The Best Films of 2024: From Body Horror to Heartfelt Drama
Dustin Chase
The year 2024 is finally closed, and while we may have turned the calendar over to 2025, we will still be talking about the good or the bad films that danced across our eyes. I always like to preface “best of the year lists” with the notion that it’s only based on what each lister saw each year. The average person only sees about six films at the cinema a year. Sure, more are watched at home and on streaming. Film critics will watch and or review hundreds of films a year. Everyone’s tastes are different; general audiences purchase an average of six tickets a year to films that likely cater to their tastes, whereas film critics are watching what they’re assigned that week, what’s next in the pile, or what they need to see before the end of the year voting deadlines. This means they are more likely to discover something they might not ordinarily have gone out to watch on their own.
With all that out of the way, the film at the bottom of my best list is “The Substance,” a body horror film with a powerful message about age and beauty starring Demi Moore and Margaret Qualley. Sure, the ending is “too much” and loses sight of what makes the first hour so spectacular, yet it’s the kind of film you can’t stop thinking about. The editing is so prolific, the acting is superb, and it’s a fantastic example of a small budget with big ideas.
Next on my list was an even smaller film set in West Texas that I reviewed back in August called “Catching Dust.” The visual design of the film is as impressive as the suspenseful story. I called it a moving installation, and if you have been to or around Marfa, you will understand the sort of vibe this film thrives on.
Each year, there are cinematic casualties, “One Life,” which I saw back at the Toronto International Film Festival in 2023, was bumped to a spring 2024 release, basically buried and forgotten about. It’s an emotional journey into the past, celebrating the life of Nicholas Winton and how he saved children from death during WWII. While the story is predictable, a bit by the numbers, it’s still a compelling testament to hope and a stirring performance from Anthony Hopkins.
I reviewed Justin Kurzel’s new film “The Order,” starring Jude Law & Nicholas Hoult, a few weeks ago. This is yet another example of a true story that is presented in an old-fashioned movie-making way. Full of suspense, intrigue, meditative performances from the cast, and memorable on-location camera work. It came and went in theaters without much buzz, but it should be on streaming soon.
We’ll hear about the following six films in the next few months as they are all in the awards conversation. “A Real Pain” is a slam dunk for Supporting Actor, as Kieran Culkin continues to rack up nominations and wins for his performance. Written, directed, and starring Jessie Eisenberg, no film in 2024 blends comedy and emotion so well.
I have a hunch that “The Seed of the Sacred Fig” will do well outside the international film category at the Oscars. Once more people see it and realize how powerful the film is, combined with the hurdles the director overcame to finish the movie, it’s a powerful homage to the importance of cinema, voice, and culture, not to mention an ending that will leave you breathless.
“Sure, the ending is ‘too much’ and loses sight of what makes the first hour so spectacular, yet [The Substance] is the kind of film you can’t stop thinking about.”
“Conclave” is another example of a good old-fashioned film you might have found in the 90s with a Miramax logo on it. Starring Ralph Fiennes in a rare tormented good guy role, a priest tasked with overseeing the election of a new people, navigating through scandal, drama within, and violence from the outside. A fascinating supporting turn from Stanley Tucci and an all-star cast rounded out by John Lithgow and Isabella Rossellini. It’s a solid film that you can put anyone in front of, and they will enjoy it. Director Edward Berger elevates the papal thriller with electrifying cinematography, the best score of the year, and the kind of compelling drama you can sink your teeth into.
Sure, “Wicked” has its problems; that bizarre backlighting stuff is head-scratchingly awful. Yet there is no denying that the book turned musical and now cinematic adaptation reminds us of the power in movies, much like “The Wizard of Oz” did back in 1939. “Wicked” is an ingenious prequel reinvention, whether you like the music or not. Cynthia Erivo, who plays Elphaba before she becomes the iconic Wicked Witch of the West, breaks new ground by doing her own stunts while singing live. It’s a tour de force performance alongside likely supporting actress winner Ariana Grande as the young Glinda.
Most will consider my runner-up film a series, but writer/director Alfonso Cuarón says he only knows how to make cinema and believes his latest, “Disclaimer”, a 5-hour and 43-minute film. I agree, which is why I reviewed it back in October. The compelling drama stars film heavyweights Cate Blanchett, Kevin Kline, Lesley Manville, and Kodi Smit-McPhee. It’s a cautionary tale for modern times about finding your own truth, not just what is presented as truth.
Finally, miles ahead of all the films I have mentioned previously, Denis Villeneuve’s “Dune Part Two” stands alone as the best achievement of 2024. No other movie comes close in scope, scale, or adventure. It’s the rare time a second film in a series outdoes its predecessor. From the cast lead by Timothee Chalamet to the special effects and craft work displayed within, it’s the only film this year that offered goosebumps in spades. It’s more than just a continuation of arguably the most influential science fiction novel ever written, but another reminder of Villeneuve’s cinematic genius.