Top 10: The Movie Buff Staff Pick their Favorite Films of Last Year

Scanning our critics’ top picks for the year, a common theme emerges: actually, it’s the lack of a theme that stands out. While there is some overlap in titles among our critics, the lists below summarize the year in cinema, notable as much for its micro (U.S. indie breakouts, animated features exploding at the Box Office) trends than lack of undisputed macro winners (“Barbenheimer” in 2023, Marvel in the decade prior).

If anything, it speaks to diversity of cinema and who it draws in. Award ceremonies and critic darlings tell half the picture. The other half of the picture are the films that speak to people on a wide scale. Sure, some of them might be obvious, and others not so much. Some audiences may have heard of, and others may be obscure. But discovering movies is the point of the journey, one we enjoy from the blockbusters to the small-timers.

So, behold the best of 2024, according to our critics. Go find your next watch or rewatch, and report back. 

Kevin Clark

10. “Joker: Folie à Deux” (Dir. Todd Phillips)

Sure, it was universally panned and dead in the water on release, but there’s something truly noble and courageous about Todd Phillips making a sequel that will enrage 80% of the fans of the original film. Thankfully, I’m not part of that 80%. I still feel the first “Joker” film was better. However, I loved the musical numbers and the relentless Lars Von Trier-style bleakness of this sequel.

9. “The 4:30 Movie” (Dir. Kevin Smith)

It’s a shame this latest film by Kevin Smith (“Clerks,” “Chasing Amy,” “Dogma”) got such a limited release. Trying to find a theater showing was more of an adventure than “The Odyssey,” but when I finally reached the end of my search and the film started, I was locked in from beginning to end. No one does a hangout film like Kevin Smith. And though this film lacks the in-your-face vulgarity of “Clerks,” it has some incredibly funny moments, bizarre characters, and a lot of heart.

8. “Late Night with the Devil” (Dirs. Cameron Cairnes and Colin Cairnes)

One of the best found footage films I’ve seen in years and it all takes place on a ’70s talk show set straight out of “The Mike Douglas Show.”  It meanders a bit too much in the final moments (the film would have been perfect had it ended 10 minutes earlier) but the creepy atmosphere mixed with the chaos of filming a live TV show keeps you locked in.

7. “Woman of the Hour” (Dir. Anna Kendrick)

Anna Kendrick’s directorial debut about serial killer Rodney Alcala and his fateful meeting with Sheryl Bradshaw while taping an episode of “The Dating Game” in the 1970s is riveting throughout. Kendrick never holds back on showing how twisted Alcala is. And the final 30 minutes of the film—set during the taping of “The Dating Game” episode—feels like prime Brian De Palma, with multiple plot elements colliding at once and a darkly comic tone throughout.

6. “Snack Shack” (Dir. Adam Rehmeier)

A film that feels like a lost Cameron Crowe or Richard Linklater work.  Like “Dazed and Confused” and “Fast Times at Ridgemont High,” it’s a hangout film focusing on two teenage boys in the summer of 1991 who try to make a lot of money at the local pool while one of them finds romance for the first time. It will make you feel nostalgic for your youth and despite a tragic turn towards the end, it’s wonderfully entertaining.

5. “Wicked” (Dir. Jon M. Chu)

 “Wicked” lived up to all the hype plus some, an exquisite fantasy musical with a story that deals with themes of violence against animals, racism, and fascism. The musical sequences are all spectacular, giving nods to several films of the past while taking its own innovative direction and the movie ends on a great cliffhanger that will have you counting the minutes until ‘Part Two.’

4. “Jeanne Du Barry” (Dir. Maïwenn)

This film tells the story of Jeanne Bécu, who rose from being a poor seamstress in 18th Century France to being a confidante and mistress of King Louis XV. Directed by and starring the ethereal Maïwenn, it’s a truly romantic film.  It’s not a hokey romance like your typical rom-com or Hallmark Christmas film, it feels genuine and Johnny Depp as Louis XV uses his chameleon-like acting prowess to make the King a likable guy, a man who’s world-weary and imprisoned by all the pomp and circumstance of his court.   The scenes between he and Maïwenn crackle with electricity. Even when the two merely glance at each other, you feel there’s love there. Such a lovely film.

3. “Saturday Night” (Dir. Jason Reitman)

I imagine this film, which shows the frenetic 90 minutes leading up to the first broadcast of “Saturday Night Live” on October 11th, 1975, probably didn’t appeal to anyone under 35 years old. I was a huge fan of “SNL” when I was a kid and all the actors in the film nailed the ‘Not Ready for Prime Time Players.’  Most impressive is Lamorne Morris, who portrays the eternally skeptical and world-weary Garrett Morris, nailing every one of Garrett’s mannerisms. (Surprisingly, the two aren’t related.) The film has the intense anxiety of the Safdie Brothers but with some hilarious moments added. I’d love to see a sequel that shows what happened during that first broadcast. Because when does a first episode go go perfectly?

2. “The Substance” (Dir. Coralie Fargeat)

The best horror film of the year is another triumph for director Coralie Fargeat, who also directed the incredible film “Revenge.” The body horror of “The Substance” transcends even David Cronenberg’s best films because where Cronenberg’s films are ice cold, “The Substance” rages and roars with passion throughout.  I was genuinely startled by it in several places.  Every time I thought “Surely that’s not going to happen” the film not only went there, it took things several steps further. Demi Moore gives a fearless Oscar-worthy performance and the film ends with a grand guignol-style climax that’s simultaneously hilarious, tragic and disturbing and will stay with you long after you’ve left the theater.

1. “Anora” (Dir. Sean Baker)

Sean Baker’s love for the struggling working class continues with “Anora,” with Mikey Madison giving a stunning performance as the titular character, Anora. Anora, a character you’d see in the background of most films, is front-and-center and Mikey Madison gives her complexity and authenticity. Madison heavily researched the role and it shows. Much like “The Substance,” it’s impossible to predict where the film’s going to take you next.  There are scenes that will make your heart soar and scenes that will rip your heart out. 

The thing I loved most about the film is the middle part of it, which veers off into comedy territory that felt like a heavy R-rated version of a John Hughes’ misadventure. It’s my favorite movie of the year for so many reasons but primarily because it makes you walk in Anora’s shoes and masterfully shows the harsh dichotomy between the top 1% and the working class who must always struggle to make a living and hold onto their dignity while doing it.

Vidal D’costa

10. “Girls Will Be Girls” (Dir.  Shuchi Talati)

A coming-of-age with strains of “Rockford” but told through a female perspective, Talati’s feature debut which turned heads at Sundance follows Mira, a headstrong but lonely and shy head girl as she navigates the torturous frustrations and confusion of new feelings arising and developing after she is smitten by fellow student Srinivas, who’s having a hard time fitting in himself.  This movie’s themes of young adults maturing in an age of immaturity or the older generation projecting their own insecurities upon the younger generation in an ill-advised fashion  mirror “Ghost World,” with even Mira’s bob cut coming across as rather Thora Birch-esque.

Aside from conformity and conservative mentalities, “Girls” is lastly also a lesson on consent- with a subplot highlighting how the boys will be boys mentality certainly isn’t cute.

9. “Sugar” (Creator: Mark Protosevich)

This peculiar and sleek neo-noir procedural marries sleazy Hollywood with the charm of Old Hollywood as well as surrealistic elements such as a titular brooding detective who hides a rather odd secret which later feeds into its sci-fi subplot. With traces of “Mullholand Drive,” “Sugar” will also hit your sweet spot if you enjoy David Lynch’s works. Simultaneously it touches upon themes such as loneliness and belonging and can be best summed up as an Isaac Asimov-esque take on the complexities of human emotion/behaviour. A superior sci-fi vehicle to the total misfire “Total Recall” remake, Colin Farrell settles into the title role with a layered performance that harkens back to his troubled “In Bruges”  antihero.His chemistry with co-star Amy Ryan is thoroughly endearing, and is probably the cherry on top.

8. “Do Aur Do Pyaar” (Dir. Shirsha Guha Thakurta)

After their filmy idea of romance fizzles out, estranged couple Aniruddh/Ani and Kavya seek out alternatives…while also still attempting to reignite the ambers of a 12-year marriage on its last legs. “Do Aur Do Pyaar” (an Indian adaptation of the 2017 rom-com “The Lovers”) presents a complex understanding of affixed labels such as the ‘heartbreaker’ and ‘homewrecker’ by humanising its imperfect characters. Apart from a stacked cast including Vidya Balan, Pratik Gandhi, Ileana D’Cruz and Sendhil Ramamurthy,  the lineup of indie bands such as The Local Train and When Chai Met Toast contributing to its soundtrack is equally impressive too. The beautiful score is woven into the intricate storytelling.

7. “Lover” (Dir. Prabhu Ram Vyas)

While the title (or story) of this overlooked Tamil movie doesn’t share much in common with Taylor Swift’s ballad by the same name, it does resemble her more lyrically complex discography. By addressing themes such as male chauvinism, emotional gaslighting and generational trauma via the chronology of a couple navigating a stormy on and off relationship. While movies set against a similar backdrop—such as Sandeep Reddy Vanga’s work—have handled the same with a tone-deaf approach (i.e. glorifying the man child or portraying women in an abusive relationship as a one-dimensional mute doormat), there is a lot more nuance and raw realism on display in “Lover” which enables it to stand out. Sean Roldan’s soundtrack is another appealing aspect.

6. “Killer Soup” (Creator: Abhishek Chaubey)

As someone who swears by Shane Black’s neo noir outings – and is currently also obsessed with Indian filmmakers and showrunner experimenting with out of the box concepts in the Indian OTT space right now (think Raj-DK’s fun and escapist “Guns And Gulaabs,” or the more grim “Love Hostel”) – I had a ball watching “Killer Soup.” Best described as a more Machiavellian and sinister version of “Phantom Thread” with just a splash of “Phantom of the Opera,”  this refreshing Netflix series features subverted neo-noir tropes/archetypes and kitschy pulp galore. It is also headlined by a solid star cast who eat and leave no crumbs with their respective performances: from Konkona Sen Sharma, Manoj Bajpayee in a dual role that doubles as a masterclass on emoting with just one eye since the other is left disfigured, to Kani Kusruti (“All We Imagine as Light”) and veteran actors Nasser and Sayaji Shinde.

5. “Rivals” (Lead Director: Elliot Hegarty)

“Newsroom” meets “Game of Thrones” meets the biblical town of Sodom and Gomorrah in this  riveting and risque dark comedy based on Jilly Cooper’s novel by the same name. Each frame and each act are packed with metaphorical meaning and full-on drama, backed by a juicy cast comprising British telly royalty such as David Tennant, Aidan Turner, Alex Hassell, Katherine Parkinson, and Danny Dyer.

4. “Disclaimer” (Dir. Alfonso Cuarón)

Apple TV is certainly on a roll with these slow-burn thrillers! “Disclaimer” marks Oscar-winner Alfonso Cuarón’s OTT debut it’s got all his trademark direction and storytelling techniques. Raw, triggering, even twisted, Cuarón explores victim mentality, the propagation of false narratives, martyr complex and more in this mini-series which is an adaptation of Renée Knight’s novel and which features Golden Globe-nominated performances from Kevin Kline and Cate Blanchett.

3. ”Motherland” (Dir. Jasmin Mozaffari)

Iranian-Canadian filmmaker Jasmin Mozaffari portrays a tender but ‘forbidden’ romance in her Oscar-qualifying short film (partially based on her parents’ own intercultural marriage at the height of the Iran Hostage crisis).  Filled with raw emotions and rather than merely downplaying the rampant Islamophobia in the States as ‘a clash of cultures’, it amplifies the same in a heartbreaking, bleak and thought-provoking fashion, ending with a crucial message on how as names are dropped and beards are shorn out of fear, history repeats itself with identities belittled and ultimately (and furthermore, unjustly) forced out of existence.

2. “Laapataa Ladies” (Dir. Kiran Rao)

Through the striking imagery of an overbearing wedding veil, a newly wed bride forbidden from uttering the groom’s name by conservative-minded in-laws, and even exchanged for a motorcycle by her husband, Rao makes viewers ponder over the hold of patriarchy in her critically acclaimed movie. “Ladies” also doesn’t pit women against each other, instead showcasing well-developed female characters from all walks of life. After being heavily under-utilised in mainstream Bollywood, this movie also marks the comeback of actor Ravi Kishen (who also received rave reviews for his performance in the Boston Legal-esque ensemble comedy “Maamla Legal Hai” this year) and also features the second most wholesome reunion set at a railway station since “Slumdog Millionaire.”

1. “Kaos” (Creator: Charlie Covell)

Defiant demigod sons and daughters alike, as well as wives forever ‘cursed’ to remain in the shadows of their husbands’ mistresses prepare for a revolution in this retelling done right that deconstructs Greek mythology via a contemporary gaze steeped in realism. Macabre and complex, this short-lived but brilliantly scripted (and possibly overlooked) Netflix series balances Greek tragedy with subtle dry humour and follows in the footsteps of similar shows such as Good Omens or even the first season of Miracle Workers. Additionally, it also puts together a stellar cast of known names such as the usually goofy Jeff Goldblum playing against type as the almighty but arrogant Zeus, Stephen Dillane, Billie Piper, Janet McTeer, Cliff Curtis and more in the roles of the boisterous, repugnant, self-serving control freaks (whom we mere mortals refer to as Gods).

Fair warning: You might be required to brush up on your Greek mythology before bingeing.

Honorable mentions:

• “A Real Pain” (Dir. Jesse Eisenberg)
• “We Were Dangerous” (Dir. Josephine Stewart-Te Whiu)

Matt DeCristo

10. “Red One” (Dir. Jake Kasdan)

Big budget holiday blockbuster featuring Chris Evans and Dwayne the Rock Johnson. Lots of CGI silliness, it’s a not great but fun movie to check out.

9. “Unfrosted” (Dir. Jerry Seinfeld)

Jerry Seinfeld created a movie about nothing. This comedy tells the story of the battle between rivals Kellogg’s and Post. Lots of cameos and laughs.

8. “Milk & Serial” (Dir. Curry Baker)

YouTube creator Curry Barker dropped this found footage horror short. It’s a pioneer in the platform’s ability to showcase filmmakers on the rise.

7. “The Merry Gentlemen” (Dir. Peter Sullivan)

Britt Robertson and Chad Michael Murray team up to make a holiday dance show. Marla Sokoloff of “Full House” fame wrote and co-stars.

6. “Time Cut” (Dir. Hannah Macpherson)

Another Netflix film, this family-friendly slasher covers comedy and time travel in an entertaining way.

5. “Hot Frosty” (Dir. Jerry Ciccoritti)

Lacey Chabert makes her Netflix debut in a cheesy holiday film. It’s goofy, lighthearted, and feel-good for the Christmas season.

4. “Oddity” (Dir. Damian McCarthy)
Arthouse Irish horror only devout students of the genre will appreciate. Amazing cinematography and performances.

3. “Our Little Secret” (Dir. Stephen Herek)

Another great Lindsay Lohan Netflix Christmas flick. The intricate plot and hysterical scenes put it in the seasonal rotation.

2. “The Christmas Letter” (Dir. Tori Hunter)

Simple fable of a guy finding the true meaning of Christmas. Bonus points for being set and filmed in my hometown of Utica, NY.

1. “Carry-On” (Dir. Jaume Collet-Serra)

For the second year in a row, a December Netflix original is my favorite film of the year. This airport thriller takes place on Christmas Eve and offers a holiday alternative akin to “Die Hard.”

Paul Emmanuel Enicola

10. “Janet Planet” (Dir. Annie Baker)

“Janet Planet,”  written and directed by Annie Baker, delves into the complex, suffocating relationship between Janet (Julianne Nicholson) and her daughter Lacy (Zoe Ziegler). Baker’s direction evokes a theatrical, almost surreal atmosphere, using mirrors and fragmented imagery to reflect inner turmoil. Nicholson’s portrayal of Janet is deeply revelatory and emotional, her eyes conveying years of unspoken pain, while Ziegler’s Lacy beautifully captures both innocence and a longing for freedom. “Janet Planet” is a haunting exploration of love, dependency, and the hidden struggles that shape mother-daughter bonds.

9. “Dahomey” (Dir. Mati Diop)

French filmmaker Mati Diop’s “Dahomey” is a profound documentary that examines the return of stolen artifacts to Benin and the deeper identity crisis surrounding colonization. The film focuses on the return of 26 African artifacts to the country in 2021, including sacred totems taken by French soldiers in 1892 after the Second Franco-Dahomean War. Diop powerfully poses the question: who truly owns a colonized culture? While “Dahomey” offers no easy answers, it nonetheless invites critical reflection on the ongoing struggle for cultural restitution.

8. “No Other Land” (Dirs. Basel Adra, Hamdan Ballal, Yuval Abraham, Rachel Szor)

“No Other Land” is a powerful documentary that exposes the ongoing forced displacement of the Masafer Yatta community on the West Bank, filmed through the eyes of Palestinian activist Basel Adra. Growing up amid the destruction of his home, Adra documents the violent and systematic demolition of Palestinian lives by Israeli military forces. Ultimately, “No Other Land” is a call to action, challenging viewers to confront the injustice facing the Masafer Yatta community and offering no easy solutions, only the urgent need for global attention and support. It’s an unflinching look at the cost of resistance against oppression.

7. “Flow” (Duir. Gints Zilbalodis)

“Flow” is a wordless, enchanting animated journey from Latvia that takes audiences on a magical, contemplative adventure with a mismatched group of animals. A cat, dog, lemur, capybara, and secretary bird find themselves on a boat navigating a vast, flooded world after a giant tsunami submerges the land. Unlike mainstream animated features, “Flow” offers a dreamy, epic experience that is both perilous and beautiful, with the animals focused solely on survival, exploring, and building unlikely bonds.

6. “Santosh” (Dir. Sandhya Suri)

“Santosh” offers a searing, nuanced portrayal of one woman’s confrontation with systemic inequality, prejudice, and moral ambiguity. In this stark narrative debut, Sandhya Suri unfolds a deeply personal yet profoundly political story against the backdrop of rural Northern India, where caste, gender, and power intertwine with devastating consequences.With its raw performances, morally complex characters, and unflinching gaze at the structures that perpetuate injustice, the film forces us to confront uncomfortable truths about the nature of power and complicity in a flawed system

5. “The Seed of the Sacred Fig” (Dir. Mohammad Rasoulof)

Mohammad Rasoulof’s “The Seed of the Sacred Fig” is a thrilling, genre-defying film that moves seamlessly between political intrigue, family drama, and a gripping mystery. The story centers on Iman (Missagh Zareh), an Iranian patriarch whose recent promotion to investigator brings both new responsibilities and unraveling paranoia.Tensions rise within the family as Iman’s growing obsession with control and his distrust of the state trickles into his personal life. The film sharply critiques both familial breakdowns and the societal pressures that stoke them.

4. “Close Your Eyes” (Dir. Victor Erice)

Victor Erice’s “Close Your Eyes” is a cinematic triumph, marking the legendary filmmaker’s return after 31 years with a poignant, genre-defying epic. Blending elements of Westerns, ghost stories, and meditative dramas, Erice crafts a profound exploration of memory, regret, and redemption. Erice’s return is both a homage to cinema and a deeply personal reflection on life’s fleeting nature. Hauntingly beautiful and resolutely ambiguous, “Close Your Eyes” is a masterpiece that invites viewers to honor the past while embracing the uncertainty of what lies ahead.

3. “Evil Does Not Exist” (Dir. Ryusuke Hamaguchi)

Ryusuke Hamaguchi’s “Evil Does Not Exist” opens with a mesmerizing sequence: tranquil shots of wintry treetops paired with Eiko Ishibashi’s evocative score.Through breathtaking cinematography and a resonant score, “Evil Does Not Exist” emerges as an exquisite, thought-provoking work, inviting us to reflect on what it truly means to coexist with nature—and each other.

2. “The Brutalist” (Dir. Brady Corbet)

Brady Corbet’s “The Brutalist” revives the spirit of classic epics, merging sweeping scale with deeply personal storytelling. Adrien Brody delivers a career performance as Laszlo Toth, a Hungarian-Jewish architect and Holocaust survivor seeking a fresh start in post-war America. Daniel Blumberg’s haunting score amplifies the atmosphere, enhancing the story’s layered themes of identity, ambition, and resilience. More than an immigrant’s tale, “The Brutalist” (shot in breathtaking 70mm by Lol Crawley) examines how systems of power shape individual lives and creative expression. 

1. “All We Imagine as Light” (Dir. Payal Kapadia)

Payal Kapadia’s “All We Imagine as Light” explores the elusive concept of “home” through the intertwined lives of three women navigating Mumbai’s vastness and impermanence. Kapadia’s storytelling is patient and understated, avoiding melodrama in favor of quiet reflection. The film’s richly textured visuals capture Mumbai’s relentless pace and hidden moments of calm, while the characters’ relationships unfold in small gestures and silences that feel deeply authentic. With its nuanced performances and contemplative tone, “All We Imagine as Light” is a tender, resonant portrait of humanity’s enduring pursuit of belonging amidst life’s uncertainties.

Honorable Mentions:

• “A Real Pain” (Dir. Jesse Eisenberg)
• “Didi” (Dir. Sean Wang)
• “Civil War” (Dir. Alex Garland)
• “Love Lies Bleeding” (Dir. Rose Glass)
• “How to Make Millions Before Grandma Dies” (Dir. Pat Boonnitipat)

Holly Marie – Top 10 Horror 

10. “Tarot” (Dirs. Spenser Cohen and Anna Halberg)

I’m a sucker for a ’90s slasher, and so anything that remotely comes close will undoubtedly be on the list. “Tarot” had me hooked from the beginning with its strong opening soundtrack, spooky setting and ’90s teen slasher vibes. The film centres around a group of teens who, after having their tarot read, become haunted by a presence that kills them off one by one in a death reminiscent of their tarot reading. It’s by no means a complex plot but surprisingly creepy in moments, and I’d certainly recommend it for those who are fans of old school ’90s horror movies such as “Final Destination” and “I Know What You Did Last Summer.”

9. “Never Let Go” (Dir. Alexandre Aja)

This is another one that I was intrigued by because of the casting. I’d enjoyed watching Halle Berry in “Gothika” and I was excited to see her cast again as the female lead in a horror film. Berry plays ‘Moma’, a single mother raising two young boys in a remote cabin, protecting them against an unseen evil that, as she tells them, lurks in the woods. To avoid being touched by said evil, they must always be tethered to a rope when venturing outside, of which they should ‘never let go’.

Would I classify this as a horror, in the traditional sense? Not really, though there are a few tense moments, and it certainly touches upon some key themes surrounding trauma. Regardless, I’d recommend it if you’re looking for a light, easy watch that still provides some food for thought and interesting post-watching discussion.

8. “Longlegs” (Dir. Osgood Perkins)

In all honesty, I found “Longlegs” downright baffling and bizarre, but I’d still recommend watching it, even if for the simple fact that you won’t see anything else quite like it. The film centres around FBI agent Lee Harka (Maika Monroe), who is investigating a series of murders throughout Oregon. As she delves deeper into the investigation she uncovers a series of occult clues that lead her to serial killer Nicholas Cage. I won’t lie—Cage’s character is more bonkers than terrifying, though it doesn’t help that I’m not exactly a fan. That being said, there is some visually strong cinematography here, and it’s definitely worth making your way through to get to a pleasantly surprising end.

7. “Smile 2” (Dir. Parker Finn)

I went to see this with very low expectations; “Smile” was a bit of a let down and fell flat for me, so I anticipated the second release would be much the same. Despite the slightly rocky reviews, I was pleasantly taken aback by how much I did enjoy this sequel. The plot is much the same as the first, but I was far more invested in the protagonist, Skye Riley (Naomi Scott) and I felt it achieved what the first could not, with a more poignant exploration into and portrayal of mental health. Not overly terrifying, but there were definitely some nice jumpy scenes and a few surprises along the way.

6. “Salem’s Lot” (Dir. Gary Dauberman)

“Salem’s Lot” is the perfect ‘watch at home’ film: not quite worth a trip to the movie theatres, but certainly a contender for renting or streaming in the comfort of your own home. It’s hardly ground-breaking, and is at times both predictable and under-developed – the plot is remarkably similar to “Dracula,” so it’ll likely be familiar territory (at least, it will be if you’re a horror or vampire fan). But, it’s a fun watch, with some nice camera shots and tense moments, and I appreciated the overall look of the vampire.

5. “The Substance” (Dir. Coralie Fargeat)

This was a difficult one to rate because I’m just not a fan of body horror, and if I’m honest, I watched it mainly because Demi Moore was returning to the screen as its leading actor.It’s grim, gory and grotesque, and as the end credits rolled in, I sat in stunned silence, feeling slightly violated and unsure what to think. I’d certainly argue that the overall message of the film is valuable – commenting on Hollywood’s obsession with beauty and age. However, I did feel this was overshadowed by the sheer absurdity of its ending. Even if not exactly my cup of tea, it’s bold, ambitious, and certainly memorable, and Demi Moore gives an excellent performance.

4. “Heretic” (Dirs. Scott Beck and Bryan Woods)

Whilst I do think it deserves a place on the list, I will admit that I was a little disappointed with “Heretic.” I think this is in large part because I’m still adjusting to seeing Hugh Grant cast in more sinister roles (I will forever think of him as Prime Minister in “Love Actually”) and as he is essentially the monster of the movie, that unfortunately removed much of the fear factor for me. I also felt it was quite dialogue heavy at times, and a little predictable, and I found myself craving some action after the first 45 minutes. Having said that, “Heretic” still offers a fresh take on religious horror as a sub genre and raises some genuinely thought provoking, topical themes and ideas.

3. “Quiet Place: Day One” (Dir. Michael Sarnoski)

This was always going to be a tough contender because I loved the first “Quiet Place,” and I knew it would be difficult to compete with. I still maintain that the overall concept is genius, and I enjoyed following the protagonist (and her cat) as she battles to survive by staying quiet in a world overrun by alien creatures (apparently these have no name, but they’re reminiscent of the demogorgon in “Stranger Things”). Despite some tense and surprisingly comical moments, the film just didn’t quite meet my expectations as a prequel and in all honesty, I think they could probably have left the first film as a standalone. However, if you enjoyed the Quiet Place universe and would like to revisit that universe, I’d still recommend giving it a watch.

2. “I Saw the TV Glow” (Dir. Jane Schoenbrun)

“I Saw the TV Glow” is probably one of the most surprising watches of the entire year (primarily because I’d gone to see it, thinking it was a horror/comedy) and stirred within me so many forgotten childhood memories and emotions that I was not prepared for. It tells the story of Owen (fantastic casting of Justice Smith) who is painfully navigating his way through childhood and adolescence. He befriends the wild, almost otherworldly Maddy (Brigette Lundy-Paine) who introduces him to the Pink Opaque TV show, through which they both find a sense of relief from their everyday lives. If you’re a sensitive soul like me, be prepared to feel this one deeply. It’s bold, brave and bedazzling, and I highly recommend it.

1. “Speak No Evil” (Dir. Christian Tafdrup)

“Speak No Evil” was a tense, tantalising thriller-horror that genuinely had me hopping in my seat until the very end. Though in writing the plot is hardly captivating—two couples who become friends on holiday, and later visit one another—it keeps you guessing until the very end, feeding you little nuggets and hints along the way. There are some truly excellent character portrayals in this one, with James McEvoy as the enigmatic yet slightly sinister Paddy, and I guarantee you will never think the same again about befriending people when on vacation.

Highly recommended for those who love a good thriller and enjoy a film that focuses primarily on character above plot.

Kevin Parks

10. “Close Your Eyes” (Dir. Victor Erice)

A close call in this slot between Erice and his competition for the title of greatest living Spanish director (Pedro Almodóvar, “The Room Next Door”), “Close Your Eyes” wins the poll position for a melancholic generosity towards its characters, offering an inventive interpretation of – and improvement on – customary Western genre tropes.

9. “Theater of Thought” (Dir. Werner Herzog)

Made in 2022 and just now in limited theatrical release, Herzog’s expansive, meandering documentary probes the brain playfully, maintaining a curious open mind about life on the other side.

8. “Megalopolis” (Dir. Francis Ford Coppola)

Don’t believe what you’ve read about this film. Actually, believe all of it, or none of it. See it! Coppola’s giant folly of a passion project left me confused and giddy, eager to jump to its defense. What a long, strange and surreal trip, nearly half a century in the making. 

7. “Ryuichi Sakamoto | Opus” (Dir. Neo Sora)

The closing song from “Merry Christmas Mr. Lawrence” acts as both a eulogy and celebration of Sakamoto (1952-2023), the only credited star—and voice that we hear—in this one-hander (or two-, since he’s playing the piano). Neo Sora approaches his subject—and father—with a controlled intimacy, filming the legendary composer, singer and actor in gorgeous, subdued monochrome, allowing the music to flourish and exit with grace.

6. “La Chimera” (Dir. Alice Rohrwacher)

A Neon-backed sleeper success, Rohrwacher’s sublime, sympathetic stunner ran for 25 weeks at New York’s IFC Center. A magical meditation on losing and grieving, stealing and giving, “La Chimera” boasted some of the most soothing, offbeat imagery (especially underground) of any film I saw on a big screen this year.

5. “Anora” (Dir. Sean Baker)

Seen in a crowded theater at the New York Film Festival, “Anora” (on 35mm) was easily the most fun I had at the movies this year. On the strength of Mikey Madison’s all-in performance (and terrific support from the likes of Karren Karagulian and Lindsey Normington), Sean Baker’s Palme d’Or winner (more gold for Neon) stormed the box office, placing this critical darling in the deserving role as a perennial contender at the Oscars.

4. “Green Border” (Dir. Agnieszka Holland)

This could work as a pulverizing double feature with “The Seed of the Sacred Fig,” as Holland’s film fixes an unflinching gaze at Poland’s border crisis. Controversial in its home country, “Green Border” leans away from any simplified ideological position in crafting a nuanced, gripping story told from multiple perspectives.  

3. “The Seed of the Sacred Fig” (Dir. Mohammad Rasoulof)

A jolting thriller filmed in secret, “Sacred Fig” volleys from Hitchockian suspense to Ade-ian family melodrama, and exiled Iranian Director Mohammad Rasoulof saves his finest cinematic coup for an unforgettable closing scene.

2. “Wildcat” (Dir. Ethan Hawke)

Where was the love? Ethan Hawke’s formally daring and expertly acted Flannery O’Connor (a chameleonic Maya Hawke leads, stellar in several roles) biopic (Adaptation? Reworking?) was sidelined amid a flurry of standout U.S. indies (See below and above at #5). And yet, “Wildcat” was a different animal entirely, tracing O’Connor’s literary career and health problems in fascinating, fractured tableaus, paying tribute to the writer’s enduring legacy while capturing her singular voice.

1. “Between the Temples” (Dir. Nathan Silver)

Swoon. Kane and Schwartzman: take my heart and keep it. What a duo! The chatty, anxious romantic chaos invites comparisons to Woody Allen and the disorienting visual template conjures John Cassavetes, but Nathan Silver’s steady direction deserves unconditional praise (and repeat viewing).

Mark Ziobro

10. “In a Violent Nature” (Dir. Chris Nash)

A fun horror throwback attempt directed by Chris Nash. Taking place often in a killer POV, this ’80s slasher homage features a unique villain, a fun legend, and good stuntwork by Ry Barrett, it’s an overall pleasing horror film. Kudos for making a modern horror movie that doesn’t involve torture while setting up a sequel with ease. The end of the film features a good amount of tension and the gore and kills are over the top and inventive. Looking forward to the next installment.

9. “The Beekeeper” (Dir. David Ayer)

When your director did “Training Day” and “Harsh Times,” you know it’s going to be good. Jason Statham is in excellent form here, brutalizing a bunch of people who all deserve it as an ex-Special Forces type playing his best Equalizer here. The film also features a good and off-type Josh Hutcherson and a solid Jeremy Irons in a supporting role. There’s something more brutal and moral in this film than Statham’s other works, and the result pays off. I hear a sequel may be in the works, and I’m all in. A solid, entertaining action film through-and-through.

8. “Bob Marley: One Love”

This film didn’t get love from critics, and that’s par for the course given how they often view biopics. The movie, directed by Reinaldo Marcus Green doesn’t paint a linear path, by tells Marley’s story with passion and emotion. The musical numbers are good, and the look at Marley’s childhood and adulthood in Trenchtown are spot-on. Playing the lead, Kingsley Ben-Adir and co-star Lashana Lynch are great, and the look into this time and place—along with Marley’s incredible musical catalog (most notably “Redemption Song”) are a joy to behold. A biopic worth revisiting after an initial viewing.

7. “A Good Day Will Come” (Dir. Amir Zargara)

Amir Zargara’s “A Good Day Will Come” is a powerful independent short honoring the life of Iranian athlete Navid Afkari. Afkari was executed for protest crimes in 2018, and lead actor Sia Alipour here pours energy and passion into the characterization. Not a documentary, the film often feels like one, taking pains to paint its picture of Iran and its denizens thoughtfully and completely. Co-stars such as Mehdi Bajestani and Shoale Shahbazi round out the short nicely, along with expert cinematography by Jalen Maxwell. Painful and poignant, the Canadian film was an Oscar qualifying picture and is worth a watch.

6. “Trap” (Dir. M. Night Shamalayan)

“Trap is excellent. Diverting from his usual modus operandi, M. Night Shamalayan crafts a tense thriller with Josh Hartnett at the helm in rare, scary form. Shamalayan avoids his usual twisty-turny style, instead showcasing an inside look at the mind of a serial killer, and the effort succeeds effortlessly. Hartnett is the film’s VIP, and makes you believe his evil and conniving nature—lack of empathy of any kind—with seamless ease. The film’s other players—Ariel Donoghue, Hayley Mills, and Shamalayan’s daughter Seleka—all perform well. The film’s ending is tense and dynamic, with a kitchen scene that will have you on the edge of your seat. One of the best horror movie’s I’ve seen in some time, and one I’ll definitely revisit.

5. “Challengers” (Dir. Luca Guadagnino)

Luca Guadagnino’s “Challengers” is a unique film. It’s a tennis drama on its outer shell, but is a love triangle and hard look at plutonic love at its core. All three of its leads—Zendaya, Mike Faist, and Josh O’Connor—are excellent together. Some scenes are sexy and exciting, while others are often hard to watch and tedious. The film’s score underlines its happenings, and its tennis matches often aren’t about the sport, but the emotions its characters are feeling on-screen. Faist and O’Connor play believable best friends driven apart by a woman, and Zendaya plays the thankless role of the woman who comes between them expertly. The film’s end is simple yet complex, and the relationships portrayed are introspective and passionate. A strong film that needs a second watch to capture all its nuance.

4. “Hamdardi” (Dir. Ashley Tabatabai)

One of my favorite shorts of the year. Ashley Tabatabai (director of the equally powerful “Falsified”) here creates a stark picture of an airport, a family, and the 2017 U.S. Travel Ban on from Muslim countries. This is not a political film at its core, but a human one. Tabatabai plays a U.S. Customs Officer that must do things that go against his values to keep his own family together, playing against a cynical and by-the-book boss, played expertly by Mitchell Mullen. Equally powerful are the portrayals given by Arian Nik  and Ayla Rose, who play a young brother and sister who sit in detention. This is alongside a moral performance by Helene Maksoud, playing a legal advocate, that helps to balance the narrative. Commenting on a past that Tabatabai hopes won’t become a reality again, “Hamdardi” was an official entry into the 2025 Oscars and a must-see.

3. “Calf” (Dir. Jamie O’Rourke)

“Calf” is another indie short film that makes my list. Directed and written by Jamie O’Rourke, this tense thriller was an Irish Oscar-qualifying film. It’s true horror: too many horror films of today focus on blood and guts, or slashing and death. This is a slow-burn film that focuses on a young girl on a farm that discovers a terrible accident. The decisions she contemplates following are numbing and bone-chilling. “Calf” practices tension in all the right places, and puts viewers alongside its protagonist by the end in the most unlikely way. Commenting on things from secrets to horror to abuse, “Calf” is an eerie film that will keep you guessing until its final frame.

2. “You’re Not There”

Written by Justy Kosek and directed by S.J. Creazzo, “You’re Not There” is an indie feature that is raw and emotional.  With stellar performances from leads Nellie Spackman and Nick Mauldin, the film is an introspective look at trauma, healing, and relationships. It offers takeaways not often seen for films of its genre. Creazzo looks to explore his characters fully, and Kosek has written dialogue and inner looks at his leads that feel authentic. There’s something refreshing about watching a film like this: one that feels real and everyday rather than Hollywood. The film’s ending is ambiguous but worth the effort. It offers food for thought on the lasting effects of trauma, while holding on to hope and self-kindness in measure. A solid film to be sure.

1. “Old Man 2” (Dir. Mark Battle)

I realize I’m harping on the Indies this year, but someone has to do it. “Old Man 2” is a hysterical ode to B-movie films with a performance from lead actor John Mason that will have you howling. It’s the nonsensical story of an escaped nursing home patient, Buster (played by Mason) that goes on a a journey to find his long-lost comrade Doc. Along the way we have shootouts, explosions, and comedic exposition from Mason that harkens back to films like “Commando” and “Tropic Thunder” in their insanity. Battle stated he set out to make a film of “hilariously bad acting and B-movie madness,” and he succeeded. Except the acting is not as bad as you’d think, and the movie is lovable underneath all its craziness. A fun watch to

Thanks for joining us for our somewhat extensive list. If you have a favorite movie released in 2024 not listed here, please let us know in the comments.