Adam wraps up his 2024 with the Films that defined the year that was for him.
I’m not going to preamble for long. We could spend an entire article talking about the year that was. You and I would rather not. Better to just get to the good stuff. The best films of 2024.
A few caveats for my list…
I didn’t get to everything I wanted to. That’s okay. I’m at a point in my life as a critic that these lists represent to me more of a temporary one. If we’re all honest with ourselves, we won’t know the true greatness of these films for at least another half decade or even longer. Plus, a certain sector of critics feel like this is just a piece of gamesmanship of who can pronounce the best the quickest. So, take my list as you do with other lists … take it with a grain.
Additionally, at this point, I don’t know when I’ll see The Brutalist. The film that many a critic seems to want to anoint the film of the year/decade/century. This is only if you’re wondering why the film isn’t on my list. That goes for any other film. Ethier A.) Haven’t Seen it. Or B.) Have Seen it and didn’t care for it. I just wanted to say that upfront.
Lastly, the list like in years prior is in Alphabetical Order except for the top film of the year. Everything else could switch positions at any given moment. So, without further ado.
From the opening moments of a grandson patiently helping his grandmother with her computer, I knew I was going to fall head over heels for Thelma – both the character and the film. For anyone who knows me, I have a deeply felt relationship with my wife’s grandparents. This moment in fact brought me to tears because I’ve been in this very situation with Fran (my Thelma). It’s those knowing moments that Writer/Director Josh Margolin gets right, along with the bigger comedic and action beats, that make Thelma such an utter delight. As much an ode to those older folks that many underestimate the film is as much a love letter to why we love action films.
Super / Man: The Christopher Reeve Story (Dir. Ian Bonhote and Peter Ettedgui)
Damn.
Nosferatu (Dir. Robert Eggers)
Visually impressive. Tonally perfect. Acting is superb.
I do appreciate that Eggers laid the groundwork for Lily Rose Depp to decimate in her performance as a woman having to come to terms with her past of being terrorized by a pedophile who groomed and assaulted when she was a child. Then men’s continual rejection of her claims, then gaslighting her into another sexual encounter with said pedophile groomer. All for the sake of the good of a crumbling patriarchal society.
For years I resisted the urge to want a single Powell & Pressburger film. I knew of Scorsese’s obsessions with them. I just didn’t see what all of this “stoggy English Stiff Upper Lip Tweed Suit” nonsense had to do with Scorsese’s Casino or Taxi Driver.
Was I ever wrong.
Juror #2 (Dir. Clint Eastwood)
Eastwood’s final film did not deserve to go out like it did. This is the kind of morality tale dressed as a thriller you promote and champion. It’s a best final film from a director we could ever hope for. For shame WB. For shame.
I Saw the Glow of the TV (Dir. Jane Schoenbrun)
There’s that joke, that’s becoming a reality, that we are all going to work through the apocalypse … that’s encapsulated perfectly in this film. One generations stranglehold on the younger ones and the opiate of TV (or any other medium) as its means to do so.
Director Michael Mohan’s Immaculate could have gone into Nunsploitation territory. It decidedly takes the harder turn into dread and true transgressive horror with Star and producer Sydney Sweeney continuing her ascent to superstardom in a performance worthy of the great Horror Film Star Turns. Yes, we can invoke Rosemary’s Baby in the same breath. Yes, Immaculate is that good.
Kneecap (Dir. Rich Peppiatt)
I was not expecting this one. Like The Commitments before it … its use of music to express the plight of the Irish is as piercing as a klaxon horn. It’s funny too. Obscenely funny.
Didi (Dir. Sean Wang)
Being young is awkwardly painful. Gaining friends. Loosing friends. The yearning of a first love. Finding your place. It’s all wrapped up beautifully in a film running around 90 minutes.
Adam wraps up his 2024 with the Films that defined the year that was for him.
I’m not going to preamble for long. We could spend an entire article talking about the year that was. You and I would rather not. Better to just get to the good stuff. The best films of 2024.
A few caveats for my list…
I didn’t get to everything I wanted to. That’s okay. I’m at a point in my life as a critic that these lists represent to me more of a temporary one. If we’re all honest with ourselves, we won’t know the true greatness of these films for at least another half decade or even longer. Plus, a certain sector of critics feel like this is just a piece of gamesmanship of who can pronounce the best the quickest. So, take my list as you do with other lists … take it with a grain.
Additionally, at this point, I don’t know when I’ll see The Brutalist. The film that many a critic seems to want to anoint the film of the year/decade/century. This is only if you’re wondering why the film isn’t on my list. That goes for any other film. Ethier A.) Haven’t Seen it. Or B.) Have Seen it and didn’t care for it. I just wanted to say that upfront.
Lastly, the list like in years prior is in Alphabetical Order except for the top film of the year. Everything else could switch positions at any given moment. So, without further ado.
Honorable Mentions (in Alphabetical Order):
Thelma (Dir. Josh Margolin)
From the opening moments of a grandson patiently helping his grandmother with her computer, I knew I was going to fall head over heels for Thelma – both the character and the film. For anyone who knows me, I have a deeply felt relationship with my wife’s grandparents. This moment in fact brought me to tears because I’ve been in this very situation with Fran (my Thelma). It’s those knowing moments that Writer/Director Josh Margolin gets right, along with the bigger comedic and action beats, that make Thelma such an utter delight. As much an ode to those older folks that many underestimate the film is as much a love letter to why we love action films.
Super / Man: The Christopher Reeve Story (Dir. Ian Bonhote and Peter Ettedgui)
Damn.
Nosferatu (Dir. Robert Eggers)
Visually impressive. Tonally perfect. Acting is superb.
I do appreciate that Eggers laid the groundwork for Lily Rose Depp to decimate in her performance as a woman having to come to terms with her past of being terrorized by a pedophile who groomed and assaulted when she was a child. Then men’s continual rejection of her claims, then gaslighting her into another sexual encounter with said pedophile groomer. All for the sake of the good of a crumbling patriarchal society.
Made in England: The films of Powell and Pressburger (Dir. David Hinton)
For years I resisted the urge to want a single Powell & Pressburger film. I knew of Scorsese’s obsessions with them. I just didn’t see what all of this “stoggy English Stiff Upper Lip Tweed Suit” nonsense had to do with Scorsese’s Casino or Taxi Driver.
Was I ever wrong.
Juror #2 (Dir. Clint Eastwood)
Eastwood’s final film did not deserve to go out like it did. This is the kind of morality tale dressed as a thriller you promote and champion. It’s a best final film from a director we could ever hope for. For shame WB. For shame.
I Saw the Glow of the TV (Dir. Jane Schoenbrun)
There’s that joke, that’s becoming a reality, that we are all going to work through the apocalypse … that’s encapsulated perfectly in this film. One generations stranglehold on the younger ones and the opiate of TV (or any other medium) as its means to do so.
Immaculate (Dir. Michael Mohan)
Director Michael Mohan’s Immaculate could have gone into Nunsploitation territory. It decidedly takes the harder turn into dread and true transgressive horror with Star and producer Sydney Sweeney continuing her ascent to superstardom in a performance worthy of the great Horror Film Star Turns. Yes, we can invoke Rosemary’s Baby in the same breath. Yes, Immaculate is that good.
Kneecap (Dir. Rich Peppiatt)
I was not expecting this one. Like The Commitments before it … its use of music to express the plight of the Irish is as piercing as a klaxon horn. It’s funny too. Obscenely funny.
Didi (Dir. Sean Wang)
Being young is awkwardly painful. Gaining friends. Loosing friends. The yearning of a first love. Finding your place. It’s all wrapped up beautifully in a film running around 90 minutes.
All My Love (Dir. Spike Jonze)
Niagara Falls.
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