Favorite Movies of 2024
We conclude Kaedrin Movie Awards season with a traditional top 10 list of my favorite movies of 2024, only two months (or so) late! This marks the nineteenth year in a row that I’ve posted a top 10. For reference, previous top 10s are here: [2023 | 2022 | 2021 | 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006]
It’s customary at this point to discuss themes of the year in film, usually a fraught exercise even in the best of times, but especially weird in the past few years. After the pandemic, we experienced a kinda/sorta return to normalcy in 2023, only for half the industry to go on an extended strike (for eminently understandable reasons!) that no doubt put the breaks on many planned 2024 projects. As a result, we’re left with a pretty strange year. Several of the trends from last year have continued. For instance superhero movies continued their decline, with only one success story (Deadpool & Wolverine) and a disastrous trio of Sony Spider movies (Venom: The Last Dance did marginally well, I guess). The real test for Superheroes comes in 2025 though. Marvel returns with several core movies, and DC’s freshly minted universe kicks off. Time will tell how well this goes.
The trend of half-movies also continues with a few prominent examples (Dune: Part Two, Wicked, and heck, Horizon: An American Saga – Chapter 1 is only one quarter of a movie) and the next few years will likely see the latter half of several movies started in 2023 and 2024. It’s not a trend I’m particularly fond of (though I certainly enjoyed some of them), and I hope it’s something that lessens over time. Related to this trend is the general reliance on sequels, reboots, and pre-existing IP. I guess it makes sense in a tight year to fall back on what “works”, but there was a genuine surge of somewhat original work in 2023 that’s disheartening to see fall by the wayside. This could be a result of the strikes, but prominent 2025 releases don’t strike me as especially original either.
It’s tempting to call this a dire year for movies, but there’s always bright spots if you know where to look (which, unfortunately, includes the ranks of half-movie sequels and remakes). Still, in putting together the top 10, nearly all of them felt like they should really be ranked in that 5-10 range, rather that at the top. Lots of movies that were made with great talent and skill this year just didn’t connect with me on a personal level. I can appreciate such movies and certainly understand why others praise them, and there’s always some of this, but this year seems to have way more than normal (to name a few movies that are incredibly well made but definitively not my thing: The Brutalist, Anora, and Challengers). Again, I could probably chalk that up to the writer/actor strike hiccup, but who knows?
As of this writing, this top 10 list is pulling from a total of 128 movies I’ve seen that could be considered a 2024 release. This is less than your usual critic, but probably more than your typical moviegoer. Standard disclaimers apply, and it’s always worth noting that due to release schedules (especially in these plague years), some movies from 2023 that didn’t become available until 2024 qualify for this list (and this year, a 2022 movie actually qualifies due to these vagaries of release scheduling). Alrighty then, I think we’ve covered all our bases, so let’s get to the feature presentation:
Top 10 Movies of 2024
* In roughly reverse order
The Beekeeper – Jason Statham once again fulfills his obligations under the “Everyone Gets a John Wick” act of 2014. Instead of avenging a dead puppy, he’s using bee metaphors (read: puns) to justify taking down robocall phishing operations and crytpo scams, a worthy enemy if there ever was one (and without spoiling anything, it traces these grifts to an origin that is absurd in the best way possible). Look, it’s not exactly high art and on another day, it’d be interchangeable with several of the Honorable Mentions below, but it’s got a unique charm to it that I thought was worth recognizing.
More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
Hit Man – In another year, a movie might not make it this high on the list based almost solely on the strength of a single scene involving the iPhone Notes app, but that sequence is one of the most impressive things put on screen all year. The rest of the movie hinges on some rather dark comedy and a moral ambiguity that verges on distressing, but I think that’s the point. That rather uncomfortable aspect of the movie could easily rub you the wrong way, but it’s all packaged up into a glossy, amiable affair with appealing performances from folks like Glen Powell and Adria Arjona. It’s a difficult balancing act, but Richard Linklater is one of the few who can manage such a thing.
More Info: [IMDB] [Netflix] [Kaedrin Movie Award Winner]
Orion and the Dark – Charlie Kaufman wrote this animated children’s movie and somehow managed to perfectly weave his personal neuroses into the plot in a way that doesn’t look down on children or rely on rote needle drops, but nonetheless presents thematic heft without pretension. It’s cute as hell, but still poignant and much more of a Kaufman movie than you’d expect. There are monologues on the inevitability of death (“What if life is a cosmic accident?”), a personification of Sleep that chloroforms people, a Werner Herzog narration cameo, and plenty of self-aware meta-commentary on animated kids movies. But since it was released (with little-to-no fanfare) on Netflix, no one has even heard of this thing. You should probably rectify that.
Dune: Part Two – Despite my distaste for Hollywood’s trend of releasing “half-a-movie” at a time, both of these half-Dunes make their respective top 10s due to a technicality (the first due to a pandemic-strangled release year, and this one due to the writer/actor strike’s impact). Still, as half-movies go, these are among the best, this one actually completes the story, and given the complexity of the source material, it’s an understandable approach.
Director Denis Villeneuve does an admirable job adapting and visualizing the story, it’s gorgeous to look at, and even Timothée Chalamet managed to impress me this time around.
More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
Furiosa: A Mad Max Saga – Being a prequel to one of the all-time great action movies probably sets an unreasonably high bar, but George Miller somehow managed to craft something that has just enough similarities (including at least one exceptional action set-piece) while still carving out an identity of its own in a surprisingly satisfying way. Anya Taylor-Joy and Chris Hemsworth slot right into the action and universe well, and while it might not quite reach the dizzying heights of Fury Road, it certainly achieves enough all on its own.
More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
The Promised Land – Danish period drama about a retired Army Captain who attempts to earn a Royal title by… growing some potatoes in an unhospitable land, all welded into the structure of an American Western.
Exceptional performances from Mads Mikkelsen, Amanda Collin, and Simon Bennebjerg support the story of determination and resilience, found family and redemptive love, and much more. Worth seeking out!
Nosferatu – Robert Eggers’ meticulous craft applied to a close remake of a silent classic (with nods to the other remake from the 1970s, not to mention the source material) hits all the expected gothic notes, and the verisimilitude of the production immerses you into another world in which the supernatural evil at the heart of the story feels real and immediate.
Eggers heavily leverages visual motifs of thresholds (doors, arches, general architectural features , even the production design of the beds…) to emphasize the myriad choices made by characters as they continually make difficult decisions in a way that previous iterations of this story haven’t stressed. The ultimate tragic sacrifice of the ending is thus more integrated with the rest of the narrative. The biggest flaw of this movie is that Eggers is covering some of the same ground as his earlier The VVitch, which is probably a better movie. But in an awkward year, this certainly works well enough.
More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
Hundreds of Beavers – This movie is about as close to a live-action Looney Tunes cartoon as you could possibly get; an inventive, Raimiesque diy extravaganza (complete with the way Raimi can balance a slightly darker tone with silly slapstick), it’s the sort of thing that reminds you of lots of other things… but which carves out an identity of its own, such that you really can’t think of anything else quite like it (with the notable exception of writer/director Mike Cheslik’s previous film).
More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
Red Rooms – French Canadian courtroom drama about a serial killer trial that hinges on the way that too-online social media users have their perspectives warped and radicalized. It’s a theme that is well examined, from multiple angles, and which is quite relevant in our current moment. I can’t think of a movie that I saw this year that was so immediately reinforced by logging onto Twitter and seeing something horrible. Of course, it works as a narrative in itself, complete with excellent performances, good writing, and well calibrated direction, so it’s not just personal exhaustion at the social media landscape driving this high placement on the list.
Civil War – Writer/director Alex Garland stubbornly refuses to indulge in the obvious political conflicts that I suspect most detractors were hoping for, keeping the story deliberately vague in the best way possible. This movie has more subtle goals in mind, though it certainly nails some of its targets, particularly the photo-journalists at the center of the narrative.
If taken more symbolically, it says interesting things about the motives of artists and indeed, the critics of the film are usually missing the point completely (in a way that the movie itself predicts).
The Quantum Jury Prize
Awarded to films that exist only in a quantum superposition of two or more states. If you’re not sure what that means, that’s kinda the point. To confuse matters even further, the “two or more states” tends to also change from year to year. One year, this was awarded to four movies that could have been #10 on the top 10. Other years have been about movies that I go back and forth on and can decide whether I like them or not, even if I recognized the skill and craft on display. Or “movies” that were too long or too short to really fit the definition of a movie.
This year, we have three movies that I saw after putting this post together (indeed, all three are on my “Should Have Seen” list below). Just absolutely poor timing and luck on my part. In another universe, I watched these earlier, and they may or may not have made the top 10. In yet another universe, I fiddled with the list above to make room for some of these, or maybe not. The only way to confirm will be if I can get this quantum computer in my basement to spit out the results before the catastrophic decay that plagues quantum computing sets in. Um, anyway, barring that unlikely occurrence, let’s just talk about three more good movies:
September 5 – Tells the story of the 1972 Munich Olympics hostage crisis… entirely from the perspective of the ABC newsroom. A bold but oddly appropriate choice to leverage a journalism procedural to tell such a harrowing story. It’s perfectly executed, and really gets you to consider some of the seemingly mundane choices people had to make that day, that were anything but mundane.
It’s also a depiction of a form of prestige journalism that seems lacking in modern times (not that they get every choice right or perfect, but they’re at least trying). If I saw this earlier, it would almost certainly have made the top 5, honestly.
Perfect Days – What a charming, beguiling slice of life. Deliberately paced, elegiac, and usually the sort of thing I don’t connect with at all, but I somehow got on its wavelength immediately.
I mentioned above that there were a lot of movies this year that were very well made but definitively not my thing. Any way you could describe Perfect Days would make it seem like I’d hate it. And yet I don’t, and indeed, I kinda love it. That Wim Wenders fella knows what he’s doing, I guess.
Flow – It’s kinda like if a cat were playing the video game Myst. Or Ico. Or Shadow of the Colossus. Gorgeous animation that follows a cat on a journey of survival with a group of other misfit animals fleeing the effects of a flood.
Not sure this would actually crack the top 10, but it’s a unique and, again, visually stunning movie that I’m glad I caught up with after I put this list together.
Honorable Mention
* In an order I dare you to discern
Azrael – A mostly dialogue-free high-concept horror flick anchored by yet another blood-soaked performance by Samara Weaving, who still manages to accomplish a lot with her simple but effective use of facial expressions and physicality.
The straightforward approach will undoubtedly turn some people off, but I was quite taken with this movie.
More Info: [IMDB] [Amazon] [Kaedrin Review]
Caddo Lake – One of those timey-wimey mind-benders that is probably best experienced while knowing as little about it as possible, it’s far from the best example of this sort of thing, but it’s always fun to see the puzzle pieces fall into place. The family drama that surrounds the high concept aspects of the movie is probably less interesting, but works fine. Worth checking out!
The Fall Guy – One of the more fun times at the theater this year, it’s a shame this didn’t catch on more. I appreciate the emphasis on actual stunts (which some might find a little staid when compared to more artificial action spectacles, but I think there’s something ineffable about actual stunts that is perhaps unconsciously discernable and worth rewarding), and Ryan Gosling and Emily Blunt have great chemistry (if only the plot let them spend more time together!) Absolutely worth checking out, which judging by box office returns, most of you didn’t do…
First Time Caller – The most obscure movie on this list, but well worth seeking out. Another movie that probably benefits from not knowing much about it going in, but I feel I should make two important notes: 1. This is a movie primarily set in one location, an “edgy” internet podcaster/broadcaster’s home studio and 2. Don’t let the “edgy” part of the guy’s schtick get to you. Once the story proper kicks in, that won’t matter much.
More Info: [IMDB] [Amazon] [Kaedrin Movie Award Winner]
In a Violent Nature – The slasher movie is one of the most formulaic sub-genres out there, and yet here we are with an entry that actually does something new and innovative with the concept.
It’s certainly not for everyone, and many of the criticisms are valid, but I genuinely appreciated the attempt (which I think is still mostly successful).
It’s What’s Inside – Intricate body-swapping science fiction story hampered by obnoxious characters. Still, they put the outlandish premise through its paces, developing multiple effective conundrums with plenty of twists and turns. Yet another solid movie that is currently languishing in the black hole of Netflix archives. Worth rescuing from those depths!
More Info: [IMDB] [Netflix] [Kaedrin Capsule Review]
Look Back – Svelte anime that packs an emotional wallop, surrounded by a tale of friendship and creativity. It’s only 58 minutes long, but don’t let that fool you, this one will hit you hard.
Juror #2 – Clint Eastwood’s swan song is certainly a worthy effort, though I think I can see why Warner Brothers neutered the release. Don’t get me wrong, I would much rather have seen this tense courtroom drama in a theater, but it’s not exactly a crowd-pleaser. I won’t spoil anything and the premise itself is something of a spoiler, so I’ll just note that there are plenty of twists and turns all sold well by excellent performances from a large ensemble cast. It’s a meditation on guilt that leaves things in an uncomfortable place, which is certainly the point, though again, not exactly crowd-pleasing. Very nearly made the top 10 and on another day, it might have!
Land of Bad – Well executed, slightly jingoistic action programmer that should be a staple of Hollywood’s release schedule, but has become somewhat rare. It’s not innovative (though it has a clever bit of drone photography used to depict… a military drone missile), but it makes the most of its budget, looks great, and has plenty of action filled thrills. It barely got a release, but should garner a following on streaming…
The Last Stop in Yuma County – Indie thriller that clearly takes its cues from a certain strand of Tarantino’s work, plopping a bunch of disparate characters together in an almost claustrophobic space, then using dialogue to ratchet up the tension to nearly unbearable levels before exploding into actual violence and mayhem. It’s not quite as punchy as Tarantino’s best examples of this sort of thing, but writer/director Francis Galluppi does pretty well (especially when considering that this is his feature debut).
More Info: [IMDB] [Amazon] [Kaedrin Arbitrary Award Winner]
Rebel Ridge – Jeremy Saulnier built this deliberate thriller around the concept of… civil asset forfeiture? It’s remarkable how effective that choice is, immediately establishing character sympathies (and detestable villains). Great, star-making lead performance from Aaron Pierre, but a bit too long (especially in the middle), even if it does stick the landing. Another one that narrowly missed out on a top 10 slot.
More Info: [IMDB] [Netflix] [Kaedrin Movie Award Winner]
The Shadow Strays – Timo Tjahjanto’s action chops are well established by this point, and this movie hits that same relentless, bloodthirsty note that makes his movies so distinctive. The story isn’t particularly special, it’s also a bit too long, and the blatant sequel setup does diminish the impact of the ending, but I’m actually looking forward to that sequel, which is something of an achievement. Look, action packed mayhem of the sort Tjahjanto specializes in goes a long way in my book, so this is a sorta perfect honorable mention flick.
More Info: [IMDB] [Netflix] [Kaedrin Movie Award Winner]
The Substance – Coralie Fargeat’s primal scream about Hollywood’s tendency to chew up youth and dehumanize aging stars is quite blunt on its surface levels, but if you dig deeper, there’s lots to explore around addiction and self-destructive empowerment and hedonism. An excellent trio of performances from Demi Moore, Margaret Qualley, and Dennis Quaid, all cemented by a heaping helping of grotesque body horror. There are some length and pacing issues and Fargeat repeats things too often (seemingly distrusting the audience to get what is blindingly obvious), but it’s hard to fault this movie for its ambitions and the last half hour is a real corker.
More Info: [IMDB] [Amazon] [Kaedrin Arbitrary Award Winner] [Kaedrin Review]
Trap – M. Night Shyamalan’s bozo masterpiece about a serial killer trapped at a pop star concert is so ludicrous that I couldn’t help but have a blast. It’s breathtakingly absurd, but Josh Hartnett sells it surprisingly well, and while it doesn’t exactly make a ton of sense, it’s so fun that it doesn’t really matter.
Wallace & Gromit: Vengeance Most Fowl – The triumphant, vengeful return of the silent, villainous Feathers McGraw is, of course, hilarious and charming and this movie could probably fit into the animation slot in the top 10, but I think I prefer Wallace & Gromit in their 30 minute format (the obvious example being Feathers’ first appearance in The Wrong Trousers, a genuine classic.) Still, Feathers doing chin-ups in jail is one of the funniest things I saw all year, it’s always enjoyable to visit with Wallace & Gromit, and of course Gromit is a very good doggy.
Just Missed the Cut
But still worthwhile, in their own way. Presented without comment and in no particular order:
- Drive-Away Dolls
- Late Night with the Devil
- Kill
- Fly Me to the Moon
- Terrifier 3
- Strange Darling
- Smile 2
- Anora
- Life After Fighting
- The Order
- Molli and Max in the Future
- The Killer
- Oddity
- Bookworm
- Knox Goes Away
Should Have Seen
Despite having watched over a hundred and twenty five movies released in 2024, there are plenty that I probably should have caught up with. Sometimes they weren’t readily available, sometimes I couldn’t muster up the will to get to the theater, sometimes I just didn’t wanna watch (because reasons, that’s why). I will almost certainly end up seeing some of these and loving them, which is why the Kaedrin Movie Awards always has a category about the previous year’s movie…
- Nickel Boys
- I’m Still Here
- A Complete Unknown
- Flow (Update: see Quantum Jury Prize above)
- Sing Sing
- September 5 (Update: see Quantum Jury Prize above)
- The Seed of the Sacred Fig
- A Quiet Place: Day One
- Heretic
- MadS
- Dead Talents Society
- Perfect Days (Update: see Quantum Jury Prize above)
- Snack Shack
- Close Your Eyes
- Do Not Expect Too Much from the End of the World
That just about covers it for the top 10 movies of 2024 and Kaedrin Movie Awards season in general. The only thing that remains is Oscar speculations, which are coming up quickly (posted this top 10 just under the wire!)… Stay tuned!
