2024 was a helluva emotional rollercoaster – politically (the presidential election), economically (the aftermath of the film industry strikes), and globally (international wars). And that’s to say nothing of the diverse and varied films released. In the spirit of “focusing on the positive,” let’s zero in on the best cinematic achievements of 2024. From singing and dancing witches, to gross-out feminist body horror, to desert-dwelling sandworm riders, 2024 had plenty to offer in the way of spectacle. It also had lots to offer in the way of indie darlings. No matter what genres or subjects tickle your fancy, there was some tailor-made to dazzle all of us. But what were my top 25 films of 2024?
MY TOP 25 FILMS OF 2024
1. Nickel Boys (Directed by Ramell Ross)
“The one thing that Nickel taught me was how not to die.”
Nickel Boys is a truly extraordinary marvel of directing, editing, and cinematography. The innovative, first-person framing device merged with stirring archival footage made this a one-of-a-kind immersive and sobering experience. The film sustains a strong sense of foreboding and dread without ever resorting to gratuitous violence. Even in its darkest moments, director Ramell Ross finds moments of grace and humanity. Aunjanue Ellis-Taylor supplies a lot of that humanity in a Best Supporting Actress-worthy performance. It’s a bold and audacious adaptation of Colson Whitehead’s Pulitzer Prize Winning novel. Ross and cinematographer Jomo Fray seem to intuitively understand that what is not seen is far more impactful, harrowing, and deeply felt.
There are many exceptional movies on this list, but none took me on quite the emotional journey as Nickel Boys, making it my top pick for the top 25 films of 2024.
Available now only in theaters.
2. The Brutalist (Directed by Brady Corbet)
The Brutalist is a colossal cinematic achievement and a sprawling, majestic American epic from a bygone era. It likens the scope and ambition of films such as There Will Be Blood, Once Upon a Time in America, and Giant. Yet, despite the vastness of its setting and the grandeur of its vision, this is a decidedly intimate exploration of the immigrant experience and the pursuit of the American Dream. Brady Corbet’s direction is masterful and awe-spiring. Adrien Brody gives a towering and soul-stirring performance that fuses charisma, tenacity, and vulnerability. Guy Pearce and Felicity Jones also turn in excellent supporting turns—Pearce, venomous and ferocious, and Jones, courageous and resilient. This instant classic is a brilliant marriage of strong direction, acting, and emotionally sweeping storytelling.
Available now only in theaters.
3. Challengers (Directed by Luca Guadagnino)
Luca Guadagnino’s Challengers was the most suspenseful and brazenly alive film of 2024. It was also the sexiest. Guadagnino’s technical prowess and affinity for sweat-soaked storytelling are truly unmatched. Between its blaring EDM-fueled score, kinetic editing, and twisty, nail-biting narrative, the film serves up some serious heat. The chemistry between Zendaya, Josh O’Connor, and Mike Fast is electric. The film’s final 15-20 min stretch is some of the most exhilarating cinema I’ve ever seen. Challengers solidifies Guadagnino as a master craftsman and storyteller, while also serving as his most crowd-pleasing and purely entertaining film yet.
Wait, does this mean I’m a sports fan now?
Available now on Prime Video.
4. Anora (Directed by Sean Baker)
Anora is an impressive, high-wire act of cinematic brilliance. The dramatic tonal shifts, stealthy genre-bending, and wild narrative swings never hit a false note. Believe the hype, Mikey Madison is PHENOMENAL. The supporting cast is also terrific and supplies some of the biggest laughs I’ve had all year. Underneath this romantic madcap dramedy is an uncurrent of human tragedy that resonates on a soul-deep level. Sean Baker has become an important cinematic voice for the working class, restoring dignity and empathy to their lived experiences. The film is by turns magical, joyous, and sobering. Anora, I adora you.
Available now on VOD.
5. The Substance (Directed by Coralie Fargeat)
I cannot believe this film actually exists. Not only does it exist, but it played in mainstream theaters and is shaping up to be a competitive awards season player. Coralie Fargeat’s The Substance is a clever hybrid of satire, camp, art house, and gross-out body horror with razor-sharp social commentary on aging anxiety and societal beauty standards. The first two-thirds are vibrant, stylish, conceptual, and minimalist before morphing into a gonzo maximalist Cronenbergian body horror. Demi Moore performs her career—fearless, bold, primal, and emotionally naked. Fargeat has crafted a gutsy, audacious, and visionary new genre cult classic sure to be adored and hated with equal passion, but never forgotten.
Available now on MUBI.
6. Dune: Part 2 (Directed by Denis Villeneuve)
In some ways, Denis Villeneuve‘s Dune: Part Two feels like the culmination of his entire filmography. Consider the humming helicopters in Sicario, the eye-popping visuals of Blade Runner: 2049, or the philosophically dense ideas in Arrival. He skillfully weaves together complex concepts, elaborate world-building, and intimate human drama with fluidity and ease. Dune: Part One is already a stunning technical achievement, but Part Two is deeper, more thought-provoking, and bigger in scope. Villeneuve and Co. have crafted one of the best sci-fi epics (and sequels) of modern contemporary cinema. It joins the ranks of Lord of the Rings: The Two Towers, The Dark Knight, Terminator 2, and Aliens.
Available now on MAX and Netflix.
7. Sing Sing (Directed by Greg Kwedar)
Few films have the power to heal the emotional wounds invisible to the naked eye. Sing Sing is one such film. Its premise, central message, and objective are a rallying call for the transformative healing properties of the arts. It chronicles the incredible true life story of John “Divine G” Whitfield (Colman Domingo) and his fellow inmates of Sing Sing Maximum Security Prison. All members of the Rehabilitation Through the Arts (RTA) theater program, slowly witness them tear down the walls of toxic masculinity and past traumas. Once they give themselves over to humility and vulnerability, they liberate themselves from guilt and shame. The entire ensemble (mostly previous, real-life inmates playing versions of themselves) is terrific, but this really tremendous showcase for Domingo and newcomer Clarence Maclin. Greg Kwedar’s sensitive and empathetic direction makes this an emotionally stirring and life-affirming experience.
Available now only in theaters.
8. Love Lies Bleeding (Directed by Rose Glass)
Love Lies Bleeding showcases and expands upon the artistic powers of director Rose Glass by courting a thematically rich narrative with striking visuals and visceral genre thrills. Part queer romance, part film noir, and part body horror, the film melds genres and challenges audiences to re-contextualize everything about them. Shifting between moments of steamy eroticism, surrealistic imagery, and shocking violence, the suspense is relentless and palpable. By centering the story around queer subjects, Lou and Jackie (played ferociously by Kristen Stewart and Katy O’Brian), traditional notions about masculinity, sexuality, and gender roles become unraveled. O’Brian’s transformative and smoldering breakout turn commands our attention. From its pulsating score, elements of magic realism, and bold narrative swings, Love Lies Bleeding is at first familiar, and then otherworldly, but always unpredictable.
Available now on MAX.
9. I Saw The TV Glow (Directed by Jane Schoenbrun)
Jane Schoenbrun’s singularly disturbing film I Saw the TV Glow had a profound affect on me. It is difficult to put into words. It was an “out-of-body” experience. The film burrowed deep into my subconscious, extracted my private thoughts and anxieties, and laid them bare. It transported me to the mindset of an adolescent, leaving me paralyzed and overwhelmed with emotion. It is deeply cerebral, blurring the lines between fact and fiction with evocative, neon-hued imagery and eerie sound design. And yet for all its jarringly immersive visual flair, the film feels decidedly intimate and tethered to Schoenburn’s personal experiences. It is the quintessential ‘millennial’ film of our times. It embraced and brought about healing to my inner child, reminding me that I am not (and never have been) alone in my pain. Schoenbrun is a true visionary and an excavator of the soul.
Available now on MAX.
10. Wicked (Directed by John M. Chu)
Okay, sue me. I got swept up in the Ozian phenomenon. It has an infectious, whimsical spirit, a warm heart, and dazzling musical numbers and performances. I found it soulful in ways I was not expecting. The production design, the powerhouse vocals, and the costuming were all “chef’s kiss.” Pop singer Ariana Grande-Butera is a volcanic, comedic scene-stealer. Cynthia Erivo’s soul-stirring presence, expressive eyes, and otherworldly singing voice made me weep. Director Jon M. Chu (In the Heights) imbues this adaptation with such affection and reverence for the source material. Wicked is not a sprawling, multi-million dollar studio cash grab. It is a crowd-pleasing and triumphant labor of love.
Available now on VOD.
Here are my remaining top 25 films of 2024
11. Furiosa: A Mad Max Saga
12. Exhibiting Forgiveness
13. The Seed of the Sacred Fig
14. Nosferatu
15. Hundreds of Beavers
16. Conclave
17. Maria
18. Babygirl
19. Red Rooms
20. Rebel Ridge
21. A Different Man
22. His Three Daughters
23. Hard Truths
24. Ghostlight
25. Femme
Honorable Mentions:
Though these films didn’t make my list of the top 25 movies of 2024, I wanted to tip my hat to their impressive cinematic stories.
The Wild Robot, Strange Darling, Kinds of Kindness, Queer, All We Imagine As Light, National Anthem, We Grown Now, My Old Ass, La Chimera, Juror #2, A Real Pain, Monkey Man, Inside Out 2, The Room Next Door, Emilia Pérez, It’s What’s Inside, Smile 2, Blink Twice, The First Omen, Abigail, Oddity, Sasquatch Sunset, The Outrun, Thelma, Gladiator 2, Lee
Hear more on the Top Movies of 2025 from Laron Chapman and other Cinematropolis contributors on The Cinematic Schematic Podcast
