{"id":1060443,"date":"2026-01-20T02:24:52","date_gmt":"2026-01-20T02:24:52","guid":{"rendered":"https:\/\/www.polygon.com\/what-to-watch\/31099\/best-movies-2024"},"modified":"2026-01-20T02:24:52","modified_gmt":"2026-01-20T02:24:52","slug":"the-50-best-movies-of-2024","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/the-50-best-movies-of-2024\/","title":{"rendered":"The 50 best movies of 2024"},"content":{"rendered":"
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2024 was an oddball year for movies, heavily shaped by the disruption of the 2023 Hollywood strikes<\/a> and an industry hedging its bets against a stronger 2025 by postponing many of its would-be blockbusters<\/a> for a year or more. That left a lot of open space at multiplexes, which responded by booking smaller movies, from revived classics<\/a> and revived recent hits<\/a> to anime one-offs<\/a> and other interesting imports.<\/p>\n

And it left plenty of room at the top of the box-office charts for surprise success stories, like Inside Out 2<\/em><\/a> <\/em>becoming Pixar\u2019s biggest movie ever or Venom: The Last Dance<\/em><\/a> <\/em>cracking the year\u2019s top 10 earners. At times, it was more surprising what didn\u2019t <\/em>score at the box office, though \u2014 like George Miller\u2019s fiery Mad Max: Fury Road<\/em> prequel Furiosa<\/em><\/a> <\/em>limping along behind IF<\/em><\/a>, only the year\u2019s third-best movie about imaginary friends<\/a>. And there are a few surprises yet to come, from films not yet screened in places where most of our voting staff could see them, including The Lord of the Rings: The War of the Rohirrim<\/em><\/a>, Robert Eggers\u2019 Nosferatu<\/em><\/a>, and of course, Sonic the Hedgehog 3<\/em><\/a>.  <\/p>\n

To theater owners\u2019 chagrin, though, 2024 was also another good year for streaming movies at home \u2014 a year where some blockbuster movies\u2019 multiplex runs had to compete with their own home-viewing releases, and the \u201cjust wait and stream it\u201d impulse made more sense than ever. The sheer number of new movies debuting directly on streaming services was also a factor \u2014 the action field in particular saw plenty of excellent new movies going straight to digital release, dwarfing the number of films Hollywood could put on the big screen. <\/p>\n

At Polygon, we vary from 4K format enthusiasts to whatever\u2019s-in-theaters fans to casual home viewers, from cinematic omnivores to deep-dive single-genre cultists. That diversity tends to lead to a diverse best-of-the-year list. But that\u2019s both a logical result of a splintered cinematic field, and a useful one for an audience that\u2019s equally divided on the \u201cdebut weekend or bust\u201d vs. \u201cwhenever it hits a service I\u2019m already paying for\u201d question. Here are the movies we loved in 2024, and that we recommend tracking down wherever you can find them, from movies still waiting on wide theatrical release to the ones you can watch at home right now. <\/p>\n

\n

How the Polygon top 50 list works<\/strong><\/h2>\n

Everyone who works at Polygon had the opportunity to submit a ballot of up to 25 movies they liked this year. Those ballots could be ranked or tiered (and you can see everyone\u2019s top 10s or top tier in the comments below). We then took the results of those ballots to make the list you see below.<\/p>\n

Any movie released in the U.S. this calendar year is eligible, but since we are publishing this in early December, some December releases are underrepresented. We hope you\u2019ll find a new favorite here on our list of the best movies of 2024.<\/p>\n

Honorable mentions<\/h2>\n
\n

Movies that received votes but did not crack our top 50:<\/strong> Twisters<\/em>, Made in England: The Films of Powell and Pressburger<\/em>, Babes<\/em>, Evil Does Not Exist<\/em>, The Spectacular Failure of the Star Wars Hotel<\/em>, Longlegs<\/em>, Sleep<\/em>, Baby Assassins 2 Babies<\/em>, The Beekeeper<\/em>, Property<\/em>, Lisa Frankenstein<\/em>, Sometimes I Think About Dying<\/em>, The Concierge<\/em>, Chicken for Linda<\/em>, National Anthem<\/em>, Monkey Man<\/em>, Juror #2<\/em>, A Family Affair<\/em>, Sirocco and the Kingdom of the Winds<\/em>, Late Night with the Devil<\/em>, Kill<\/em>, In a Violent Nature<\/em>, The Killer<\/em>, Turtles All the Way Down<\/em>, Didi<\/em>, Snack Shack<\/em>, Wildcat<\/em>, The People\u2019s Joker<\/em>, The Brutalist<\/em>, Deadpool & Wolverine<\/em>, Transformers One<\/em>, Moana 2<\/em>, The Shadow Strays<\/em>, Life After Fighting<\/em>, Orion and the Dark<\/em>, The Remarkable Life of Ibelin<\/em>, Saturday Night<\/em>, Sixty Minutes<\/em>, Me<\/em>, Mean Girls<\/em>, The Settlers<\/em>, Wicked Little Letters<\/em>, Haikyu!! The Dumpster Battle<\/em>, Ennio<\/em>, Space Cadet<\/em>, Kingdom of the Planet of the Apes<\/em>, Damsel<\/em>, I Used to Be Funny<\/em>, Drive-Away Dolls<\/em>, The Lord of the Rings: The War of the Rohirrim<\/em><\/p>\n<\/div>\n

\n

The best movies of 2024<\/strong><\/h2>\n

50. Mayhem!<\/strong><\/h3>\n

\"Nassim<\/p>\n

Where to watch: <\/strong>Hulu, AMC Plus, or for digital rental\/purchase on Amazon<\/a>, Apple<\/a>, Vudu<\/a><\/p>\n

The hardest-hitting action movie of the year saw Gangs of London <\/em>veterans Xavier Gens and Jude Poyer combine forces for the explosive revenge thriller Mayhem! <\/em>(also known by its original title, Farang<\/em>).<\/p>\n

Some people were mixed on this version of the revenge story (I loved it quite a bit<\/a>), but everyone I\u2019ve talked to agrees the brutal and gory action is among the best of any movie this year, with motivated camera movements to punctuate the blows and fluid choreography executed terrifically by former national champion kickboxer Nassim Lyes. And it all culminates in one of the best elevator fight scenes in action movie history<\/a>. \u2014Pete Volk<\/em><\/p>\n

49. My Old Ass<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Prime Video<\/p>\n

This quirky time-travel comedy follows a teenage girl who, after doing a lot<\/em> of shrooms, comes face-to-face with her adult self, who has a few choice bits of advice for her. Aubrey Plaza and Maisy Stella have a wonderful back-and-forth banter as two versions of the same person. But My Old Ass <\/em>isn\u2019t just a funny movie; it\u2019s also a very poignant coming-of-age story, one that\u2019s a perfect snapshot of being on the cusp of adulthood right when everything changes. \u2014Petrana Radulovic<\/em><\/p>\n

48. Red Rooms<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>For digital rental\/purchase on Amazon, Apple TV<\/p>\n

Pascal Plante\u2019s psychological thriller is one of the most terrifying movies I\u2019ve seen all year. This fact has less to do with what is seen throughout the film and more to do with what is implied. Red Rooms<\/em> hovers at the periphery of depravity, perched precariously on the bleeding cusp of bad taste without ever tipping over. Juliette Gari\u00e9py\u2019s performance as Kelly-Anne, an aloof fashion model seemingly obsessed with the trial of a notorious child murderer, is as exquisite as it is inscrutable, rendering the emotional and psychological depths of a woman whose very demeanor and poise rebuffs all attempts to understand her in totality. Red Rooms<\/em> is an unsparing character study of the darkest permutations of the attention economy, a masterpiece of form and content, and a disquietingly prolonged glimpse into the depths of the digital abyss. \u2014Toussaint Egan<\/em><\/p>\n

47. A Real Pain<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>In theaters<\/p>\n

Jesse Eisenberg\u2019s A Real Pain<\/em> is sort of a comedy about going on a vacation with the wrong person, until it isn\u2019t. It\u2019s sort of a two-hander about how much family can suck, until it isn\u2019t that either. Cousins Benji (Kieran Culkin) and David (Eisenberg, who also wrote and directed) travel together to Poland to see where their grandmother once lived, but their traveling, communication, and grieving styles don\u2019t mix, which makes for a choppy trip \u2014 but Eisenberg keeps finding new ways to pin down the dark hilarity in the most serious subjects, and put a grim spin on the lightest gags. \u2014Tasha Robinson<\/em><\/p>\n

46. Inside Out 2<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Disney Plus, or for digital rental\/purchase on Apple TV, Amazon<\/p>\n

Pixar\u2019s all-time biggest hit isn\u2019t its best movie, but it is the best thing the studio has put out in 15 years. This wry, fast-paced pubescent iteration on the first Inside Out<\/em><\/a> takes protagonist Riley a few years forward to address how becoming a teenager changes her internal balance, adding Anxiety (Maya Hawke) and other troublesome emotions to Joy (Amy Poehler), Sadness (Phyllis Smith), and the rest of the crew already crowded inside her head. The comedy, brain puns and all, remains goofy, but there\u2019s a real empathy to the more serious plot about what drives and exacerbates anxiety, and what it feels like when it takes over. It\u2019s rare to see a sequel this well tuned to follow a strikingly original film. \u2014Tasha Robinson<\/em><\/p>\n

45. Do Not Expect Too Much from the End of the World<\/strong><\/h3>\n

\"A<\/p>\n

Where to watch: <\/strong>Mubi, or for digital purchase on Amazon<\/a>, Apple TV<\/a><\/p>\n

Radu Jude\u2019s first full feature since 2021\u2019s Bad Luck Banging or Loony Porn<\/em> will certainly try some viewers\u2019 patience: It\u2019s 163 minutes of watching a harried, foul-mouthed production assistant, Angela (Ilinca Manolache) drive around Bucharest, alternating interviews for a factory\u2019s safety PSA with making sexist, sneering Andrew Tate-inspired TikToks. But it all comes together in a long-take finale that plays out as what seems likely to be the year\u2019s funniest, most brutal takedown of corporate malfeasance, the gig economy, and capitalism as a whole. The contrast between a film made at a corporation\u2019s behest, to serve its criminal agenda, and Angela\u2019s freeform parodies of an influencer she hates is vivid and sly. And there\u2019s a rebellious, subversive joy in the way she and the PSA\u2019s subjects both try to tell their own truths in an oppressive environment where moneyed interests hold most of the cards. It\u2019s a difficult film compared to the slick corporate IP that dominates multiplexes, but that just makes it endlessly unpackable and discussable<\/a> \u2014 and more memorable than you\u2019d expect for such a slow-burn story. \u2014Tasha Robinson<\/em><\/p>\n

44. Cuckoo<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>For digital rental\/purchase on Amazon, Apple TV<\/p>\n

Cuckoo <\/em>is a beguiling movie from German filmmaker Tilman Singer (Luz<\/em>) about a teenager (Hunter Schafer) who recently lost her mother and has to move with her father, stepmother, and half-sister to the German Alps. Once there, Gretchen keeps observing weird things, both from the bizarre hotel owner (Dan Stevens, in another delightfully strange performance) and the various guests, some of whom seem to be suffering from a mysterious affliction. The movie gets bogged down a bit once it becomes concerned with explaining its own logic, but the tension Singer builds, the images he creates, and the performances from the lead actors will stick with you. \u2014Pete Volk<\/em><\/p>\n

43. Thelma<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Hulu, or for digital rental\/purchase on Apple TV, Amazon<\/p>\n

It\u2019d be really easy for Thelma<\/em><\/a> \u2014 what if The Beekeeper<\/em><\/a>, but with a 93-year-old lead \u2014 to just be a silly, slightly mean joke about older people. Instead, it\u2019s a very funny but no less touching story about the autonomy and respect you lose as you grow old, and one woman determined to hold onto it. Anchored by incredible performances from June Squibb, Fred Hechinger, and the late Richard Roundtree, Thelma <\/em>is equal parts funny, tense, and inspiring. \u2014Pete Volk<\/em><\/p>\n

42. Janet Planet<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Max, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Janet Planet<\/em> captures the specific aching feeling of being a lonely little girl during one melancholy summer in the \u201990s. 11 year-old Lacy (Zoey Ziegler) and her mother (the titular Janet, played by Julianne Nicholson) share a close but almost codependent relationship. The two of them spend a long summer together as three different people drift in and out of their lives, anchored by each other for better and for worse. \u2014Petrana Radulovic<\/em><\/p>\n

41. Strange Darling<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>For digital rental\/purchase on Amazon, Apple TV<\/p>\n

J.T. Mollner\u2019s twisty thriller went under the radar, in part because it\u2019s so hard to market a movie this gleefully devoted to subverting expectations without giving the game away. In spite of the \u201cserial killer spree\u201d promised by the film\u2019s tagline, though, this isn\u2019t a horror movie \u2014 it\u2019s a showcase for Willa Fitzgerald and Kyle Gallner\u2019s fantastic performances, and for a script designed to keep viewers guessing up to the final riveting scene. Watching it feels like seeing Reservoir Dogs <\/em>or Blood Simple<\/em> for the first time: It\u2019s all style, dialogue, and \u201cwant to discuss this without spoiling anyone\u201d energy. \u2014Tasha Robinson<\/em><\/p>\n

40. Kneecap<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Netflix, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Kneecap <\/em>has a very simple premise that, after watching, you\u2019re almost certain to agree with: The world doesn\u2019t spend nearly enough time talking about Irish rap music. The film follows the moments that led to the forming of the very real Irish-language hip-hop group Kneecap<\/em>, starring the real-life band members, with a special focus on how rarely Irish is spoken in Ireland anymore, and ways that the group\u2019s music tries to correct that fact. The film nails the group\u2019s frustration over Ireland\u2019s lack of native identity and perfectly shows the ways that it bursts out into their angry brand of infectiously catchy, pro-Ireland hip-hop. <\/p>\n

The trio are all surprisingly great actors, given their underground musician origins, but what they really lend to the movie is a true sense of heart and energy, infusing the many musical performances with authenticity that traditional actors could never have managed. When the band hits a stage, no matter how tiny or gross the venue, the movie turns into pure electricity with the passion and rage of their performance showing through in every frame. \u2014Austen Goslin<\/em><\/p>\n

39. Mars Express<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>For digital rental\/purchase on Amazon, Apple TV<\/p>\n

J\u00e9r\u00e9mie P\u00e9rin\u2019s directorial feature debut is one of this year\u2019s best animated movies: a neo-noir sci-fi mystery set in an extraplanetary society where humanity lives side by side with robots who serve at their every beck and call. Besides the film\u2019s beautiful anime-inspired animation<\/a>, Mars Express<\/em><\/a> offers a tantalizing glimpse of a fully realized universe populated with complicated, tragic, and endlessly fascinating characters whose personal dramas are organically interwoven into the fabric of its futuristic storytelling and presentation. It\u2019s an animated film for and by adults; it\u2019s mature in every sense of the word, and a visionary work from an eminently talented director. \u2014Toussaint Egan<\/em><\/p>\n

38. Azrael<\/h3>\n

\"\"<\/p>\n

Where to watch:<\/strong> Shudder, AMC Plus, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

A nearly wordless horror movie set long after the biblical rapture, Azrael<\/a> <\/em>is a wild, horrifying, and very gory thrill. While the production design is particularly impressive, Arzael<\/em>\u2019s real secret weapon is the tremendous lead performance from Samara Weaving, who excels at communicating the horrors of this world without ever saying a word. \u2014Austen Goslin<\/em><\/p>\n

37. The Wild Robot<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>For digital rental\/purchase on Amazon, Apple TV<\/p>\n

DreamWorks Animation has quietly been in a glow-up era since The Bad Guys<\/em><\/a> and Puss in Boots: The Last Wish<\/em><\/a> <\/em>in 2022. The Wild Robot<\/em><\/a> <\/em>absolutely proves that this isn\u2019t just a fluke, and that DreamWorks is joining Sony in pushing the boundaries of what American animation looks like and where it can go.<\/p>\n

Not only is The Wild Robot<\/em> absolutely gorgeous, stylized with painterly brushstrokes in the distinct character designs and lush backgrounds, but it\u2019s also deeply emotional. The titular robot (voiced by Lupita Nyong\u2019o) becomes stranded on a remote island. While the wild animals reject her, she eventually bonds with a quick-talking fox (Pedro Pascal) and an orphaned goose (Kit Connor), and slowly, the nature of her programming begins to rewire \u2014 and the animal community of the island begins to view her in a new light. \u2014Petrana Radulovic<\/em><\/p>\n

36. Twilight of the Warriors: Walled In<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Prime Video, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Master director Soi Cheang (SPL 2: A Time for Consequences<\/em>) returns to the martial arts genre with this outstanding drama set within the confines of Kowloon Walled City in the final stretch of the city\u2019s existence. Twilight of the Warriors <\/em>follows a refugee (Raymond Lam) on the run from a local crime boss (the legendary Sammo Hung) who flees to the Walled City and ends up embedded with another crime boss (the also legendary Louis Koo). <\/p>\n

As you would hope from a martial arts movie set within a cramped space like Kowloon Walled City, the action design is terrific. Cheang makes the most of the space, having characters move vertically and even diagonally through the city\u2019s tight alleyways, winding staircases, and rooftop eaves. But Twilight of the Warriors <\/em>also delivers captivating, complicated character relationships and a compelling narrative that also serves as an allegory for the end of an era of Hong Kong action filmmaking. \u2014Pete Volk<\/em><\/p>\n

35. How to Have Sex<\/strong><\/h3>\n

\"Mia<\/p>\n

Where to watch: <\/strong>Mubi, or for digital rental\/purchase on Amazon<\/a>, Apple TV<\/a><\/p>\n

The title sounds raucous, but How to Have Sex<\/em><\/a> is in fact a tender, heartfelt, and searchingly honest coming-of-age tale about Tara, a brassy, secretly self-conscious 16-year-old virgin on a wild party holiday with her friends. It\u2019s a quietly devastating movie about bad formative experiences, but also beautiful in its empathy and kindness, and funny, too.<\/p>\n

If you liked Aftersun<\/em>, this is a must-see \u2014 director Molly Manning Walker is part of an emerging, hugely talented generation of female British filmmakers that also includes Aftersun<\/em>\u2019s Charlotte Wells. \u2014Oli Welsh<\/em><\/p>\n

34. Frankie Freako<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>For digital rental\/purchase on Amazon, Apple TV<\/p>\n

Director Steven Kostanski (Manborg<\/em>, PG: Psycho Goreman<\/em>) has mastered the art of turning trash into treasure. In the case of his latest, Frankie Freako<\/em>, a pastiche of Ghoulies<\/em>, Garbage Pail Kids<\/em>, and dumb \u201980s party movies is just the start of madcap comedy when a burned-out yuppie dials up the Hitch-like nasty imp Frankie Freako to recharge his mojo. Frankie Freako<\/em>\u2019s swirl of lo-fi effects and grotesque latex creations is like a Mandela-effect hallucination made real \u2014 and goes so much harder than one might expect from an indie experiment. While Frankie\u2019s antics in the real world lampoon cheap horror movies, the movie\u2019s turn into Freakworld, a grungy nightmarescape reminiscent of Ralph Bakshi\u2019s animated fever dreams, brings Kostanski to a whole other level as a filmmaker. It\u2019s easy to direct all praise to more \u201cserious\u201d films at the end of the year, but the level of craft on display in Frankie Freako<\/em> puts it among the great cinematic accomplishments of 2024. \u2014Matt Patches<\/em><\/p>\n

33. Look Back<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Prime Video<\/p>\n

Kiyotaka Oshiyama\u2019s coming-of-age drama is a masterpiece, plain and simple. Adapted from Tatsuki Fujimoto\u2019s one-shot manga of the same name, Look Back<\/em> is a spirited and devastating story about the power of a friendship founded on art and the limits of how far art itself can bridge the divide between individuals. The film centers on Fujino (Yuumi Kawai), an outgoing grade schooler known for her passion for drawing comics, who competes against and later befriends Kyomoto (Mizuki Yoshida), an introverted recluse with a talent for drawing backgrounds. As their artistic talents grow, their respective paths in life diverge, forcing them to weigh the importance of one another in each other\u2019s lives when a terrible tragedy strikes. Clocking in at just under an hour, Look Back<\/em> is an enduring testament to the power of art to deepen our understanding not only of others, but of ourselves. \u2014Toussaint Egan<\/em><\/p>\n

32. Conclave<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>For digital rental\/purchase on Amazon, Apple TV<\/p>\n

It\u2019s time to choose a new pope, and you know what that means \u2014 or, rather, you probably don\u2019t. There\u2019s the pomp and circumstance from the outside that many of us are familiar with. But Conclave<\/em> is all about getting behind the sequestered wall and under the skin of the cardinals, seeing what it\u2019s really like to be one of a few dozen people picking the next leader of the Catholic Church. <\/p>\n

The answer: It\u2019s petty; it\u2019s politics; it\u2019s people. Conclave<\/em>\u2019s genius is about recognizing that we may never be closer to or further away from our ideals than the brief moments we are called to nominate them. And that means when it comes time to nominate a pope, no one\u2019s really sure what that means. \u2014Zosha Millman<\/em><\/p>\n

31. Smile 2<\/h3>\n

\"\"<\/p>\n

Where to watch:<\/strong> Paramount Plus, MGM Plus, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Smile 2<\/a><\/em> is what every movie sequel should hope to be: bigger, better, and more entertaining than the original. While the first movie took its excellent premise of a killer curse that manifests itself as a smile and kept the whole thing small-scale and localized among a community, the sequel goes big as an international pop star, played fantastically by Naomi Scott, gets inflicted with the curse. It\u2019s the perfect logical conclusion to the original movie\u2019s concept, right down to the fact that viewers know the curse passes itself on by having people witness gruesome deaths, a fact that hangs brilliantly over the movie until its very final moments<\/a>. \u2014Austen Goslin<\/em><\/p>\n

30. 100 Yards<\/h3>\n

\"\"<\/p>\n

Where to watch:<\/strong> Available for digital rental\/purchase on Amazon, Apple TV<\/p>\n

One of the most beautifully shot movies of the year also happens to be a riveting martial arts period piece with stunning, crisp choreography and a colorful cast of characters. 100 Yards <\/em>follows two young men (Jacky Heung and Andy On) vying for control of a powerful wushu academy whose leader (one\u2019s father, the other\u2019s mentor) has died. My personal No. 1 movie of the year, it is a must-watch for fans of martial arts films and historical dramas alike. \u2014Pete Volk<\/em><\/p>\n

29. Better Man<\/h3>\n

\"In<\/p>\n

Where to watch: <\/strong>In theaters<\/p>\n

\u201cMusic bio but the lead actor has been replaced with a CG ape\u201d sounds like a weird indulgence, especially for those who aren\u2019t familiar with Robbie Williams\u2019 music. He\u2019s sold 75 million albums worldwide, putting him on par with Nirvana or Green Day, but he\u2019s never really broken out in America \u2014 making this project seem even odder to Americans.<\/p>\n

But Better Man<\/em> is a riveting, thrilling, deeply oddball experiment, made with the cheeky verve of Williams\u2019 weirder music videos<\/a> and packed with video-length musical sequences, most of them stylistic diversions that celebrate Williams\u2019 music and let director Michael Gracey (The Greatest Showman<\/em>) swing for the fences. The arc is a music-industry standard: success, drugs, alienation, depression, hitting bottom, career resurrection. But presenting Williams as an ape among men gives it all a new level of visual interest, a lot of sly visual humor, plus a flexible, engaging metaphor to anchor what winds up being a savage, joyous revel. \u2014Tasha Robinson<\/em><\/p>\n

28. The Bikeriders<\/strong><\/h3>\n

\"Austin<\/p>\n

Where to watch: <\/strong>Peacock, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Writer-director Jeff Nichols (Take Shelter<\/em>, Midnight Special<\/em>) adapted a classic book of photojournalism about 1960s biker clubs to make this wonderfully sturdy and old-fashioned (in a good way) gang melodrama. It\u2019s built around three proper movie-star performances from some of the hottest actors around: a stupendously handsome Austin Butler<\/a> going full James Dean in Rebel Without a Cause<\/em>, Jodie Comer going full Lorraine Bracco in Goodfellas <\/em>(with a simply extraordinary Chicago accent), and Tom Hardy going full Tom Hardy. It\u2019s a movie of simple pleasures \u2014 thunderous Harley-Davidsons, banging Shangri-Las needle drops, gorgeous actors looking cool \u2014 that transcend clich\u00e9 to enter the realm of American myth. \u2014Oli Welsh<\/em><\/p>\n

27. The Animal Kingdom<\/strong><\/h3>\n

\"A<\/p>\n

Where to watch: <\/strong>Hulu, or for digital rental\/purchase on Amazon<\/a>, Apple TV<\/a><\/p>\n

As a mutation that turns people into human-animal hybrids starts to spread, a father and son search for the missing mother of the family, who has begun to transform herself.<\/p>\n

Featuring realistic creature designs that blend practical and digital effects, a rich father-son relationship anchored by strong leading performances, and a compelling overarching narrative metaphor welcoming all sorts of interpretations<\/a>, The Animal Kingdom <\/em>stands out in modern sci-fi. It fires on all cylinders to create one of the more powerful movies of the year, evoking a rich world populated by fascinating people.<\/p>\n

Part of the brilliance of The Animal Kingdom <\/em>is the continued mundanity of human existence. Yes, everything we thought we knew about our species is being thrown into chaos, but there\u2019s still work to do and school to attend and new love and enduring love and all the other shades of the human (or human-animal hybrid) experience. It\u2019s in those moments that the true heart of the movie lies. \u2014Pete Volk<\/em><\/p>\n

26. The Substance<\/h3>\n

\"\"<\/p>\n

Where to watch:<\/strong> Mubi, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

The Substance<\/a><\/em> is a horror movie about external misogyny burrowing into a woman, feeding and growing on her self-hatred, and then bursting back into the world more powerful and monstrous than before. Or! It\u2019s about age and how our older selves will inevitably foot the bill for our selfish, entitled, shortsighted younger selves. Unless! It\u2019s about how Hollywood is a joyless and self-righteous machine fixated on stories that \u201csay something,\u201d but what cinema needs most is an artistic return to the styles of Frank Henenlotter and early Peter Jackson. The best (and most divisive) thing about The Substance<\/em> is it\u2019s the year\u2019s finest Rorschach test. \u2014Chris Plante<\/em><\/p>\n

25. Heretic<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>In theaters<\/p>\n

Heretic<\/em> is about the horror of being lectured by a man who thinks he is totally right, and will go to great lengths to get you to say so. But the marvel of the movie is how much it manages to draw out a conversation that could, in other circumstances, be cut through with a clear blow of logic. Heretic<\/em> builds a little house of horrors, descending deeper and deeper into its own thoughts and creating a movie that holds all parts of its process together to make a complete picture, and a wonderful little bottle episode. \u2014Zosha Millman<\/em><\/p>\n

2<\/strong>4. Robot Dreams<\/strong><\/h3>\n

\"An<\/p>\n

Where to watch: <\/strong>Hulu, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Director Pablo Berger<\/a> was so dang moved by Sara Varon\u2019s graphic novel Robot Dreams<\/em> that he started an animation studio to make it into a movie. Told entirely without dialogue, Robot Dreams<\/em> is about a lonely dog who befriends a robot and the whirlwind summer they spend together before life forces them apart. The characters are evocative and the anthropomorphic world is very charming. But despite the humanized animals, this isn\u2019t a goofy, gag-filled movie; Robot Dreams <\/em>is actually an incredibly poignant and bittersweet film all about the meaningful friendships that we can\u2019t always take with us as life goes on. The last scenes hit like a gut punch, aching in the best sort of way. \u2014Petrana Radulovic<\/em><\/p>\n

23. Trap<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Max, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Trap <\/em>is just about the most fun you can have with a new movie in 2024. It follows Josh Hartnett as a seemingly regular dad, valiantly taking his daughter to a mega pop star\u2019s sold-out concert. But it turns out the whole concert has been set up as a trap to capture a serial killer the cops think will be in attendance. The twist, which we cleverly learned about in the very first trailer for the movie<\/a>, is that Hartnett\u2019s good-natured dad is that serial killer.<\/p>\n

As with most of M. Night Shyamalan\u2019s movies, his brand of earnestness and utter lack of cynicism and vanity won\u2019t be for everyone<\/a>. Trap <\/em>is, in fact, a decidedly goofy movie at many points, and while that may sound like an insult, it\u2019s an unambiguous compliment. Hartnett\u2019s performance as the Butcher is wonderful, full of gleeful menace as he puts on his \u201cregular guy\u201d persona and plays on people\u2019s better nature to get away with lying to their faces. <\/p>\n

The movie\u2019s best feature is how credibly it lets us feel in on the joke, like an inverse of Shyamalan\u2019s signature twists. Trap <\/em>takes the appeal of watching a movie with an eleventh-hour reveal, watching it over and over to see just how duplicitous the villain truly was, and stretches it out to feature length, all without losing the spark that makes that experience special. \u2014Austen Goslin<\/em><\/p>\n

22. The Fall Guy<\/strong><\/h3>\n

\"Ryan<\/p>\n

Where to watch: <\/strong>Peacock, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Somewhere between a rom-com and an action movie, The Fall Guy<\/em> is about a stuntman (Ryan Gosling) coming back from an injury, and his ex-girlfriend (Emily Blunt) who\u2019s finally getting the chance to direct her first big feature film. But when production of the movie is threatened by the erratic movie star (Aaron Taylor-Johnson) going missing, the stunt guy has to become a real hero to save the day. <\/p>\n

The movie is big, silly, ridiculous, and very funny, but its best attribute is the gravity shifting charisma of its two stars. Gosling and Blunt are both tremendously charming in the movie, a winning couple that the movie makes it impossible not to root for, and who you can\u2019t help but want to be friends with. <\/p>\n

On top of that, the entire production is a love-letter to movies, and the stunt teams who make them possible<\/a>. The movie is full of excellent car chases, ridiculous falls, and hilarious fights that all bring the kind of levity we don\u2019t get enough from blockbusters anymore. \u2014Austen Goslin<\/em><\/p>\n

21. Queer<\/h3>\n

\"In<\/p>\n

Where to watch: <\/strong>In theaters<\/p>\n

In a time with so much discourse around desire on film, Queer<\/em> has stepped into the arena and packed a wallop. Following Lee (Daniel Craig), a gabby gay man in 1950s Mexico City, we are introduced to a world of wanting and wiles. But Luca Guadagnino and Justin Kuritzkes \u2014 on a victory lap from another desire-fueled champion of 2024, Challengers<\/em><\/a> \u2014 nestle a thornier, moodier meditation beneath all the social gamesmanship. Queer<\/em> is messy and melancholy, constantly clenching its fists with yearning. Queer<\/em> has heard the talk and said \u201cEnough surface shit, let’s get real\u201d \u2014 Queer<\/em> fucks! \u2014Zosha Millman<\/em><\/p>\n

20. Kinds of Kindness<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Hulu, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

As flagrant and bizarre as it was, last year\u2019s Poor Things<\/em> was Yorgos Lanthimos in prestige mode, turning in something artful, marketable, and sort of upbeat for awards season. In his swift \u201cone for me\u201d follow-up Kinds of Kindness<\/em>, the Greek surrealist goes full sicko. He reins in the rococo style but amps up weird dramatic illogic and the chilly dissection of the human condition, like he did in The Lobster <\/em>and The Killing of a Sacred Deer<\/em>. It\u2019s a loosely connected trio of New Orleans-set stories with an amazing, shape-shifting triple performance from Jesse Plemons. \u2014Oli Welsh<\/em><\/p>\n

19. Nickel Boys<\/h3>\n

\"Brandon<\/p>\n

Where to watch: <\/strong>In theaters<\/p>\n

Documentary director RaMell Ross explodes the conventions of fiction features in Nickel Boys<\/em>, adapting Colson Whitehead\u2019s novel about two young men in a brutal, segregationist Florida reform school in the 1960s entirely using first-person cameras. It\u2019s a bracing exercise in radical empathy, and it really, really works. In its formal daring and moral rigor, Nickel Boys<\/em> is this year\u2019s Zone of Interest<\/em>. (And it would surely be higher on this list if more of us had been able to see it; it opens on Dec. 13.) \u2014Oli Welsh<\/em><\/p>\n

18. Nosferatu<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>In theaters Dec. 25<\/p>\n

In Robert Eggers\u2019 Nosferatu<\/em>, the night is not something to be afraid of. But what comes during it \u2014 the bold moonlight, the shadows silhouetted against billowing curtains, the madness \u2014 that\u2019s absolutely something that should make you pull the covers a little tighter. <\/p>\n

There are a lot of vampire movies that are ultimately about lust, but with Nosferatu<\/em>, Eggers captures the visceral physicality of the drive to longing, all set amid a haunting 1830s Germany. It\u2019s a tale of things that go bump in the night, the lurid monster shit that will linger on your neck like a chill. \u2014Zosha Millman<\/em><\/p>\n

17. Wicked<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>In theaters<\/p>\n

In an era where so many movie musicals try to shy away from their musical theater roots, Wicked<\/em><\/a> <\/em>embraces that lineage. Director Jon M. Chu rarely compromises on the musical theater-ness of the show, and Wicked <\/em>is a delightful spectacle of song and dance that honors one of the most beloved musicals of the 2000s \u2014 and a gateway to the world of musical theater for many. \u2014Petrana Radulovic<\/em><\/p>\n

16. Perfect Days<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>Hulu, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

As Japan came out of COVID-19 lockdown, the billionaire founder of the parent company of Uniqlo invited New German Cinema icon Wim Wenders to Tokyo to look at the city\u2019s public toilets that blend public service with public art. Inspired, Wenders made Perfect Days<\/em>, a gentle poem of a film about one of the city\u2019s janitors. Come for the killer soundtrack; stay for the year\u2019s best final shot. \u2014Chris Plante<\/em><\/p>\n

15. The Beast<\/strong><\/h3>\n

\"Gabrielle<\/p>\n

Where to watch: <\/strong>Criterion Channel, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Nocturama<\/em> director Bertrand Bonello essentially makes three short films in three styles with The Beast<\/em>, a heady, thrilling science fiction movie that follows two people (played by L\u00e9a Seydoux and George MacKay) through three incarnations, where they grapple with their emotions and their tentative connection in radically different ways. Loosely inspired by Henry James\u2019 1903 short story \u201cThe Beast in the Jungle,\u201d<\/a> Bonello turns the idea of a character living in dread, anticipating some great disaster, into his own Cloud Atlas. <\/em>Pulling a gorgeous period drama, a tense Brian De Palma-style stalker-thriller, and a post-apocalyptic-future story into conversation with each other, Bonello offers up a pure science fiction experience<\/a> that\u2019s both technically impressive and emotionally absorbing. \u2014Tasha Robinson<\/em><\/p>\n

14. A Different Man<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>For digital rental\/purchase on Amazon, Apple TV<\/p>\n

This understated gem is the flip side of wildly overstated body horror The Substance<\/em>; released on the same day, it\u2019s another movie about transformation, identity, and doppelgangers. Sebastian Stan is a tortured man with a disfiguring disorder who takes on a new identity after a miracle cure; Adam Pearson is a sunny, confident chap with the same condition who mysteriously starts to shadow him. Tragic, quizzical, and \u2014 surprisingly \u2014 laugh-out-loud funny. \u2014Oli Welsh<\/em><\/p>\n

13. Love Lies Bleeding<\/strong><\/h3>\n

\"Two<\/p>\n

Where to watch: <\/strong>Max, or for digital rental\/purchase on Amazon<\/a>, Apple TV<\/a><\/p>\n

An adrenaline rush from start to finish, Love Lies Bleeding<\/em> grabs you by the throat and never quite lets go. It follows Lou (Kristen Stewart), a reclusive gym manager with ties to the criminal underworld, who falls for aspiring bodybuilder Jackie (Katy O\u2019Brian). It\u2019s all set within 1980s gym culture, with a whole lotta leotards and casual drug usage. <\/p>\n

While they share a few blissful weeks of peace and happiness, eventually Lou\u2019s dark family past catches up to them and Jackie\u2019s growing reliance on steroids turns an already fraught situation into a nightmare. They both end up pulled into a dark web, which spirals into deeply disastrous consequences. <\/p>\n

Stewart and O\u2019Brian have an electric chemistry (not to mention some super steamy scenes), which makes their intense relationship simmer. It\u2019s a wild ride, but Lou and Jackie hold fast and strong together, even when pushed to their limits. The movie\u2019s ending is absolutely batshit (in a good way), and a testament to just how wild Love Lies Bleeding <\/em>can get without totally losing sight of its core relationship. \u2014Petrana Radulovic<\/em><\/p>\n

12. The First Omen<\/strong><\/h3>\n

\"Nell<\/p>\n

Where to watch: <\/strong>Hulu<\/a>, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

It\u2019s rare that any calendar year has a movie that\u2019s as scary, viscerally upsetting, and exceptionally well made as The First Omen<\/em>. It\u2019s even more rare when that movie is technically a prequel to a five-decades old franchise, but here we are. <\/p>\n

This prequel to The Omen<\/em> follows a young nun, Margaret, who gets transferred to a beautiful and seemingly peaceful convent, until she notices some strange behavior and an orphaned girl who everyone thinks is disturbed. But as she looks into what\u2019s wrong with the girl, Margaret finds a dark and sinister plot lurking just out of sight.<\/p>\n

While the movie is technically a prequel to The Omen<\/em>, what\u2019s most interesting about director and co-writer Arkasha Steveson\u2019s approach is that she seems more inspired by the tone and moody style of 70s horror movies and thrillers than she does to The Omen<\/em>\u2019s universe itself. Stevenson takes this suitably creepy set-up and folds in both supernatural horror and mystery in equal measure, twisting the whole plot into one big conspiracy where each reveal is more horrifying than the last. <\/p>\n

The First Omen<\/em> seems like a classic Hollywood misfire on paper. After all, why would we possibly need a prequel to The Omen? Who cares what Damien\u2019s mom was up to? But if it means a movie this good and this scary, I\u2019ll happily take a dozen more Omen prequels. \u2014Austen Goslin<\/em><\/p>\n

11. Hit Man<\/strong><\/h3>\n

\"Glen<\/p>\n

Where to watch: <\/strong>Netflix<\/p>\n

Subtlety is often profoundly overrated. Take for instance Hit Man<\/em><\/a>, Richard Linklater\u2019s romantic comedy that\u2019s mostly about whether or not people have the capacity to change. Another movie might make that a quiet, unspoken metaphor or a question that lingers around the edges of its characters\u2019 psyches, but Hit Man<\/em> makes the theme an essential part of every story beat, joke, and line of dialogue, making it not just one of the funniest movies of the year, but one of the most interesting and clever, too. <\/p>\n

Hit Man<\/em> follows the mild-mannered and generally boring Gary (Glen Powell), a philosophy professor who moonlights by helping the cops catch people trying to hire hitmen. What starts as a purely technical gig, rigging cameras and setting up wires, quickly transforms into an obsession for Gary when he\u2019s asked to stand in for the fake hitman and realizes he\u2019s got a knack for it. Of course, he also enjoys the fact that it gives him a chance to don an entirely new face and personality. Posing as a hitman lets Gary escape Gary, even for just a few minutes, and it\u2019s outstanding. Until, of course, he falls for a girl who only knows him as the dangerous assassin \u201cRon.\u201d<\/p>\n

Gary\u2019s philosophy teacher day job gives the movie a rare chance to address its questions of identity head-on. The script, co-written by Powell and Linklater, cleverly has Gary work through his own issues of self through his lectures, doing things like having his class discuss whether some people deserve to die \u2014 thereby letting his would-be girlfriend off the hook for trying to have her husband killed. It\u2019s a gimmick that would lead another movie to utter disaster, but thanks to the charm of Powell, and the presentation of Linklater, Hit Man<\/em> pulls it off beautifully, making the movie equal parts silly rom-com and insightful look at how people shape their personas as they move through the world. \u2014Austen Goslin<\/em><\/p>\n

1<\/strong>0. Chime<\/strong><\/h3>\n

\"A<\/p>\n

Where to watch: <\/strong>Roadstead.io<\/a><\/p>\n

Chime<\/em><\/a> is a horror movie about a sound that infects people like a virus. It worms its way into their brains until they hear it constantly, louder and louder, driving them toward random acts of horrific violence. And there\u2019s no way to know who has it. It\u2019s creepy enough as a premise to be intriguing, but throw in the fact that it was written and directed by Japanese horror legend Kiyoshi Kurosawa, and you have the recipe for one of the eeriest movies of the year. <\/p>\n

Kurosawa\u2019s masterstroke in Chime <\/em>is, in part, to never overtly play the infecting tone for the audience. There are a few creepy, unidentifiable sounds, alien and distinct and always effective. But every sound in the movie is heightened, blaring while the characters stand (often completely still), constantly threatening some tragedy or new horror. It\u2019s all horrifying in a way that feels completely unique to Chime<\/em>, like Kurosawa invented a new kind of horror no one had heard before. \u2014Austen Goslin<\/em><\/p>\n

9. Flow<\/h3>\n

\"\"<\/p>\n

Where to watch: <\/strong>In theaters<\/p>\n

Flow<\/em>, the debut feature from animator Gints Zilbalodis, finds a world swallowed up by massive floods, and a lanky black cat floating through the ruins. On paper, the pitch of a kitten, a dog, a capayara, and a bird surviving together in a makeshift boat sounds like the setup for a wacky Illumination talking-animals movie. But Zilbalodis\u2019 bold choice to remove dialogue from the equation, and rely solely (and silently) on heightened animal behavior, gives way to a meditative work of post-human drama that\u2019s both eerie and stunning. What Flow<\/em> lacks in the bazillion-dollar budgets of modern 3D-animated films it makes up for with painterly graphics and fluid camerawork, all centered on this dimensional li\u2019l cat who maintains Earth\u2019s innocence through the most frightening catastrophe. Pet owners: Prepare to have your heart melted. \u2014Matt Patches<\/em><\/p>\n

8. Civil War<\/strong><\/h3>\n

\"Photojournalist<\/p>\n

Where to watch: <\/strong>Max, or for digital rental\/purchase on Amazon<\/a>, Apple TV<\/a><\/p>\n

Alex Garland polarized audiences in early 2024 with this portrait of two war photographers in crisis<\/a>, framed with a story about a country in crisis. The movie\u2019s vision of a modern-day America torn by civil war was expressly intended to get people talking about American politics and especially the importance of journalism<\/a>. But on top of its sometimes subtle, sometimes blatant messages<\/a>, it\u2019s a mesmerizing character piece, anchored by the tension between burned-out veteran photojournalist Lee (Kirsten Dunst) and na\u00efve, eager up-and-comer Jessie (Cailee Spaeny), who Lee reluctantly takes under her wing. <\/p>\n

All the angry debate over whether the film says enough about the politics that would tear a country apart often didn\u2019t give Garland enough credit for the way he alternately built a story around subtle character moments<\/a> and intense combat sequences, too. Now that the debates about what the film should have done more or less of have largely died down, what\u2019s left is a visually memorable, beautiful movie<\/a> that defies all current conventional wisdom about dark cinematography<\/a>. \u2014Tasha Robinson<\/em><\/p>\n

7. Furiosa: A Mad Max Saga<\/strong><\/h3>\n

\"\u2026Furiosa<\/p>\n

Where to watch: <\/strong>Max, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

Look, it\u2019s not Fury Road<\/em>. Nothing could be. But to expect it to even try is to willfully ignore the history of the Mad Max series, because George Miller has never made the same Mad Max film twice. Every entry is to some extent a rejection of what came before \u2014 even Furiosa<\/em>, the follow-up to what might be the greatest action movie of all time. That\u2019s the first thing to love about it.<\/p>\n

Where Fury Road <\/em>is a linear and propulsive storyline told over a few days, Furiosa <\/em>is an epic, episodic character study that spans decades. Where Fury Road<\/em> deals in desperate stakes in the present tense, Furiosa<\/em> is immersed in mythmaking about the past. For all its thrilling, outlandish spectacle, it is a dreamlike, almost melancholic movie about the soul-sapping cost of survival.<\/p>\n

It\u2019s fair to say Miller\u2019s casting gambits don\u2019t all hit the mark like the inspired choices of Tom Hardy and Charlize Theron in the 2015 movie; as Furiosa, Anya Taylor-Joy is impressively lithe and steely, but following Theron is too tall an order. Furiosa<\/em>\u2019s imagery and world-building are staggeringly rich by any standard, though, and it has at least three all-timer action sequences \u2014 including the hushed, twilit motorbike chase that opens the film, which is unlike anything else in Mad Max. Furiosa<\/em> doesn\u2019t seek to repeat Fury Road<\/em>. Instead, it enriches it. \u2014Oli Welsh<\/em><\/p>\n

6<\/strong>. Hundreds of Beavers<\/strong><\/h3>\n

\"The<\/p>\n

Where to watch: <\/strong>Prime Video, Fandor, free with ads on Tubi and Pluto TV, free with a library card on Hoopla, or for digital rental\/purchase on Amazon<\/a> and Apple TV<\/a><\/p>\n

I can sell a film nerd on Hundreds of Beavers<\/a><\/em> with a seven-word elevator pitch: Looney Tunes by way of Guy Maddin.<\/p>\n

However, if you\u2019re a film viewer who doesn\u2019t traffic in Canadian arthouse obscurities, the pitch will take a bit more effort. Hundreds of Beavers<\/em> garnered attention for reviving the slapstick silent film, if only for its 108 minute run time. But the black-and-white action comedy has gradually earned its reputation as a budding midnight movie thanks to its more modern flourishes.<\/p>\n

The story \u2014 a trapper must collect enough pelts to survive, build, and eventually win love \u2014 parodies video game quests. Its small cast would float comfortably in Adult Swim\u2019s pool of lovable oddballs. And what writer\/director Mike Cheslik does with a comparably cheap camera, some trashy beaver costumes, and a true talent with homespun special effects would make even the most ambitious YouTube editor\u2019s jaw hit the floor.<\/p>\n

Unlike its modern cult contemporaries, like The Room<\/em> and the films of Neil Breen, there\u2019s no irony here. Cheslik has made something genuinely special, an excellent film that reminds us just how funny early cinema could be \u2014 and proves slapstick can still feel fresh a century later with a few timely tweaks. \u2014Chris Plante<\/em><\/p>\n

5. Dune: Part Two<\/strong><\/h3>\n

\"Timoth\u00e9e<\/p>\n

Where to watch:<\/strong> Max<\/a>, or for digital rental\/purchase on Amazon, Apple TV<\/p>\n

In 2021, Denis Villeneuve\u2019s Dune<\/em><\/a> <\/em>felt like a promise. Whether you liked the movie or not, it came with an assurance that it was all in service of something better, more profound, and more epic to come. That kind of hype is hard to live up to, but with Dune: Part Two<\/em><\/a>, Villeneuve exceeded even the wildest expectations. <\/p>\n

While the movie is an astoundingly beautiful action blockbuster in the vein of epics like The Lord of the Rings, its most important feature might be how adeptly it handles its source material\u2019s most complicated themes. Far from just being the standard chosen-one hero, the Paul Atreides of Dune: Part Two<\/em> is tortured by the burden of prophecy<\/a> and both dead-set on revenge and terrified of what it might cost to achieve it.<\/p>\n

It\u2019s a difficult line for a blockbuster to walk, but one Dune: Part Two<\/em> pulls off with the perfect alchemy of terrific performances<\/a> from movie stars<\/a> and delicate direction by one of the best filmmakers working right now. \u2014Austen Goslin<\/em><\/p>\n

4. Anora<\/h3>\n

\"Mikey<\/p>\n

Where to watch: <\/strong>In theaters<\/p>\n

Anora<\/em> is a tale that has been a punchline in other stories; a tossed-off one-liner about a guy who someone\u2019s someone knew, who married a stripper and got a quickie divorce. But Anora<\/em> is no simple story. <\/p>\n

Ani (Mikey Madison) is the one at the center of this movie; she\u2019s always there, and always on, the consummate performer, whether it\u2019s a lap dance or a fighting face. Anora<\/em>\u2019s hat trick is balancing her professionalism with the story she\u2019s in, the one where no one is looking out for her (or so she thinks). <\/p>\n

See, Anora<\/em> is ultimately a tale told in glances and glimpses \u2014 of how the other half lives, of real connections complicated by circumstance, of the life you want, and of the life you\u2019re left with. Like Ani, Sean Baker\u2019s camera wants you to be so in on the fun you forget you\u2019re getting worked, or at least that someone here is working. And so it tap dances from one tone to the next, carefully balancing humor and drama, comedy and tragedy, all while clacking its heels and keeping you mesmerized. It\u2019s a whirlwind, and it might even be a romance \u2014 at the very least, it\u2019s a story about the power of being seen and held, with a final moment that holds you tight enough to leave a mark. \u2014Zosha Millman<\/em><\/p>\n

3. Rebel Ridge<\/strong><\/h3>\n

\"\"<\/p>\n

Where to watch:<\/strong> Netflix<\/p>\n

Who would have thought an action thriller about civil asset forfeiture would be so damn compelling?<\/p>\n

Blue Ruin <\/em>and Green Room <\/em>writer-director Jeremy Saulnier delivered yet another banger of a thriller this year with Rebel Ridge<\/em>. The movie follows Terry, a quiet ex-Marine (Aaron Pierre, in an outstandingly subdued lead performance) who\u2019s just trying to bail his cousin out of jail. When a group of corrupt local policemen (led by a particularly nasty Don Johnson) assault him and take his money, claiming they suspect it comes from a drug deal, Terry is forced to use tools he\u2019d rather not resort to in order to get his money back and reach some semblance of justice.<\/p>\n

There\u2019s a lot to like about Rebel Ridge<\/em>: the terrific lead performances, the building of tension, the way it shines a light on the rank injustice of civil asset forfeiture policies<\/a>, the ways it takes influences from the masterful First Blood<\/em><\/a>, or how it depicts the sometimes insidious, sometimes blunt nature of white supremacy in policing<\/a>. But above all, it\u2019s another master class in restrained, economical filmmaking from a filmmaker who has quickly cemented a reputation as one of the best thriller directors working today. Saulnier \u2014 who wrote, directed, and edited Rebel Ridge<\/em> \u2014 makes tightly controlled movies that never seem to drag or use a single word more than they absolutely need to, and Rebel Ridge <\/em>may just be his finest example yet. \u2014Pete Volk<\/em><\/p>\n

2. I Saw the TV Glow<\/strong><\/h3>\n

\"Justice<\/p>\n

Where to watch: <\/strong>Max, or for digital rental\/purchase on Amazon<\/a>, Apple TV<\/a><\/p>\n

Jane Schoenbrun\u2019s sophomore narrative feature is an outstanding follow-up to the beguiling We\u2019re All Going to the World\u2019s Fair<\/em>, building on the ways young people interact with culture to form their identity. While there are trans themes in both movies, I Saw the TV Glow<\/em><\/a> <\/em>dives into that topic more head-on, following Owen (Justice Smith), a teenager who becomes obsessed with a Buffy<\/em>-like TV show about teenage girls fighting a supervillain with psychic powers. <\/p>\n

Owen\u2019s relationship with the show is contrasted with that of his friend Maddy (Brigette Lundy-Paine), who he watches it with. Maddy has a more active relationship with the show, taking its mythology as reality and evolving who she is to match her idealized version of herself in the show, while Owen is much more passive, and unwilling to accept that he is not living the life he wants. Like A Different Man<\/em>, I Saw the TV Glow <\/em>is very concerned with the ways passivity can eat you from the inside out, which allows it to directly address gender dysphoria in addition to the role media plays in our lives and in our self-mythologizing.<\/p>\n

But its appeal isn\u2019t restricted to people examining their relationship to gender. While, for many decades, trans audiences have often found their stories in the subtext of (presumably) cis narratives, TV Glow <\/em>deftly flips that on its head. Anybody <\/em>can relate to the idea of not living true to yourself, not examining the parts of your soul that are most important to you. Add in a banger soundtrack, an incredible leading performance from Justice Smith, and otherworldly direction from Schoenbrun, and you have a standout entry in a new era of trans-authored movies<\/a> from a director quickly establishing themself as one of the most exciting new names in American cinema.<\/p>\n

Schoenbrun says TV Glow <\/em>is the second part of their Screen Trilogy, after World\u2019s Fair <\/em>and before an upcoming fantasy novel. If the first two parts are any indication, that will also be a can\u2019t-miss event. \u2014Pete Volk<\/em><\/p>\n

1. Challengers<\/strong><\/h3>\n

\"Tashi<\/p>\n

Where to watch: <\/strong>Prime Video, MGM Plus, or for digital rental\/purchase on Amazon<\/a>, Apple TV<\/a><\/p>\n

Everybody on the Polygon team who ranked Challengers<\/em><\/a> high on their best-of-the-year list seemed to find a different reason to love it. Is it a movie to watch for the playfully aggressive\/aggressively playful romantic drama The way director Luca Guadagnino (Call Me by Your Name<\/em>, Bones and All<\/em><\/a>) and writer Justin Kuritzkes (\u201cPotion Seller\u201d<\/a>) pack sexual energy into everything from a tennis grudge match to quiet conversations to a man eating a banana Or maybe just to see Zendaya, Mike Faist, and Josh O’Connor ooze, hiss, and crackle their way through every possible character pairing? \u201cWhy not all three?\u201d is both the answer to that question and the central idea the movie seems to be proposing.<\/p>\n

Guadagnino shoots a tennis match from the ball\u2019s point of view. Kuritzkes pushes the story back and forth in time, answering questions about the history of the three tennis prodigies turned friends turned rivals just as those questions are starting to nag at the audience. Trent Reznor and Atticus Ross contribute a driving, teeth-grinding score that ramps up the tension and the energy. But Zendaya, Faist, and O’Connor make the movie, putting the spark in all of Challengers<\/em>\u2019 different points of connection and contention, right up to the endlessly unpackable final moment. This one kept us guessing, and talking, and joking about that banana all year. \u2014Tasha Robinson<\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

2024 was an oddball year for movies, heavily shaped by the disruption of the 2023 Hollywood strikes and an industry hedging its bets against a stronger 2025 by postponing many of its would-be blockbusters for a year or more. That left a lot of open space at multiplexes, which responded by booking smaller movies, from revived classics and revived recent hits to anime one-offs and other interesting imports. And it left plenty of room at the top of the box-office charts for surprise success stories, like Inside Out 2 becoming Pixar\u2019s biggest movie ever or Venom: The Last Dance cracking the year\u2019s top 10 earners. At times, it was more surprising what didn\u2019t score at the box office, though \u2014 like George Miller\u2019s fiery Mad Max:…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1060444,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1060443","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nThe 50 best movies of 2024 | Arcader News<\/title>\n<meta name=\"description\" content=\"2024 was an oddball year for movies, heavily shaped by the disruption of the 2023 Hollywood strikes and an industry hedging its bets against a stronger\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arcader.org\/news\/the-50-best-movies-of-2024\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The 50 best movies of 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