2024 Movies

This may sound weird since I saw three movies in the theater last year, but this year I feel like I actually rediscovered movie theaters. Those three movies I saw last year were all with specific purpose divorced from the movie itself (meeting someone new, filling in a time gap with a friend, and getting out of the house because my leg is broken). This year, however, I think I actually learned the value of going to the movies: I focus on the film. At home I only have a laptop, no bigger screens, and most movies are watched on my computer, in my computer chair, regrettably with another tab open sometimes. In a theater I can do nothing but watch the movie from a comfy recliner. Then I have to drive home either by myself where I can reflect or with another person where I can discuss. It's that genuine escapism that I can only replicate watching movies on Wednesday with Adam at his house. I should have done this years ago.

My list currently still has Dune 2,which I will not get to until Adam and I can set aside the time to watch both films back to back.

Loved:

Anora: I've been a fan of Sean Baker since Tangerine, loved Florida Project, and was pretty let down by Red Rocket, but oh man, this movie rocked me. It kind of manages to merge all the best things about his previous films. It's got fun chaos, beautiful shots, interesting characters, a bit of social commentary, and the ending literally made me cry and tied the whole film together perfectly. It might be his best film. It might also be my favorite film of the year, but there's some tight competition below.

Conclave: A religious movie from a totally different angle that really examines the complexity of beliefs in the same religious institution. I heard this described as Succession but the Catholic Church and I was like: say less; it's already on my list. I love a well crafted suspense film, and this one kept me on the edge of my seat. I was literally screaming in joy at the last plot twist. I liked it so much, I watched it a second time WITH MY MOM, which gave me an even greater appreciation for the writing, direction, and costuming.

A Real Pain: A rare moment for me of thinking a movie actually needed to be a little bit longer; fifteen minutes in the middle-end portion would have helped. It's actually only an hour and 22 minutes anyway. There are a lot of things I like about this movie (Kieran Culkin). I love movies about grief, family dramas, (Kieran Culkin), and travel stories. The part that I struggled with was mainly 1.) I actually wish we had seen more of the tour towards the end to give us a bit more time with David and Benji before the end and 2.) I have mixed feelings about the end thematically. I love that it ends where it started with Benji symbolically stuck at an airport (also Kieran Culkin), but it makes me wonder what was the ultimate message. Neither he nor David seems to have changed? Is that the point? This experience maybe allowed David the catharsis he needed, but what about Benji? Even the last scene of them on the roof didn't make that fully clear. The movie outright stated a lot, but this theme was unclear. Either way, I really liked it (and Kieran Culkin's performance as every attractive, charismatic, depressed man I ever dated or had a crush on rolled into one messy human).
EDIT: Rewatched and moved it to Loved. Still think it could be longer, but the themes work better than I gave credit for initially.

The Substance: This movie had me captivated from beginning to end. I complain sometimes that movies are getting too long, but this movie deserved all two hours and twenty minutes of its length. I remember thinking, I've been watching this for a while but it's clearly not over; how much time do I have left for it to get crazier? And oh boy, did it. Loved it as a commentary on aging and how we abuse our bodies in both youth and old age. Loved it as a body horror. It felt like old Cronenburg but with more satire.

Heretic: Another amazing horror movie and the first movie that sparked my theater love. The commentary on religion was amazing, and I hope that Monopoly scene becomes iconic. I saw it with Luke and afterwards decided it would be perfect with two minor writing changes: 1. the woman in the veil didn't die but had some kind of condition that allowed her to appear dead and 2. instead of the "followers" being in cages, they are in a bunker scenario and want the Mormon girl to join them. Those two bits bothered both of us, me thematically and Luke from a horror expectation stance. Either way, incredible writing and acting from the three leads.

Nosferatu: I waffled a little on whether this was a loved or really liked, but I settled on loved. It's been a long time since I saw the original, but this one really captured that spirit (and that of Dracula in general) while really upping the vibes and also the horniness, which I wasn't expecting. It's another great horror film although I found it less of a horror film and more just a gothic film in general with some interesting themes and incredible cinematography, direction, and design. I'm going to Romania for spring break and I squealed when I saw the exterior shot of Corvin Castle.

Wicked: I was so strongly on the "I'm not going to watch this because it's just a part one" boat, but I caved after hearing everyone rave about it. Okay. Fine. Deserved. The casting was perfect and the sets and costumes were just unspeakably amazing and I loved the extra little details to develop the world beyond the stage show. I cried like three times?! And I've never even been that big a fan of the musical?!

Nickel Boys: A minute into this movie I thought it could be a Barry Jenkins film only to realize it's by a director I've never heard of because he only made one other film, an experimental documentary. Experimental is absolutely correct here because this is one of the most uniquely directed films I've seen in a while. I loved it. I also thought I was so clever thinking I had figured out the end only for that little twist to knock me over. My one criticism is a usual one: it's too long. Shaving 20 minutes off the film would have been a real help for pacing without sacrificing the uniqueness. The fact this movie wasn't nominated for Best Director (especially over Emilia Perez?!) is a crime.

Ghostlight: I love a grief movie, man. I love community. I love theater. I love commentary on masculinity. I love an extended metaphor. 

No Other Land: I think one of the strongest things about this film was the juxtaposition of the horrifying footage taken over Basel's childhood and the few years the film was made and the quiet moments where Basel and Yuval just reflected on their respective situations. A genuinely impressive, moving, and important documentary.

Sugarcane: I chose to watch this film on a day when I was crying over everything, which was a choice. Absolutely horrifying look at residential schools in Canada that I wish I had been able to watch about three weeks ago before I talked about Native issues in my senior class. 

Black Box Diaries: Also a rough documentary but fascinating in how it was constructed.

Will & Harper: This documentary was a really fun watch and a fascinating look into the trans experience from someone transitioning at an older age. The one thing that didn't work for me was sometimes it was a bit too easy to see the strings of manipulation, like I know what emotion the director is trying to illicit. It occasionally took me right out of the film.

Flow: A simple but beautiful film. The visuals are great and the music fits perfectly and the story itself is just cute and quietly important.

Inside Out 2: A really wonderful expansion on the first movie. I kind of wonder if (and hope honestly) there will be a third to fully round out the narrative of Riley from child to teen to adult. I love Ennui.

Really Liked:

I Saw The TV Glow: I will need to rewatch this one day. I watched it on a plane and a dark place was a good setting. This movie had strong David Lynch vibes and although I know it is a trans allegory, it is told in such a universal way that many people I know missed that theme entirely. The entire idea of the inescapable march of time, existentialism, and identity was just so good. Bonus that it was also nostalgic as hell for me because of the time period; I immediately knew the writer-director was my age (just looked it up and holy shit they also went to the same uni as me).

All We Imagine As Light: This is a film that I am tempted to call neorealist even though it's really not. It just has that same authentic feeling of showing real women with their real problems. The film really feels all about the mood, well captured in the cinematography and the voiceovers. I've been to India, but not Mumbai or the southern coast, and I could really feel the contrasting essences of these places and feelings of those who live there. Absolutely insane why this movie isn't up for the International Film Oscar.

The Brutalist: There were a lot of good ideas in this movie about the immigrant experience, trauma, and the importance of art, as well as good acting, directing, and music. The ending reveal really brought forth those ideas in a complete way without feeling too obvious. But you want to know the best thing about this film? It understood the importance of an intermission. I watched half the film, did some errands, and completed it after and that allowed me to actually reflect on the film at a well-timed midpoint before continuing on. I believe that the intermission actually allowed me to appreciate this film far more. Other filmmakers please take note.

I'm Still Here: I went into this film not knowing what it was about, and I ended the film crying. In spite of the serious subject matter, it's handled so carefully that it wasn't until I got to the end and fully felt the horror of what had happened. I too was duped, so to speak, by the smiles. A very well crafted film with a great leading performance.

Strange Darling: A plot twist done so right. This movie was sexy and scary and I didn't know who to believe for most of it. The cinematography was also very nice, and I really loved the non-narrative structure and the commentary on gender.

Blink Twice: Got a rec for this one from a student. A fun horror movie with really nice visuals that asks some interesting questions about the value of memory and its tie to morality.

Challengers: Easily the first movie by this director that I actually enjoyed; he always comes close but never really hits for me. This was definitely one I liked more the more I thought about it. Just three people of varying degrees and manners of terribleness, striving for perfection. The music was also insane in the best way.

Sing Sing: Want a double feature on theater and masculinity? Watch Ghostlight and this. This film could easily have fallen into a kind of overly precious film but the film manages to be more grounded and have stellar direction and performances.

Sometimes I Think About Dying: I have never seen a movie so perfectly capture the existential dread of both working in a small office of boring people and trying so hard to connect without being sure if you even want to.

Small Things Like These: This is going to sound weird but this movie perfectly captures a feeling of death that I associate with Ireland. Maybe it's because half my family is Irish or something, but the mood of this film is so strong and sad. I like how it ends, but I do find myself wondering what mess the main character just made in the name of doing the right thing.

Rebel Ridge: I trust Jeremy Saulneir to make movies that are extremely well crafted and full of small town violence and genuine suspense, and he always delivers. My favorite of his will probably always be Green Room, but this film was great. I was on the literal edge of my seat for the second half.

Monkey Man: I had to put this one right after because these two films would make a great double feature of "action movies with important social commentary." I went into the film knowing only that there was a reference to Hanuman and Dev Patel was in it and got a lot more in both senses. The only real issue was that the beginning was confusing because they were holding off on the back story revel until the middle. I get why, but there could have been a way to structure it better and give us a bit more info right away.

Thelma: Love that this movie exists. I got a lot of chucks, and the climax was so perfect.

A Different Man: I really enjoyed the themes of this movie, but, as a reviewer put it, I wouldn't watch it again. For me it was just the tone, which kind of grated on me from the beginning. I like black comedies, but this one just didn't hit in that way. I guess it did slightly lighten the fact that you are watching a movie where Sebastian Stan is miserable literally the whole film. 

Late Night With The Devil: Solid horror movie, I loved the documentary/late show set up. The only thing that needed work was the ending montage situation. And I was also thinking the inclusion of The Grove would have more significance in the climax, but didn't? Did I miss something?

Liked:

Babygirl: Putting this one at the top because I was excited for this and a bit let down. There were things I liked about it, particularly the ending and the psychological aspects, but a lot of this film didn't come together for me. The metaphors were so dead on obvious I was kind of rolling my eyes (although I enjoyed the little nods to Ibsen plays), the editing was abrupt and weird at times, the story pacing didn't always work with some plot points going way too fast and others way too slow, and I just couldn't get past how cringe and unattractive the male lead character was. That was kind of the point surely, if he was too appealing she might leave her husband for him, but it certainly gave a yuck to what could have been a yum for me. Still okay, but it could have been way better.

Queer: I think I gotta spend a little more time dissecting my issue with Luca Guadagnino films. Every time I see one of his movies I think, "I should like this more than I do" (Call Me By Your Name was okay but the age difference gave me the ick and Bones And All did nothing for me). I think a big part of it is the pacing, and this movie made that really clear to me. I read the book this film is based on a few months ago and really liked it, and this film definitely had me for the first half, but it just started to drag. They should have cut a half hour from it; that would have strengthened the themes (and I love a body disassociation theme!). It did accurately capture Lee's desperation and Allerton's indifference that infuriated me when I read, but that was the strongest part. I'm also mixed on the anachronistic music but liked the score itself.

Civil War: This movie about journalists is an exciting time, but it's not saying much more than A Private War did a few years ago. The unique appeal is the premise of another American Civil War but it's so vaguely set up that it could be about anything. That's at least partially the point - a lot of people fighting without a clear goal - but in comparison to other socially conscious action movies this year, this one felt a bit thin on the socially conscious part.

The Last Showgirl: A good little movie about someone who has aged out of her performance career and how she's coping with the choices she made. Basically a female counterpart to the The Wrestler from many years ago. Pamela Anderson was perfect casting.

Problemista: I love the creativity of this film and how it was like a kid's show at times. It was very weird in a fun way, especially at the end. I will say though that while I know it was the point Tilda Swinton's character got so over the top sometimes that it was exhausting.

Turtles All The Way Down:  A nice adaption. I barely remembered the book, but the movie was very well composed. J Smith Cameron makes an appearance too!

The Order: A perfectly good crime movie about white supremacists getting taken down. Because I enjoy Nazi-punching, I've seen a lot of films that are similar and this one is mainly interesting because it is true, but I couldn't help but think of similar films that I enjoyed more.

The Apprentice: I wasn't sure if I was going to watch this because I'm on a Trump detox and will be for a while, but Jeremy Strong as Roy Cohn was hard to pass up. Then I found out Maria Bakalova was in this during the opening credits, and I knew I'd be okay. This movie was an interesting watch with some really solid character development throughout from everyone. I'm just glad I watched it before the election.

Emilia Perez: I don't know if I've ever seen a musical where I more strongly felt the vibe of "this did not and maybe even should not have been a musical." The plot is actually interesting (although it is all over the place) and the lead actress does a great job, but the singing made me feel like I was watching a parody instead of a serious film, and it was clearly trying to be serious. And the music sucked. What a weird misstep.

Saturday Night: This movie feels interesting almost more as a piece of history than as a movie. While it was necessary, there were so many characters to try to keep track of, and it was appropriately disorientating. I got a few chuckles.

Love Lies Bleeding: This movie was not quite was I expected, but I also didn't really expect anything specific? When it got weird, I was unmoved, but the discussion of gender and power was interesting. Oops, all toxic relationships the movie.

Carry-On: Per recommendation of a student, I watched this one and found it a perfectly entertaining action movie. The biggest misstep for me was that one digital action scene that was so insanely fake and didn't match the rest of the film. Otherwise, fun.

Moana 2: Apparently this was going to be a show instead, and you can tell. The stakes are high enough but the writing feels kind of minimal and lazy. The songs were weak and every one was a random attempt to hype up Moana, who just spends the whole movie vaguely doubting herself. This characterization would have made more since if she actually failed somehow in the beginning to give credence to her thoughts, but again, lazy. Like Frozen 2 before it, this felt more like a cash grab than a creative desire to continue a story. And apparently there was a sequel tease? Ugh.

Immaculate: Here's where we get into the horror movies that I didn't love but still thought were good. This one was the best of that category in my opinion and it was a recommendation from a student. I loved the decision to not show the baby at the end and the entire vibe of this movie was perfectly unsettling.

MaXXXine: Genuinely found this one to be the weakest of the trilogy by a lot. The whole sinful Hollywood theme just didn't resonate as much as the ideas in the first two films, and I really wasn't that captured by the movie like I had been with X and Pearl.

Okay:

Longlegs: Man, religious horror was really a genre this year, huh? It feels weird to say I didn't totally get this movie, but I kind of didn't get this movie. I basically had to watch it twice because I kept thinking I was missing something or getting distracted. Does "longlegs" have some kind of metaphorical meaning? Are these Satanic dolls actually magic? I don't know what this was.

Didn't Like:

It Ends With Us: I went into this film knowing I wouldn't like it but wanting to understand something of the Colleen Hoover phenomenon. It was meh but not painful or anything. My thoughts are basically: lots of lampshades hung around wackass choices, weird editing, and kind of flippant about its themes.

Mean Girls: I didn't hate this film or anything, but it was completely unnecessary. It was basically the original film with slightly less sincere delivery and every once in a while all momentum stopped for a useless and not good song. I liked Auli'l Cravalho and Jaquel Spivey at least. 

Megalopolis: What was that? Really. I don't know.

Uglies: A rare one for me: I straight up didn't finish this film it was so bad. I got a half hour in and decided I'd rather be doing anything else. I can barely watch a video summary of this movie without getting bored.