My Top 12 Films Of 2024: One Critic’s Best Of The Year List

In the “real world,” 2024 was one of the wildest news years in recent memory – no small feat considering the tumult of the last decade. In the U.S., the presidential election dominated headlines with two attempted assassinations, a sitting president opting out of a re-election campaign for the first time in half a century, and thanks to an inflation crisis a historic comeback by a former president who not only reclaimed the White House in a fashion not done since Grover Cleveland, but did so as a convicted felon. Globally, Japan’s long-ruling party and the dominant party in India both faced stunning electoral setbacks, while the UK’s Labour Party pulled off the biggest landslide victory for any party in decades and France’s frailing left-center coalition somehow pushed back a bit against a surgent right-wing.

Beyond politics, the world was captivated by the bizarre Willy Wonka “experience” that went viral, Katt Williams putting the comedy world on blast, P. Diddy’s self-implosion, and the high-profile homicide of a healthcare CEO that sparked an internet frenzy of bad takes. In Syria, the long-standing Assad regime was finally toppled, while the wars in Ukraine and Gaza unfortunately raged on.

In sports, 2024 delivered drama at every turn. For the second consecutive year, the Super Bowl featured a team choking away a double-digit lead, while the Stanley Cup Finals almost saw a 3-0 lead squandered by the winning team. Baseball fans witnessed the Yankees falter against the Dodgers in a highly anticipated World Series matchup, and the Summer Olympics in France added a global spotlight to the year. And I’d be remiss not to mention Caitlin Clark emerging as the face of a surging WNBA just as the NBA struggled to regain ratings momentum.

Meanwhile, the wrestling world was shaken when The Rock tried to muscle his way into the WrestleMania main event, sparking a backlash that turned him heel for the first time in two decades. Roman Reigns’ historic three-and-a-half-year world championship reign finally ended at the hands of Cody Rhodes, son of the legendary Dusty Rhodes. Shannon Sharpe’s Nightcap podcast exploded in popularity – only to be overshadowed by a scandal when he accidentally live-streamed an intimate encounter he was having (seriously though, it’s a great podcast I’d recommend for any sports fan).

Entertainment had its own shake-ups. The gaming industry endured a tough year marked by record layoffs, but smaller names and indie titles shone bright. This culminated in Astro Bot, a platformer designed for younger audiences, winning Game of the Year at The Game Awards. Music saw a massive year for Chappell Roan, Sabrina Carpenter, and Charli XCX; rivaled only by Taylor Swift’s relentless momentum and Beyoncé’s surprising foray into country music.

And then, there were the movies…

At the Oscars celebrating 2023’s best in film, the big story was Christopher Nolan finally having his moment. The previous year’s industry strikes caused widespread delays, leading many to predict a rough year for movies. And while I do think 2024 was the weakest year for cinema since the cursed 2020, there was still plenty to enjoy. Legacy sequels and spin-offs dominated the landscape, and surprisingly, I think many of them delivered (you’ll find plenty of them in my honorable mentions). We even had another cultural moment akin to “Barbenheimer,” which I’ve dubbed “Glicked.” While it didn’t quite match its predecessor’s box-office success, it was still a notable event that lead to packed theatres and quirky double-headers. Adding to the intrigue, this year’s awards season feels like the most wide-open I’ve seen in at least a decade.

Now, as we turn the page into 2025, it’s time for my annual write-up on my personal favorite films of the past year. As I mentioned, I do think 2024 was a step down overall for cinema. But the year rallied toward the end, offering a slate of films that appealed to both cinephiles and general audiences alike. In previous years, I’ve compiled lists of twenty-plus favorites, but this time, I want to focus on a curated selection – the movies that truly most ignited a spark in me.

I watched over 250 films this year, so if one of your favorites didn’t make the cut, don’t take it personally. There were many great films I enjoyed that didn’t quite make this list, and chances are, your favorite is celebrated on someone else’s list. Without further ado, here are the top twelve films (plus my honorable mentions) that left the biggest mark on me in 2024. They may not necessarily be the most objectively well-crafted movies of the year, but they are the ones that I believe will most likely resonate with me for years to come:

 

– Honorable Mentions: #13. Gladiator II; #14. Kingdom Of The Planet Of The Apes; #15. Furiosa: A Mad Max Saga; #16. Alien: Romulus; #17. Beetlejuice Beetlejuice; #18. Monkey Man; #19. Hundreds Of Beavers; #20. Flow

 

#12. The Piano Lesson (Dir. Malcolm Washington; Netflix)

– “That Piano Is The Story Of Our Whole Family.”

– Read My Initial Written Review

– Plot, via Letterboxd: A brother and sister’s battle over a prized heirloom piano unleashes haunting truths about how the past is perceived – and who defines a family legacy.

– Why I Loved It: The Washington family has made it their life’s mission to adapt all of the late August Wilson’s plays into films. They’ve already succeeded with Fences (2016) and Ma Rainey’s Black Bottom (2020), both of which are among my favorite films of their respective years. Now, The Piano Lesson joins this remarkable lineup. This time, Malcolm Washington steps into the director’s chair for his feature debut, while his brother John David Washington takes the lead role. The film boasts a stellar ensemble cast, including Danielle Deadwyler, Corey Hawkins, Ray Fisher, and the legendary Samuel L. Jackson, among others

While this entry has been the most critically divisive in the “series,” it personally hit me the hardest. At its core, it’s a family drama intertwined with a ghost story, delving deeply into generational trauma and the enduring sins committed against a community. It explores how the experiences of our ancestors shape us, how the trials and tribulations they endured continue to haunt us across generations, and the internal and familial struggles over the legacies we leave behind.

 

#11. The Substance (Dir. Coralie Fargeat; MUBI)

– “Have You Ever Dreamt Of A Better Version Of Yourself?”

– Read My Initial Written Review

– Plot, via Letterboxd: A fading celebrity decides to use a black market drug, a cell-replicating substance that temporarily creates a younger, better version of herself.

– Why I Loved It: If you read my review of The Substance back in mid-September, you might be surprised to see it ranked this high. Yet, despite my gripes with its self-indulgent nature in the final act, the film has lingered in my mind, continuing to climb itself up the ranks of films I saw this year. It’s a body horror tale executed with slick, stylish craftsmanship across cinematography, editing, sound design, music composition, makeup, and some of the year’s best directorial work. It’s the kind of movie you could play at the club, with its pulsating energy and booming soundscape seamlessly fitting in – without a doubt, it’s the “coolest” film of the year.

Beneath all that style, though, lies substance (no pun intended) – anchored by phenomenal performances from both Demi Moore and Margaret Qualley. The film dives into compelling themes of body image and the professional biases women face. For every grotesque body horror moment, there’s sharp commentary on the gaze imposed on women, whether by others or even by themselves. It’s horror with a purpose. If a dude like me could grasp the film’s layered messages, I can only imagine how much more female viewers have and will connect with its insights.

 

#10. Anora (Dir. Sean Baker; NEON)

– “You’re Like Cinderella!”

– Read My Initial Written Review

– Plot, via Letterboxd: Anora, a young sex worker from Brooklyn, gets her chance at a Cinderella story when she meets and impulsively marries the son of an oligarch. Once the news reaches Russia, her fairytale is threatened as the parents set out for New York to get the marriage annulled.

– Why I Loved It: Sean Baker has always excelled at exploring the fringes of society through a blend of comedy and drama, but he’s struggled to create a film that’s both thematically rich and accessible to mainstream audiences. With Anora, he’s finally cracked the code. Think Pretty Woman meets Nights of Cabiria meets The Three Stooges.

While I didn’t fully connect with the first thirty-or-so minutes, the rest of the film more than makes up for it. What begins as a sex comedy centered on a Cinderella-like story quickly transforms into a laugh-out-loud romp through the streets of New York. Ani (short for Anora) finds herself entangled with a Russian oligarch’s rebellious punk son, his bumbling henchmen, and a quiet, reserved tough guy who falls for her. I was laughing out loud and fully immersed in the pitch-perfect dialogue and running jokes. It’s a Cinderella story, a mob tale, an adventure, a tragedy, a romance, and a comedy all rolled into one. Anora just might end up Sean Baker’s magnum opus when all is said and done on his career.

 

#09. Nickel Boys (Dir. RaMell Ross; MGM)

– “Look Back On It; Think Back On It; It’s A Long Time Ago.”

– Read My Initial Written Review

– Plot, via Letterboxd: Chronicles the powerful friendship between two young Black teenagers navigating the harrowing trials of reform school together in Florida.

– Why I Loved It: It feels strange to say I “loved” this film because Nickel Boys is easily the hardest movie to recommend from this list of favorites. It tackles heavy subject matter – abuse and corruption at a boarding school, systemic racism, and a twist near the end that delivers a gut punch like no other. The story unfolds through a shifting point-of-view narrative, alternating between our two protagonists and interwoven with documentary-style edits, flashbacks, and flash-forwards.

Yet, even amidst the harsh and ugly realities these boys endure, their friendship and bond shine through as a beacon of hope. It’s a powerful watch that left me conflicted at first, unsure how to process my feelings. But the story lingered in my mind long enough to warrant a re-watch, solidifying my appreciation for its impact. Nickel Boys isn’t an easy film to watch, but it’s not supposed to be, and that’s precisely what makes it unforgettable.

 

#08. Sing Sing (Dir. Greg Kwedar; A24)

– “We Here To Become Human Again.”

– Read My Initial Written Review

– Plot, via Letterboxd: Divine G, imprisoned at Sing Sing for a crime he didn’t commit, finds purpose by acting in a theatre group alongside other incarcerated men in this story of resilience, humanity, and the transformative power of art.

– Why I Loved It: There’s a moment in Sing Sing so profoundly moving that you’ll find yourself in tears, not just out of joy for a character’s happiness – but because the film makes you feel as if you’ve just had a soulful experience. This cathartic scene comes after two hours of deeply insightful storytelling, exploring the lives of the men enrolled in a prison theater program. Through their heartfelt confessions of regret and their celebrations of life’s small joys, the film becomes a powerful portrait of redemption and humanity through the power of art and self-expression.

What makes Sing Sing even more extraordinary is its authenticity, nearly every cast member has been a part of this real-life theater program. The story follows a group of incarcerated men as they work together to produce a play, from the audition process to opening night, all while weaving in Divine G’s poignant journey toward trying to achieve freedom. As the production takes shape, we come to understand the transformative power of the program and the profound impact it has on these men’s lives. This is the most heartfelt and impactful film of the year, one that will leave nearly everyone in tears as the credits roll.

 

#07. Godzilla X Kong: The New Empire (Dir. Adam Wingard; Warner Brothers)

– “They Don’t Have To Like Each Other, They Just Have To Work Together.”

– Read My Initial Written Review

– Plot, via Letterboxd: Following their explosive showdown, Godzilla and Kong must reunite against a colossal undiscovered threat hidden within our world, challenging their very existence – and our own.

– Why I Loved It: A well-reviewed streaming series, an Oscar win, and now the fifth entry in the Monsterverse – it’s been a fantastic year for Godzilla fans like myself. No one is going to argue that Godzilla X Kong: The New Empire is one of the most well-crafted films of the year. At its core, it’s a “turn off your brain and watch monsters stomp around” popcorn flick; this isn’t Godzilla Minus One-levels of filmmaking. But as someone who grew up on Showa-era Godzilla films, where he battled and teamed up with other giant monsters, this felt like reliving my childhood with a big Hollywood budget. Watching this in the theater brought me right back to being five years old, glued to the TV at my grandma’s house. I literally found myself bouncing with excitement during a certain scene where Godzilla suplexes Kong onto one of the Egyptian pyramids. How much more brainless fun can you ask for?

That said, these movies deserve credit for something many non-kaiju fans might overlook – they understand that these monsters themselves are characters. Kong, in particular, has undergone an emotional journey across these films, centered on his longing for family. No longer relegated to tragic fates, the iconic ape’s arc comes full circle here as he bonds with others of his kind, giving the film a surprising amount of heart. And, of course, watching Godzilla, Kong, and Mothra strike an Avengers-style pose together is a spectacle I never thought I’d get to witness on the big screen.

 

#06. The Wild Robot (Dir. Chris Sanders; Dreamworks Animation)

– “I Do Not Have The Programming To Be A Mother.”

– Read My Initial Written Review

– Plot, via Letterboxd: After a shipwreck, an intelligent robot called Roz is stranded on an uninhabited island. To survive the harsh environment, Roz bonds with the island’s animals and cares for an orphaned baby goose.

– Why I Loved It: There was a time when Disney and Pixar consistently delivered not just some of the best animated films, but some of the best films of a year, period. Unfortunately, those days feel farther away as recent offerings have become hit-or-miss, often prioritizing sequels over original stories. DreamWorks Animation can also be inconsistent, but every so often, they produce something truly special. With The Wild Robot, they’ve given us what I consider to be the best animated film of the year.

It’s not just the breathtaking animation or the stellar voicework from an incredible cast, it’s the storytelling that sets this film apart. The Wild Robot draws you in emotionally, investing you in Roz’s journey of self-discovery and her baby goose’s path to growing up and learning to fly. The film is populated by a delightful supporting cast, including a wily yet cynical fox and a beaver convinced his teeth can save the island from impending doom. This is a simple, heartfelt story that will captivate children and bring a tear or two to adults by the end. It’s the kind of film Disney and Pixar used to deliver consistently, but now it feels like other studios are stepping up and catching them.

 

#05. Dune: Part Two (Dir. Denis Villeneuve; Warner Brothers)

– “The Prophet. Why Is That A Bad Thing?”

– Read My Initial Written Review

– Plot, via Letterboxd: Follow the mythic journey of Paul Atreides as he unites with Chani and the Fremen while on a path of revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the known universe, Paul endeavors to prevent a terrible future only he can foresee.

– Why I Loved It:  I firmly believe that what Denis Villeneuve has achieved with his Dune adaptations is the greatest directorial accomplishment of the 2020s. In 2021, he took an “unadaptable” sci-fi epic and transformed it into one of the biggest hits of the pandemic-era box office. Now, three years later, he’s followed it up with what I genuinely consider to be The Empire Strikes Back of this generation.

From the masterful direction, breathtaking cinematography, and Hans Zimmer’s incredible score to the amazing sound design, stunning visuals, and a powerhouse ensemble cast, every element of this film screams peak epic genre cinema. And, of course, the moment where Paul learns to ride a sandworm is an instant classic. I made it a point to watch this multiple times, and each time I walked away awestruck, wondering if anything could surpass it as my top film of the year. From my first press screening in late February to late October, Dune: Part Two held its place at the summit. This is the kind of grand, awe-inspiring sci-fi spectacle I wish we saw more of these days, and I’m already counting down the days until the trilogy’s finale, presumably arriving in 2026.

 

#04. Nosferatu (Dir. Robert Eggers; Focus Features)

– “We Are Here Encountering The Vampyr…Nosferatu”

– Read My Initial Written Review

– Plot, via Letterboxd: A gothic tale of obsession between a haunted young woman and the terrifying vampire infatuated with her, causing untold horror in its wake.

– Why I Loved It: Robert Eggers is solidifying his status as this era’s master cinematic storyteller of dark folklore. From his debut with The Witch to The Lighthouse and The Northman, his films have only grown more refined and, surprisingly, more accessible to mainstream audiences – all while staying true to his unique directorial voice. With Nosferatu, Eggers may have delivered his finest work yet. I’ve already revisited the film multiple times, and it’s my favorite straight-up horror movie of the decade (if we’re not counting Godzilla Minus One as horror).

It’s not just the haunting cinematography, where every frame feels like a gothic painting. It’s not just the meticulous production design, the chilling score, or the remarkable performances from a stellar ensemble cast. Nor is it just the brilliantly crafted characters, each so distinct and engaging that I found myself reacting to their every quirk. What makes Nosferatu truly special is how it taps into the kind of horror films I grew up loving. Experiencing every moment of this remake of the 1922 silent-era masterpiece felt like both a tribute to cinema history and a thrilling plunge into its eerie, shadowy depths. Succumbing to the darkness of this film has never felt so good. This is peak gothic horror.

 

#03. The Brutalist (Dir. Brady Corbet; A24)

– “Welcome To America.”

– Read My Initial Written Review

– Plot, via Letterboxd: Escaping post-war Europe, visionary architect László Toth arrives in America to rebuild his life, his work, and his marriage to his wife Erzsébet after being forced apart during wartime by shifting borders and regimes. On his own in a strange new country, László settles in Pennsylvania, where the wealthy and prominent industrialist Harrison Lee Van Buren recognizes his talent for building. But power and legacy come at a heavy cost.

– Why I Loved It:  We’re living in a political climate where immigrants are often treated with disdain and fear, even by members of the public who aren’t Trump supporters. The newly elected president this cycle even went on an unhinged rant against legal Haitian immigrants during one of the two presidential debates. Perhaps that context lingered in my mind as I watched Brady Corbet’s nearly four-hour immigrant period epic, The Brutalist. This film dismantles the mythology of the “American Dream” and scrutinizes the immigrant experience, while also examining themes of class and the legacies of artists.

The film’s impeccable direction and breathtaking cinematography are only outmatched by a bombastic, unforgettable score that feels destined to become iconic. Its powerhouse ensemble cast delivers extraordinary performances, with Adrien Brody and Guy Pearce standing out as clear frontrunners for my personal acting awards. Brody’s portrayal of László is transformative, with a nuanced accent and depth of character that make it the best performance I’ve seen this year. Pearce’s Harrison, on the other hand, is a masterclass in villainy – a charming facade hiding a monster beneath, cementing his place as one of cinema’s all-time great antagonists. This is the kind of film we used to see more often – a sprawling, thought-provoking epic made by adults, for adults, and brimming with purpose. If you asked me to name the most flawlessly crafted film of the year, The Brutalist takes the crown without question.

 

#02. Conclave (Dir. Edward Berger; Focus Features)

– “Hell Arrives Tomorrow, When We Bring In The Cardinals.”

– Read My Initial Written Review

– Plot, via Letterboxd: After the unexpected death of the Pope, Cardinal Lawrence is tasked with managing the covert and ancient ritual of electing a new one. Sequestered in the Vatican with the Catholic Church’s most powerful leaders until the process is complete, Lawrence finds himself at the center of a conspiracy that could lead to its downfall.

– Why I Loved It: Aside from Challengers, perhaps no other movie received the “memefication” treatment this year quite like Conclave. As Erik Anderson of AwardsWatch aptly described on his podcast, it’s like watching a group of divas battling for the crown – only, in this case, the “crown” is the papacy, and the divas are cardinals electing the next Pope. The film doesn’t shy away from the political intricacies either, delving into the different factions, each candidate’s hubris and flaws, the strategic opposition dumps, the tense ballot voting, and the rise and fall of various contenders. There’s even a wry joke about political conventions that lands perfectly.

In an era when faith-based movies often preach to their own audience bubbles, Conclave takes a refreshingly nuanced approach. It interrogates the concept of faith, putting it to the test, while still suggesting the possibility of divine intervention in the process. The film plays beautifully with an audience. The crowd I watched it with chuckled at the moments of levity and sat rapt during the tense exchanges and intricate plotting. Every story beat delivers a twist, and just when you think it’s reaching its conclusion, another turn leaves you exiting the theater full of questions. In a year marked by political upheavals around the world, Conclave might just be the film that most aptly captures the spirit of our times.

 

#01. Wicked (Dir. Jon M. Chu; Universal Pictures)

– “The Best Way To Bring Folks Together Is To Give Them A Real Good Enemy.”

– Read My Initial Written Review

– Plot, via Letterboxd: When ostracized and misunderstood green-skinned Elphaba is forced to share a room with the popular aristocrat Glinda, the two’s unlikely friendship is tested as they begin to fulfill their respective destinies as Glinda the Good and the Wicked Witch of the West.

– Why I Loved It:  No movie this year has gotten more repeat viewings out of me than Wicked. I’m nearing my tenth round, and it’s only been out for a month and a half. This film is everything I long for in a cinematic experience – the build-up to the grand title card sequence, the jaw-dropping musical numbers, the intricate choreography, the stunning costume and production design that fully immerses you in its world, and the stellar performances. Cynthia Erivo is nothing short of dynamite as Elphaba, and Ariana Grande’s comedic chops as Glinda (“the Ga is silent”) are an absolute revelation. From the opening chords of “No One Mourns the Wicked” to Elphaba’s breathtaking high note in “Defying Gravity,” this is two hours and forty minutes of pure movie magic, and it’s only the first half of the whole story!

I’m genuinely surprised at how many people have called this “the biggest surprise of the year.” Really? The beloved first act of one of the most successful Broadway shows of all time? Directed by Jon M. Chu, who gave us the great Crazy Rich Asians and the euphoric In the Heights? How could anyone have doubted that this was going to be something special? If anything, I think next year’s second half will face a tougher challenge. Much of the credit belongs to Jon M. Chu for delivering something that could have easily been another by-the-numbers studio cash grab. Instead, he’s given us yet another masterpiece in the genre – and proven himself to be the true wizard behind the curtain. Between In the Heights, The Color Purple, and now Wicked, the film musical has been on an incredible streak for me in the first half of this decade.