardinal Lomeli (Ralph Fiennes), a man torn between his devotion to tradition and his growing disillusionment with the opaque workings of the Church.
The narrative unfolds like a game of chess, with each Cardinal—portrayed by an impressive ensemble, including Stanley Tucci and John Lithgow—maneuvering for position. The film skillfully reveals that beneath the solemn rituals lie ambition, deceit, and vulnerability. Yet it also avoids caricature, showing the humanity of men grappling with their faith, flaws, and the weight of their decisions. My biggest issue is ending but not for the reasons everyone else hates it. I don’t care about that divisive revelation, my biggest gripe is that the film is told through the point of view of the least interesting character. He was so uninteresting, I kept waiting for the shoe to drop with the reveal that he played the game perfectly. But since *spoilers* doesn’t end up becoming the Pope, it felt like we just spent time with a character watching events unfold around him, when being an active participate would’ve been more interesting to me.
34. Femme
There’s a raw, electric charge running through Femme, a revenge thriller that boldly defies conventions while delivering something unexpectedly profound. The film explores themes of identity, power, and the roles we play in a society all too eager to define us. It’s a tense and emotionally layered story, anchored by two standout performances. Jules (Nathan Stewart-Jarrett) is a drag performer whose life is upended after a violent encounter with Preston (George MacKay), a closeted man steeped in toxic masculinity. The film begins as a simmering revenge narrative—Jules unexpectedly crosses paths with Preston in a setting that makes vengeance seem tantalizingly possible. But Femme isn’t content to remain a straightforward story of retribution. It delves deeper, exploring the vulnerabilities and contradictions of both its characters with empathy and nuance. 2024 was filled with so many stand out performances, that two of its best went undiscovered. Stewart-Jarrett is mesmerizing as Jules. His performance is a study in resilience and pain, but also defiance. George MacKay is equally compelling, playing Preston not as a villain in the traditional sense but as a man wrestling with his own fear and shame. Their interactions are a delicate, dangerous dance, crackling with tension and unexpected intimacy. It’s a challenging film that’ll stick with you.
33. Wallace & Gromit: Vengeance Most Fowl
There’s a reason Nick Park is the most nominated animator alive, every time he makes a movie, it’s a movie worth watching. But his (and by his, I mean Aardman Animations) output lately hasn’t been the best. Still solid but nothing to write home about. Wallace and Gromit: Vengeance Most Fowl reminds us why we fell in love with this studio in the first place. It’s a delightful return to form—equal parts slapstick comedy, inventive mystery, and heartwarming tale of companionship. In their latest adventure, our cheese-obsessed inventor Wallace and his ever-resourceful dog Gromit find themselves embroiled in a poultry-based conspiracy. A mysterious rise in chicken disappearances in their quaint English village coincides with the arrival of a sinister new neighbor, who, naturally, raises suspicions. Wallace, with his boundless enthusiasm and knack for getting into trouble, is eager to investigate. Gromit, ever the silent hero, must once again clean up the chaos that follows. The charm of Vengeance Most Fowl lies in its meticulous detail and Aardman’s signature sense of humor. If you’re a fan of these lovable characters, you will most likely have a smile on your faces the entire movie. I know I did.
32. The Wild Robot
There’s a quiet beauty in The Wild Robot, a film that balances its futuristic premise with an earthy, almost fable-like tenderness. Based on Peter Brown’s beloved novel, this adaptation is a family film with a soul—one that isn’t afraid to ask big questions about survival, connection, and what it truly means to live in harmony with the world. The story follows Roz, a robot who washes ashore on a remote island after a shipwreck. Voiced with subtle warmth by Lupita Nyong’o, Roz is initially an outsider in this wild, untamed ecosystem. But through patience, curiosity, and an innate desire to belong, she learns to adapt, forging relationships with the wary animals that call the island home. Her connection to a small bird forms the emotional core of the tale. Their relationship could be viewed as a metaphor for any number of things or you could simply see it as a heartwarming story of a mother’s undying love for their son. It works on multiple layers. It’s the most emotionally moving movie involving a robot since Wall-E or The Iron Giant. It is an emotional assassin that’ll stab you in the heart more times than a snitch in prison. It’ll rip the tears out of your eyes like it was made out of onions. Even if you’re dead inside and have zero capacity to be moved by anything, you will still be blown away by just how gorgeous it is to look at. This is so much better than whatever Disney is doing right now. If Inside Out 2 got snubbed, people would be shocked but few would be upset. If this got snubbed, people would’ve lost their minds. It’s truly remarkable.
31. I Saw the TV Glow
Few films capture the disquieting intersection of nostalgia and dread quite like I Saw the TV Glow, a bold and unsettling exploration of isolation, obsession, and the dangerous power of media. The film is less concerned with delivering a conventional narrative than creating an atmosphere that crawls under your skin and lingers long after the credits roll. The story follows two lonely teenagers (Justice Smith and Helena Howard), who bond over their shared love of a surreal TV show. Their relationship is anchored in the glow of the screen, a space where reality blurs into the uncanny. But when the show is abruptly canceled, the boundaries between fiction and reality begin to collapse, dragging the pair into a surreal and often nightmarish descent. Directed by Jane Schoenbrun (We’re All Going to the World’s Fair) has created a new genre of horror — shoe gaze horror. It’s too stylish to be considered mumblecore and is too weird and unique to be lumped in most of the other A24 films. It’s a singular vision that will bore most to tears and leave the rest confused. It’s David Lynch for the LGBTQ community.
30. The First Omen
The First Omen sets out to explore the sinister beginnings of Damien’s lineage, aiming to expand the mythology of The Omen (1976) but since it changes the established canon, some horror fans see it as an unnecessary appendage to a masterpiece rather than a revelation. I can’t stand prequels and think they’re all wholly unnecessary, so normally I would have to begrudgingly agree with its detractors but this time they’re dead wrong. The Omen is lucky to have a film this good associated with it. Visually, The First Omen excels. The cinematography is steeped in ominous shadows, and the production design evokes an eerie, gothic aesthetic that pays homage to the original. Arkasha Stevenson used this film as a calling card and it won’t be long till Hollywood comes a calling. Regardless of whether or not you hate the unnecessary changes to the lore, you have to admit it’s stylish as fuck. The director isn’t the only one Hollywood is going to call soon. Nell Tiger Free gives a star making performance that feels like a time bomb waiting to explode. Her sanity is holding on by a thread and by the time the Possession inspired freak out scene happens, she’s gone completely off the deep end. It’s a captivating arc filled with convection by an actress who’s giving it her all. The First Omen is in the hall of fame of “continuations no one asked for that turned out surprisingly decent” alongside Ouija: Origin of Evil and Annabelle Comes Home.
29. Heretic
It’s amazing to me that Hugh Grant, the undisputed king of the rom-com, has had a much better career as a villain. You would think the genre that made him a household name and beloved by generations of women, would be his strong suit but it seems like he was always destined to be the baddie. I don’t think it’s a spoiler to say he is playing a character of insidious intent in Heretic but to reveal what game he’s ultimately playing would be. The film follows two young Mormon missionaries, Sister Paxton (Sophie Thatcher) and Sister Barnes (Chloe East), as they encounter the enigmatic Mr. Reed (Hugh Grant). The film is one long interaction between the three, with Mr. Reed having quite a lot of opinions about religion and faith. The film’s strength lies in its ability to weave profound theological discussions into the fabric of a horror narrative. Mr. Reed engages the missionaries in debates that challenge their convictions, leading to a psychological unraveling that is both compelling and disturbing. While I wasn’t as big a fan of the last third, the first two acts more than make up for any misgivings I have about the ending.
28. A Real Pain
Some comedies dare to navigate the space between laughter and discomfort, and A Real Pain walks that tightrope with remarkable grace. David and Benji (Kieran Culkin and Jesse Eisenberg) are cousins on a tour of Poland to honor their grandmother. Since both are the most extreme versions of an introvert and an extrovert, personalities clash, tensions arise and unresolved feelings from past wounds boil to the surface. How much you like this film is entirely dependant on how charming you find Culkin’s character. He is opinionated to the point of annoyance, extremely loud and has a tendency to just disappear without a heads up. He is borderline insufferable by design. He is meant to get on your nerves and the more annoying he gets, the more the film wants you to see him through his cousin’s eyes. Deep down, David isn’t annoyed by his cousin, he’s jealous of him. He hates that he lacks the fear to be the center of attention. He hates that he isn’t able to have effortless confidence like he does. How it’s so easy for him to create indelible moments with strangers. More than anything, he hates that Benji is seemingly wasting it. I don’t know if this is autobiographical in any way but if it’s even slightly true to Eisenberg in real life, I feel for him. Feeling like a prisoner to your own insecurities and anxieties must feel awful and this film doesn’t an incredible job of showing you just how green the grass truly is.
27. Memoir of a Snail
Known for his distinctive “clayography” style and his narratives that a little more than a catalog of character descriptives, Adam Elliot is a master of stop motion who knows how to create emotional wrecking balls. His latest invites us into the meticulously crafted world of Grace Pudel, a character whose life is as intricate and deliberate as the animation that brings her to life. Grace (Sarah Snook), is a bibliophile and collector of snails—a fitting metaphor for her own introspective and sheltered existence. Her journey is marked by a series of personal tragedies and separations, most notably from her twin brother Gilbert (Kodi Smit-McPhee). The narrative unfolds in a manner that is both melancholic and darkly humorous, a balance that Elliot has mastered in his previous works. The animation is nothing short of mesmerizing. Each frame is imbued with a tactile quality that brings the characters’ emotions to the forefront.
It’s a visual experience that reminds us of the beauty found in the imperfect, which is obviously a major theme of the movie. Memoir of a Snail is not a film for those seeking light entertainment. It demands introspection and a willingness to engage with its themes of loss, isolation, and the search for connection. Yet, for those who embrace its deliberate pace and somber tone, the film offers a profoundly moving experience. It’s a reminder of the strength found in vulnerability and the beauty that can emerge from life’s most challenging moments. In a cinematic landscape often dominated by rapid cuts and high-octane action, Memoir of a Snail stands as a testament to the power of slow, deliberate storytelling. It’s a film that lingers in the mind, much like the trail of its titular creature, leaving a lasting impression that is both haunting and beautiful.
26. Terrifier 3
The Terrifier franchise has always been a divisive one—a gory, often repellent celebration of violence, death, and the grotesque. With Terrifier 3, director Damien Leone once again pushes the boundaries of horror by upping the carnage to an almost unbearable level. These films cater to a specific demographic and aren’t everyone’s cup of tea. I personally didn’t care for the first film and almost skipped the second one entirely but Leone actually won me back. Not just because of the extreme over the top gore he perfected between sequels but with the larger mythology he’s creating. Each film adds more pieces to the overall puzzle that later sequels will definitely payoff. The fact that Leone is purposefully withholding story elements from us, proves he cares about the overall experience than just delivering memorable kills.
It’s why Saw and Hatchet have such strong fan bases, the people who love those films, love that that each one builds off the last, adding more lore with every entry. Terrifier isn’t a series you would expect to have an ongoing narrative but I love that it does. I also love Art the Clown (David Howard Thornton) and think he’s the best horror icon of the last decade. He’s a figure so gleefully sadistic that his very presence seems to make the air thicker with dread. He’s a demon that delights in inflicting as much pain as possible, all while silently laughing his ass off. Each film gives him more personality to the point where his brutality is immediately offset by his reaction to it. He’ll commit a double chainsaw murder and then lay down in the blood to create an angel like a child would do in the snow. If you don’t like Art the Clown, you’ll most likely hate these films because there’s nothing else to keep you invested. I love him and can’t wait to see how he tops himself in the next one.
25. MadS
Due to the amount of coverage In a Violent Nature‘s gimmick received, you would be forgiven for thinking it was the only horror film from last year that was even remotely ambitious. Compared to MadS though, it’s gimmick is laughably simple. While it still deserves props for trying something new, all it did was change the perspective from the inevitable teenage victims of an undead monster, to the undead monster itself. It slowly follows around a murderous corpse till it stumbles onto something to kill. Since most of it is long scenes of him walking, it couldn’t have been that hard to shoot. MadS on the other hand, is a single take zombie film that never stops moving. It’s not the first film to be shot all in one continuous shot but the last time I checked, Russian Ark didn’t include a single zombie, so is it really that impressive? A teenager who stops off to see his dealer to test a new drug before heading off for a night of partying. On the way home, he picks up an injured woman and the night takes a surreal turn. Since the film never explains the cause of the outbreak, it’s up to the viewer to decide whether the main character is infected by the drug he took or by the mysterious woman. Since the story plays out in real-time, it feels like one long bad trip.
24. Kill
While I haven’t seen every film 2024 produced, I doubt there’s a better hidden gem released that year than Kill. You take Die Hard and The Raid, smush them together and set it on a train and you have Kill. Amrit (Lakshya) is in love with Tulika (Tanya Maniktala), but she’s preparing for an arranged marriage to someone else against her will. Not wanting to part from her, Amrit boards the train she’s taking with her family, but so do a gang of bandits. But unlike the everyman John McClane, Amrit is an army commando, so it’s less a story about a man’s desperate fight for survival against impossible odds and more a non-stop barrage of carnage from a one man killing machine. There is more bone crunching action before the title drops, than most films offer in their entire runtimes. It’s almost as unrelenting and energetic as Fury Road but with knives and fists and brutal kills in place of car chases, shootouts and explosions. If this came out 30 years ago, Blockbuster would lose a fortune having to replace all of the copies ruined by teen boys constantly rewinding every fight scene. It’s John Wick made for gorehounds.
23. Saturday Night
On October 11, 1975, a group of ambitious comedians and writers gathered to launch a show that would redefine television comedy. Saturday Night transports us back to that pivotal evening, offering a dramatized glimpse into the frenetic moments leading up to the inaugural broadcast of what we now cherish as Saturday Night Live. When it comes to biopics, historical accuracy isn’t as important to me as entertainment. As long as the essence of a character or an event has been accurately depicted, I don’t care how many artistic liberties have been taken. The last line of The Man Who Shot Liberty Valance comes to mind: “when the legend becomes fact, print the legend.” I don’t know how accurate Saturday Night is and I truly don’t care. The film perfectly captures the chaotic energy and creative fervor that defined the show’s inception.
Reitman masterfully captures the essence of a team on the brink of making television history, balancing moments of humor with the underlying tension of live performance. I can’t speak to its authenticity since I wasn’t there to witness it but I have seen numerous episodes of the show and I can say with full confidence, no other actors could’ve brought the original “Not Ready for Prime Time Players” to life. The highlights are: Cory Michael Smith who perfectly captures Chevy Chase’s cocky bravado, Dylan O’Brien who has the rapid-fire wit of Dan Aykroyd down to a T and Lamorne Morris who looks and sounds identical to Garrett Morris.
While Ella Hunt, Kim Matula and Emily Fairn (who play Gilda Radner, Jane Curtin and Laraine Newman respectfully) are all well cast, none of them are given anything to do, which is the biggest sin of the movie. Since it’s trying to juggle so much at a time, certain real life elements are given short shrift, which meant the ladies got the shaft. More scenes are dedicated to a young Billy Crystal waiting to see if his sketch will make it to air than are given to any of the female performers. I would’ve liked to have seen them get at least one significant scene or memorable moment but ultimately, that’s a minor quibble. The film is a heartfelt tribute to a transformative moment in television history and is about as good a love letter to the show as you could get.
22. A Different Man
What does it mean to truly know yourself? And what happens when the world sees you differently than you’ve always seen yourself? A Different Man deals with these questions in ways that are unsettling, darkly funny, and ultimately heartbreaking. Sebastian Stan plays Edward, a man with a severe facial disfigurement who undergoes an experimental treatment to become conventionally handsome. If this were a typical redemption story, Edward would emerge victorious, finally free from the prison of his deformities. But this is not that kind of movie. Instead, he becomes obsessed with Oswald (Adam Pearson), an actor with the same condition who gets cast in a play written about Edward before his surgery. Watching someone take over his own former identity is enough to drive him mad with jealousy but watching him live it better, is enough to drive him insane.
A Different Man feels like the Poor Things to The Substances Barbie, a film dealing with similar themes but told in a radically different matter. They both tackle identity, the value of superficial beauty and the all consuming nature of envy. And like The Substance, it has two amazing performances at its center. Sebastian Stan gives one of the most layered performances of his career. He plays Edward first as a man worn down by rejection, then as someone intoxicated by his newfound beauty, and finally as a desperate soul unraveling under the weight of his own transformation. But it’s Adam Pearson who delivers the film’s most powerful moments. Pearson, who previously appeared in Under the Skin, brings a quiet dignity and wry humor to Oswald, making him more than just a object of envy, he’s a fully realized character that steals every scene he’s in. The Substance may have the style but A Different Man might actually have the substance.
21. Lisa Frankenstein
After her Oscar win, everyone predicted Diablo Cody would go on to be the new face of indie cinema but based on her output, she seems to be more interested in becoming the queen of cult horror in the 21st century. Like Jennifer’s Body before it, Lisa Frankenstein is filled with her signature wit and sharp dialogue. Her writing isn’t for everyone but I personally think it’s charming and fun. The film follows Lisa Swallows (Kathryn Newton), a high school outcast who inadvertently resurrects a handsome corpse (Cole Sprouse) during a lightning storm. What follows is a macabre yet humorous journey of self-discovery, teenage angst, and a touch of necromantic romance. It takes talented actors to sell an undead love story and this film has two of the most charismatic of their generation. Kathryn Newton delivers a commendable performance as Lisa, capturing the nuances of a teenager grappling with trauma and societal expectations. Her portrayal oscillates between vulnerability and assertiveness, providing depth to a character that could have easily been one-dimensional. Cole Sprouse, in the role of the reanimated “Creature,” offers a physically expressive performance, relying on gestures and expressions to convey emotion, given his character’s limited dialogue. Visually, Lisa Frankenstein is a treat. The production design vividly captures the retro aesthetic, and Zelda Williams’ direction brings a fresh perspective to the genre. No other film from last year surprised me as much as Lisa Frankenstein did. I went in with mild expectations and it more than exceeded them. I can’t wait to see what Robin Williams’ daughter will do next.
Part II | Part IV
Are you surprised by my ranking?
