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| Guess what the film of the year will be... |
It seems like I gripe every year about how I'm too lazy to get my butt to the big screen, or there's not as many great films worth seeing anymore. I think 2024 is a year where things started to look up. There were several big films I was actually enthused to see, and I made the effort to visit the cinema more. I had a whopping 15 trips to the theater–it's not the most I've done in a year, but it's more than the last few years.
It's funny how many gosh darned sequels were put out this year. It wasn't just the regularly scheduled titles like Dune Part Two, the Mad Max spinoff/prequel, or the third Deadpool. We have a second Twister now, folks. I never would have seen that coming. Similarly, I never expected to see a second Beetlejuice rising from the grave. And, what's this–a new Gladiator for some reason? A new Joker movie? Another Beverly Hills Cop? An Omen prequel? A second Inside Out? Another Alien movie? Another Ghostbusters? A new Planet of the Apes? A Quiet Place prequel? Another Bad Boys? Kong and Godzilla again? Kung Fu Panda 4? Despicable Me 4? Moana 2?
Sure, why not? At first glance, it looks like the year of the sequels. Some of them work, some of them don't. Some of these have been pleasant surprises, bringing something fresh to the table, or bringing a welcome return of legacy characters and talent. The misfires haven't bugged me as deeply (although Joker: Folie à Deux is a head-scratcher).
However, there are good original titles coming out of the woodwork that offer a lot more pop and creativity that surpasses the usual slop of franchises. Whether it's the shocking Grand Guignol spectacle of The Substance, the spicy love triangle behind Challengers, the snappy levity of The Fall Guy, the emotional resonance of both The Wild Robot and Robot Dreams, or seeing the reinvention of Nosferatu into a nightmarish trance–these experiences struck me as genuinely engaging, interesting, worthwhile, and sometimes they were even moving. There have even been a few good eye-opening documentaries that deserve attention (between Super/Man, The Contestant, and Buy Now!).
There are a few bummers in the mix, but not nearly enough to drag the whole year down for me. Looking back on this year's films, I feel a little more excited than usual, even with the indulgence in sequels. Naturally, there are many films I missed and countless titles that are waiting to be discovered. But I do think I've seen enough to make an informed judgment on this year's line-up. Overall, I'd say it's been a pretty good year.
I still expect to follow-up and watch some of the ones I missed at some point, like Conclave, Kinds of Kindness, Anora, Hit Man, Juror #2, Love Lies Bleeding, We Live In Time, Blink Twice, Megalopolis, Ministry of Ungentlemanly Warfare, Heretic, Transformers One, Smile 2, Wicked, Moana 2, and Despicable Me 4. If I'm really starved for entertainment, maybe I should check out Garfield, Harold and the Purple Crayon, and The Forge some day, since I saw those trailers nonstop all summer. I'm not in a hurry to see those though.
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55: The Exorcism
Russell Crowe as a priest in an exorcism-themed horror film. This is getting out of hand–now there are two of them!
Work in this film started five years ago before COVID did a number on its completion. This one probably should have been shelved though. It's a dour, drab film that breaks hardly any new ground. Even if there is some promise in its premise covering cursed film productions, the film ultimately devolves into a loud, obnoxious, cliche-ridden climax that falls short of achieving proper catharsis. The sum of the film's parts don't make much sense in the end, betraying the haphazard nature of this production.
For all the criticism that The Pope's Exorcist has, that film at least had enough camp, personality, and quality even to make it "fun." The Exorcism, however, is easily the most dour and boring exorcist film I've seen.
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54: Emilia Pérez
So...this is, like, Some Like It Hot but not nearly as funny? That's lame.
A crime drama like Sicario but with no tension? Lame.
A glitzy expressionist musical like The Great Gatsby but with weird singing and no memorable tunes? Lame.
This dour, weird, disconnected mess of a film somehow gained more Oscars nominations than Lord of the Rings: Return of the King? The lamest baloney since 2005's Crash.
It only gets lamer the more you look at it. This is a film set mostly in Mexico, but the filmmakers didn't research much about the country (and certainly didn't hire any Mexican actors), so of course Mexicans are ticked. This is a film that's supposed to champion the transgender experience, but the LGTBQ community isn't impressed. So who really even likes this film, other than the people running the Oscars?
The sad thing is that this could have probably worked as a decent film if it took a lot of different creative directions. I could honestly see this story and concept working under a different director, especially since so much of the film reminds me of other director's work (whether it be Pedro Almodóvar, Quentin Tarantino, or Baz Luhrmann). Anybody else would have been able to parse out the comedy, drama, and musical aspects in a much clearer way to foster a genuinely entertaining experience. As it is, the film we have is sort of a bland mush of all these elements, and it's lame.
Why is it so bloody hard to make a good film adaptation of a video game? You know you done messed up when two (soon to be three) Sonic The Hedgehog movies prove to be more successful than your crap.
Borderlands is frustrating on the grounds of its many missed opportunities and mismanaged elements. It shamelessly carries over many aspects of the games without much care or consideration for the worldbuilding that the games themselves are best known for. Even the execution of key characters and moments are surprisingly cringey. Most of it just feels off.
And yet, my monkey brain wasn't bored. It's not like the film isn't watchable or anything. Action scenes may be choppy and dumb, but I've seen worse. Sure, Lilith is off-brand, but I still enjoy watching Cate Blanchett take a stab at the role. I actually enjoyed her performance over everyone elses (even Jack Black's whom everyone seems to praise for some reason, but I just can't reconcile his voice with Claptrap's character–he sounds way too much like John Candy's robot from Heavy Metal and I think it's a poor fit). The visuals can be pretty to look at sometimes and there are a few good music cues. I probably would have graded this film higher if it was an original idea, but having played the games, I do see the vast number of missed potential and it is kind of a bummer.
It's easy to feel outraged by this bizarre follow-up, since the story goes through great lengths to tear down the payoffs that were set up in the previous film, making the audience feel jilted in the long run (and it's so hard to tell if it's intentional or unintentional—you can walk away from this feeling like the film is telling you you're an idiot for idolizing the Joker character in the first place). I certainly disagree with the story direction, largely because it leads nowhere. All the character study was accomplished in the first film—the prison drama and courtroom drama only serve to underscore the character's split personality, but this is still nothing terribly new (or even wise—this character should have remained committed to being the Joker through and through, since realizing that persona was the entire arc of the first film). The bad romance with Harley Quinn falls way flat since most of it is told (and hardly shown) through song, betraying the worst qualities of the musical genre. One gets the impression that the Joker has a lot to say, but the payoffs are simply not great.
In the end, this is a terrible idea with grade-A execution. The production looks spectacular and professional. Even the performances are great. I understand that this whole thing was spitballed by Phoenix and Phillips and I can appreciate their dedication to the bit. But in the end, this only exists because Warner Bros saw dollar signs, but a more critical eye on the script would have made a better sequel in many respects. Or maybe it would have been best to just leave it alone.
That being said, my monkey brain was moderately engaged throughout most of the picture, since nearly 3/4ths of it is devoted to the major battle. Considering the plot structure carried over from Seven Samurai, it tracks. Action junkies might appreciate the firm focus on a single prolonged battle. However, it does seem like the first film showed more ambition, and for some reason this is still a butchered version of a bigger, bloodier, more detailed film. Seriously, Snyder? Just give us the good version up-front. There is no excuse this time.
Favorite film: Dune Part Two
Least favorite film: The Exorcism
Favorite blockbuster: Dune Part Two
Favorite arthouse film: The Substance
Favorite science fiction film: Dune Part Two
Favorite fantasy/epic: Dune Part Two, technically
Favorite drama film: Dune Part Two...again...
Favorite action film: Dune Part Two...again?!
Favorite thriller: Trap
Favorite superhero film: Deadpool & Wolverine
Favorite comedy film: Inside Out 2
Favorite horror film: The Substance
Favorite documentary: The Contestant
Favorite animated/family film: Inside Out 2
Favorite foreign film: Robot Dreams
Biggest guilty pleasure: Trap
Most disappointing film: Borderlands
Favorite male performance: Timothée Chalamet in Dune Part Two...no surprise
A crime drama like Sicario but with no tension? Lame.
A glitzy expressionist musical like The Great Gatsby but with weird singing and no memorable tunes? Lame.
This dour, weird, disconnected mess of a film somehow gained more Oscars nominations than Lord of the Rings: Return of the King? The lamest baloney since 2005's Crash.
It only gets lamer the more you look at it. This is a film set mostly in Mexico, but the filmmakers didn't research much about the country (and certainly didn't hire any Mexican actors), so of course Mexicans are ticked. This is a film that's supposed to champion the transgender experience, but the LGTBQ community isn't impressed. So who really even likes this film, other than the people running the Oscars?
The sad thing is that this could have probably worked as a decent film if it took a lot of different creative directions. I could honestly see this story and concept working under a different director, especially since so much of the film reminds me of other director's work (whether it be Pedro Almodóvar, Quentin Tarantino, or Baz Luhrmann). Anybody else would have been able to parse out the comedy, drama, and musical aspects in a much clearer way to foster a genuinely entertaining experience. As it is, the film we have is sort of a bland mush of all these elements, and it's lame.
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53: Borderlands
Why is it so bloody hard to make a good film adaptation of a video game? You know you done messed up when two (soon to be three) Sonic The Hedgehog movies prove to be more successful than your crap.
Borderlands is frustrating on the grounds of its many missed opportunities and mismanaged elements. It shamelessly carries over many aspects of the games without much care or consideration for the worldbuilding that the games themselves are best known for. Even the execution of key characters and moments are surprisingly cringey. Most of it just feels off.
And yet, my monkey brain wasn't bored. It's not like the film isn't watchable or anything. Action scenes may be choppy and dumb, but I've seen worse. Sure, Lilith is off-brand, but I still enjoy watching Cate Blanchett take a stab at the role. I actually enjoyed her performance over everyone elses (even Jack Black's whom everyone seems to praise for some reason, but I just can't reconcile his voice with Claptrap's character–he sounds way too much like John Candy's robot from Heavy Metal and I think it's a poor fit). The visuals can be pretty to look at sometimes and there are a few good music cues. I probably would have graded this film higher if it was an original idea, but having played the games, I do see the vast number of missed potential and it is kind of a bummer.
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52: Joker: Folie à Deux
Never let a billion dollar blockbuster go to waste, I guess. 2019's Joker was a solid one-and-done, so where else could a sequel go, except for maybe continuing to chronicle the Joker's rise in Gotham as a criminal mastermind that rules the streets with cunning and terror?
Nah, that's not it at all. How about a post-modern musical that nobody asked for? Yay, art!
It's easy to feel outraged by this bizarre follow-up, since the story goes through great lengths to tear down the payoffs that were set up in the previous film, making the audience feel jilted in the long run (and it's so hard to tell if it's intentional or unintentional—you can walk away from this feeling like the film is telling you you're an idiot for idolizing the Joker character in the first place). I certainly disagree with the story direction, largely because it leads nowhere. All the character study was accomplished in the first film—the prison drama and courtroom drama only serve to underscore the character's split personality, but this is still nothing terribly new (or even wise—this character should have remained committed to being the Joker through and through, since realizing that persona was the entire arc of the first film). The bad romance with Harley Quinn falls way flat since most of it is told (and hardly shown) through song, betraying the worst qualities of the musical genre. One gets the impression that the Joker has a lot to say, but the payoffs are simply not great.
In the end, this is a terrible idea with grade-A execution. The production looks spectacular and professional. Even the performances are great. I understand that this whole thing was spitballed by Phoenix and Phillips and I can appreciate their dedication to the bit. But in the end, this only exists because Warner Bros saw dollar signs, but a more critical eye on the script would have made a better sequel in many respects. Or maybe it would have been best to just leave it alone.
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51: The Union
About as standard as an espionage-themed action-comedy can get. It will keep the monkey-brain engaged, but it never really stands out in the genre, given the myriads of other, better films you could be watching in its place. It doesn't help that the film has the cheap, made-for-streaming veneer, even with a few exotic locations being leveraged. Acting is fine, but the chemistry feels forced. Action scenes are fine, but the story is mediocre. It's a harmless time-waster, but nothing special either.
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50: Rebel Moon Part Two: Scargiver
The first chapter of Rebel Moon left something to be desired (at least as presented in its original PG-13 version–I have a feeling that the director's cut will be easier to reconcile, but I won't know for sure until I have another 7 hours to spare). Unsurprisingly, the next chapter of Zack Snyder's space opera epic offers more of the same–more slow motion battles, more mundane scenes of grain harvesting, more edge, more head-scratching lore, and ultimately, more of the same. With all of the action focused on the single location now, the film seems a grade less interesting than the first part, which went to some length to show a grander universe with some visual punch. There's little new brought to the table with Scargiver.
That being said, my monkey brain was moderately engaged throughout most of the picture, since nearly 3/4ths of it is devoted to the major battle. Considering the plot structure carried over from Seven Samurai, it tracks. Action junkies might appreciate the firm focus on a single prolonged battle. However, it does seem like the first film showed more ambition, and for some reason this is still a butchered version of a bigger, bloodier, more detailed film. Seriously, Snyder? Just give us the good version up-front. There is no excuse this time.
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49: Unfrosted
Like many of his other projects, Jerry Seinfeld tries hard to be funny, but sometimes it works and sometimes it doesn't. Unfrosted is a goofy yarn about the famous rivalry between two cereal companies as they race to create a toaster-friendly pastry. It's fertile ground for a lot of food-related puns and the roasting company mascots. The attempt at absurdism shows comedic promise, but the execution is often so glib that it comes across as too try-hard and kinda lame. It certainly doesn't show much reverence or care about the real-life people involved with the real-life rivalry, and it could be construed as disrespectful. Ultimately though, this is one of those movies where I see funny things but it elicits no laughter.
This unusual production caught my interest in bursts. There is promise in the premise, the faux TV show scenes are inventive, and above all, the characters invoke the conflicts and trajectories that mirror the transgender experience. Some folks will find this relatable and deep. For me, I was put off by the plodding nature of the plot and the dour tone. It aims for the same mesmerizing, uncanny atmosphere of Donnie Darko, but it never commanded by attention in the same way.
If surrealism was the goal, I think this film falls short because it doesn't offer any kind of puzzle to figure out the same way David Lynch films do. I Saw the TV Glow superficially reflects the mood and style of these kinds of films, but the substance never compelled me, even if the film tries so hard to say something important.
What's that? AIs are scary? You don't say...
There is a tired, uninspired quality to this thriller as it plods through its conventional domestic drama. There are a few good points to be made about deepfakes, perception, social interaction, and how AIs can mess with the whole lot of it on a micro and macro scale. But it still feels like it's riding on M3GAN's coattails, offering nothing fresh to the table. At its worst, it's just senseless fearmongering. AI can be a problem, sure, but feeding into the hysteria with exaggerated, one-sided media like this only comes across as hackneyed and lame.
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48: I Saw The TV Glow
This unusual production caught my interest in bursts. There is promise in the premise, the faux TV show scenes are inventive, and above all, the characters invoke the conflicts and trajectories that mirror the transgender experience. Some folks will find this relatable and deep. For me, I was put off by the plodding nature of the plot and the dour tone. It aims for the same mesmerizing, uncanny atmosphere of Donnie Darko, but it never commanded by attention in the same way.
If surrealism was the goal, I think this film falls short because it doesn't offer any kind of puzzle to figure out the same way David Lynch films do. I Saw the TV Glow superficially reflects the mood and style of these kinds of films, but the substance never compelled me, even if the film tries so hard to say something important.
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47: AfrAId
What's that? AIs are scary? You don't say...
There is a tired, uninspired quality to this thriller as it plods through its conventional domestic drama. There are a few good points to be made about deepfakes, perception, social interaction, and how AIs can mess with the whole lot of it on a micro and macro scale. But it still feels like it's riding on M3GAN's coattails, offering nothing fresh to the table. At its worst, it's just senseless fearmongering. AI can be a problem, sure, but feeding into the hysteria with exaggerated, one-sided media like this only comes across as hackneyed and lame.
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46: MaXXXine
Maybe the bar was set too high by X and Pearl. As tripindicular as it is to see this trilogy capped by an 80s throwback slasher, it's hard to really tell what the point of MaXXXine's story is. It's not as pointed as its predecessors, coasting by on vague vibes. And it's not nearly stylish enough to get away with style over substance the same way The Neon Demon might. It's just kinda plodding, vague, and the ending feels strangely sudden and unearned.
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45: Drive-Away Dolls
A road trip movie directed by even one of the Coen Bros sounded like a hoot. The film is entertaining in bursts, certainly, and there is a firm hand with the cinematography. Can't fault the performances much. This story is a lot hornier than expected–make of that what you will. Sadly, I believe the goofy-looking transitions and abrupt edits make this appear cheaper than it actually is. With some low-key shock value, it comes across with a little less class than expected from the Coen name. But then again, maybe that's intentional. I just wish it didn't come across as cheaply as it does.
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44: Love Across Time
A pleasant and harmless love story. The kind of nice, low-stakes comfort food we need now and then to vicariously feel the good feelings. It helps that this film has a decent premise backing it. I always was a sucker for the fish-out-of-water comedy, even if the comedy is a little fluffy. It's a fair watch, but rom-com fans ought to eat it right up.
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43: Atlas
I doubt anybody asked for J-Lo to be in a sci-fi epic. For a genre fan like myself, the film is a surprising hoot at times. It's at its best throughout the middle stretch as the character fights with her AI counterpart and eventually syncs with it, achieving some semblance of an arc in the process. There is a good amount of humor and action to this streaming-only picture. Can't say I cared for the bookending scenes, seeing as they do little to support the core story, but it's all fair entertainment regardless.
Okay Costner, tell us you're salty about Yellowstone without telling us you're salty about Yellowstone.
Seriously though, the hutzpah on this guy. Horizon was planned to be a four-movie saga–at three hours each, this would be a series as long as the extended Lord of the Rings, but structurally it reminds me of the 7-hour Russian War and Peace film, what with the oodles of characters having oodles of arcs that are intertwined by one historic event. I have a feeling it was designed this way based on the TV-show formulas that have been popular for the past decade, because this film looks and plays like a long-form TV series. Sure, it looks good and the talent is solid, but like some of these big shows, it's only interesting in bursts.
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42: Horizon: An American Saga - Chapter 1
Okay Costner, tell us you're salty about Yellowstone without telling us you're salty about Yellowstone.
Seriously though, the hutzpah on this guy. Horizon was planned to be a four-movie saga–at three hours each, this would be a series as long as the extended Lord of the Rings, but structurally it reminds me of the 7-hour Russian War and Peace film, what with the oodles of characters having oodles of arcs that are intertwined by one historic event. I have a feeling it was designed this way based on the TV-show formulas that have been popular for the past decade, because this film looks and plays like a long-form TV series. Sure, it looks good and the talent is solid, but like some of these big shows, it's only interesting in bursts.
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41: ISS
ISS is an interesting enough movie that dips into the repercussions of a terrifying scenario. Can't say that it's particularly plausible or becoming. In fact, it is a bit of a letdown that the film rides the cynical edge of its core issue, suggesting that the human spirit can be broken easily based on preexisting division, whereas the best space-themed movies often show the triumph of the human spirit through unity. ISS probably could have showed more heart by focusing on the humanity more than the inhumanity. Sure, it's thrilling as it is, but I don't find it believable necessarily.
Despite these grips, I kinda liked it anyway. It kept my attention, I understood what it was going for, and there is a smattering of great space imagery.
I think it was inevitable that we'd wind up with a Christmas movie in the style of Marvel blockbuster nonsense sooner or later. No surprise that the Rock headlines this, under the direction of the guy who made those Jumanji sequels. Lots of people will find this lame with the complaint that nobody asked for this.
However, I don't think there was any pretense behind how ridiculous this premise is, and the action/comedy approach suits the material just fine. The material is treated with sincerity, presenting a wild mythology that is explored with plenty of eye-catching visual flair. Action scenes are fun. The concepts, both old and new, bear a same-bit-different approach that keeps the film unqiue. It's mostly superficial popcorn entertainment, but what will push the film over-the-top is the thematic focus on the goodness of people. Between the main characters' arcs and their observations on human behavior, there is at least some effort to connect this nonsense to a greater message. Sure, it might be on-the-nose and many will probably see it as trite. It does speak to me on some level though. I nodded along with the film's monologues about the choices we face every day, and the necessity to reward the good.
To be fair, the film is plenty entertaining and Michael Keaton is still a real fireball in this role (even at his age, holy crap). It's perfectly watch-able. It's just that when you take a step back and see the whole picture, it looks spotty. Plenty of critics talk about how haphazard the plot lurches along, with the antagonist being killed way too quickly, and too many subplots for one film (which is a shame, because Monica Belluci and Willem Dafoe were way too good for their bit parts). With the "Macarthur Park" musical number though, it really feels like they were reaching for something to top the iconic "Day-O" scene, and it just comes across as weird and lame. There really isn't that much new or becoming brought to the table with this long-awaited follow-up. But at least my monkey-brain was partial towards it.
Most folks probably still have a bad taste in their mouth after the third film. Thankfully, Axel F is a grade better. A perfectly watchable legacy sequel that aligns with the formula of its predecessors and keeps its story engaging through its pacing, plenty of good action sequences, and a fair amount of comedy. It's not knee-slappingly funny, but it does feel like Eddie Murphy stays true to the character and his antics are still a good draw to the film. There are a few added surprises to the story and characters, serving to progress the series into a new generation in the same way A Good Day To Die Hard tried to do (but thankfully it's not nearly as lame). All things considering, this is a fair Beverly Hills Cop sequel, and it's generally better than most other cash grabs that have dominated the market lately.
In many respects, this is just a John Wick clone disguised as a Jason Statham action vehicle. And yet, it's a combination that boasts exciting action sequences with a few brutal fights that'll keep you cheering for this bizarre beekeeping superagent the whole way through. It helps that Statham is still Statham in the role, exuding stoic attitude while flexing physical skill. The bad guys are great love-to-hate villains, but with the opening act's focus on scammers victimizing people, the film won me over from the first frame and gave the conflict some much-needed heart. Even though the Beekeeper comes across as an invincible boogeyman, the story keeps you on his side and it's still quite satisfying to watch him dispatch heartless scammers and corporate goons with impunity. It gets ridiculous by the finale, where the stakes are cranked up to their highest degree, and the subplots with the FBI agents are a slight drag, but the film is hella fun. Probably my new favorite David Ayer film to date (although sadly that bar was set low).
This film also has my favorite opening credits scene of the year. The bee stuff and geometric shapes with that cool music really came across as cool and classy.
Behold, the coming of Marvel Jesus! See it in a theater packed wall-to-wall with a bunch of comic-book nerds, and you're guaranteed a good time. The movie is blatantly designed to deliver cheer-worthy moments every so-many minutes, with numerous surprise cameos, callbacks, nostalgia baiting, and needle drops. But it's still true to the Deadpool name with the constant fourth-wall breaks, crude R-rated humor, subversive jokes, and an absolute lack of good taste. You'll laugh, you'll cheer, you might even throw up. Bring your friends, and maybe your family if they're cool and mature enough to watch [CENSORED]. It's easily the most crowd-pleasing slam-dunk of a film I've experienced.
It's just a question of, what else is there? Will it even have the same impact without a crowd? Can I still cheer when [CENSORED] saunters on the screen? Will I still find the [CENSORED] scene funny? Will the plot hold water, especially with [CENSORED]? Who knows? It might be a one-and-done for me in spite of this. The first Deadpool held up okay on its merits as a [CENSORED]. Deadpool 2 is just [CENSORED]. This one, though? [CENSORED]
I know it might be stupid–it's an M Night Shyamalan thriller, and his bar was already set way too high 25 years ago. I gotta say though, I'd rather watch a twisty plotline like this unfold rather than to sit around and wait for a twist ending (although there are twists in the end that try to give this some more oomph). Running down this plotline is an experience that elicits thrills and interest, and even though folks might not like the shifts in the final acts, I enjoy the unpredictability of it. It helps that Josh Hartnett is freakishly good in the role. His performance galvanizes the twisty plot by nature of the sheer charisma his character exudes (which tracks long the idea that serial killers are well-known to have heightened charisma). In the end, the film's biggest scare is the mere idea that a guy like this could be anyone, anywhere, and could even appear as a good-nature father figure.
And what the heck, I didn't even mind Shyamalan's daughter starring as Lady Raven and doing all the music for the whole runtime. Hot contender for best original movie songs of the year.
Or is it? All art is political in the end, and by The Brutalist's finale, the big twist is that there was a message this whole time. But it still points to resilience as the recurring theme, and from the opening act onward, I couldn't help but to respect László Tóth as the hard-working Hungarian-Jewish immigrant who suffers just to get on his feet, only to find his success being exploited by a capitalist industrialist. There's a lot to unpack just in the premise, but it keeps the drama stimulating throughout its huge 215-minute runtime. It helps that Adrien Brody delivers a performance of a lifetime (for a second time, considering The Pianist), as does Guy Pearce. The cast overall delivers the right verisimilitude, granting a humanist quality to each character. Photography is often spectacular, the music score is nice, and the overall experience is reminiscent of the days of big, epic storytelling.
I do have gripes though, holding this back from becoming the film of the year. The story indulges in many stretches of the mundane, but could have benefitted more by showing other parts of the story that remains unspoken. In that vein, the ending became a little head-scratching, since the film refuses to show the fate of a certain character, and then it indulges in a jarring epilogue that presents more questions than answers. I understand what it's going for though, and it's possible that a neatly-tied-up ending would have been more disappointing. Life is weird and messy, and the film shows it that way. The final dialogue tells us that the destination is worthwhile, but you don't have to dig deep to see that it's a lie. The journey matters, and this film is quite the interesting odyssey. Not bad for a film about architecture–this will mop the floor with The Fountainhead.
While Fury Road roared out the gate first and delivered a rip-roaring action experience, Furiosa takes a road less travelled, presenting the post-apocalyptic wasteland as a sprawling epic. There is a mythic quality to the film, not only in its vivid Snyder-esque visual presentation, but also with the way the story showcases feuding wasteland gangs as grand power struggles with long-running histories of battles, deceptions, and power plays. Given the chapter-by-chapter chronicle of these events, witnessed through the eyes of a scorned woman, it plays out like an Old Testament story for the new world. Back-to-back with Fury Road, it becomes a sobering saga that shows a paradise lost.
It may be hard to reconcile the overabundance of CGI, which is more notable in this entry, and Charlize Theron's presence is sorely missed despite Ana Taylor-Joy's best efforts. Chris Hemsworth is an absolute mad lad as Dementus though. The involving and dynamic War Rig battles stand out as some of the best of the series. The production remains attentive to showcasing incredible details behind this mad future. No matter how mundane this release seems, or how poor its box office returns are, the film presents an imaginative fable that perhaps best realizes George Miller's intention with the series to begin with: to create an apocalyptic legend.
Well, I may not be a teenage girl in San Francisco, but somehow Pixar was able to make me relate to this character successfully across two films now. The sequel carries over much from its predecessor–in fact, it's almost the same, as it propels the iconic emotion characters on another adventure through the brain. There are some smart additions to the world-building, introducing new dynamics to the film's inventive take on how the mind works. Obviously, the new emotion characters are the main draw, especially since they're the ones that enable the plot in the first place. But while it'd be simple-minded to treat a character like Anxiety as an enemy or a threat, the film takes the stance of addressing the complexity of growth and personality, pushing self-forgiveness and acceptance as the final solution rather than repression. Hot dang, even if I'm way outside the target audience, it still resonates because I have felt the same effects of anxiety and negative thought patterns just like Riley did. And while the film tracks on the usual trajectory of coming-of-age films, where teenagers putting on airs is a common problem, the emotional journey is something we all experience and can relate to.
It also helps that the film looks fabulous and it's probably the funniest film of the year. Seriously, this makes me laugh and smile more than actual comedy films lately. Comedy is dead–long live Pixar!
And all of these things aren't just in Elisabeth Sparkle–they're in all of us. Balance is needed. Without it, one side dominates over another, and we start to loathe ourselves. We might become monstrous, or we might even become self-destructive. Remember: you are the matrix, and you are one. We all activate once, when we are born. We all stabilize every day, through our health choices. Switching might be necessary to maintain balance.
In context of Elisabeth's story though, we are given a film that embodies both style and substance. The visuals and the sound–both are perfectly balanced as a mesmerizing experience, boasting a smooth and clean aesthetics thanks to its superb cinematography and nuanced sound design. The art and the entertainment–we are given a high-brow approach to low-brow body-horror (complete with a Grand Guignol finale with the most blood I've seen since Evil Dead II). The things said and the things unsaid will demonstrate the nuances of the script and performances (with exceptional complements to Demi Moore and Margaret Qualley). Story and experience stand out through its singular focus on the characters and the unique premise. As it roasts Hollywood's toxic landscape and our culture's absurd beauty standards, stands as a warning for how much mutation and destruction can occur when things fall out of balance.
The solution? Just remember: take care of yourself. *blows a kiss*
Love it or hate it, Part One was always designed as the appetizer. Covering only the first act of Herbert's classic novel, with such a slow pace and meditative tone, of course it feels a little boring and might lose some people. But now the stage is set, and now is the time for all the story's conflicts to come to a head. Now is the time for love to be found and lost. Now is the time for family secrets to be exposed and reconciled. Now is the time for prophecy to be fulfilled, or perhaps exploited. Now is the time for war.
This is the main event, and Part Two wastes no time getting to the excitement with its stunning chase scene, set against a blood-red eclipse, showcasing troopers that can fly! The combat scenes continue frequently, with a consistent eye-popping quality and plenty of spectacle and thrills. However, the film takes care to run with the existing loose threads and weave the story it needs to in between the battles, staying approximate to Herbert's original themes and world-building, despite deviating on certain other matters. The film might lose some fans with its narrative choices, but it does lead to a more uncertain ending that not only sets up a potential lead-in for Dune: Messiah, but also emphasizes the key point that there is a fine line between a charismatic leader and a tyrant.
Despite these grips, I kinda liked it anyway. It kept my attention, I understood what it was going for, and there is a smattering of great space imagery.
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40: Red One
I think it was inevitable that we'd wind up with a Christmas movie in the style of Marvel blockbuster nonsense sooner or later. No surprise that the Rock headlines this, under the direction of the guy who made those Jumanji sequels. Lots of people will find this lame with the complaint that nobody asked for this.
However, I don't think there was any pretense behind how ridiculous this premise is, and the action/comedy approach suits the material just fine. The material is treated with sincerity, presenting a wild mythology that is explored with plenty of eye-catching visual flair. Action scenes are fun. The concepts, both old and new, bear a same-bit-different approach that keeps the film unqiue. It's mostly superficial popcorn entertainment, but what will push the film over-the-top is the thematic focus on the goodness of people. Between the main characters' arcs and their observations on human behavior, there is at least some effort to connect this nonsense to a greater message. Sure, it might be on-the-nose and many will probably see it as trite. It does speak to me on some level though. I nodded along with the film's monologues about the choices we face every day, and the necessity to reward the good.
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39: Godzilla x Kong: The New Empire
Oh boy.
You kinda know going in that this is going to be nothing more than another huge helping of big dumb fun. A goofy movie where a giant fire-breathing lizard and a giant monkey tag-team against many other giant monkeys hiding beneath the Earth. Obviously not high art, and it'll seem especially shallow compared to the massive wake left behind Godzilla Minus One. Human characters take the backstage again, even though it tries a little to eke out some heart with them.
On the plus side, the film's effects are certainly eye-popping and it's rarely a bore. It's a hot contender for guilty pleasure of the year.
You kinda know going in that this is going to be nothing more than another huge helping of big dumb fun. A goofy movie where a giant fire-breathing lizard and a giant monkey tag-team against many other giant monkeys hiding beneath the Earth. Obviously not high art, and it'll seem especially shallow compared to the massive wake left behind Godzilla Minus One. Human characters take the backstage again, even though it tries a little to eke out some heart with them.
On the plus side, the film's effects are certainly eye-popping and it's rarely a bore. It's a hot contender for guilty pleasure of the year.
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38: Carry-On
Hey look everyone, a Christmas thriller that's not Die Hard!
Carry-On is a fair enough time waster. I enjoy the suspenseful plotline, and what the heck, this film might have the best end-credits sequence of the year. Nothing else is a huge standout–the film is a pretty standard thriller that falls in line with dozens of other, similar experiences. Superficially entertaining, but there is a good chance I'll forget this film exists after a while.
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37: Kung Fu Panda 4
I thought this series peaked just fine with #3, but I always underestimate how many more life lessons they can shove into Po's character. This new chapter of the series is just as entertaining as its predecessors, with great-looking visuals and fight scenes. Comedy is pretty funny. I don't even mind the new characters being introduced. The story's focus on characters saves the film from falling into mediocrity, which is good because this does feel like a rather mundane release and I'm not even sure I'll find this entry all that memorable. It is better than I expected it to be though.
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36: Beetlejuice Beetlejuice
With some of the key cast members coming back, the snappy pace, and the cartoony production design, it almost feels like Tim Burton returning to form. Almost.
To be fair, the film is plenty entertaining and Michael Keaton is still a real fireball in this role (even at his age, holy crap). It's perfectly watch-able. It's just that when you take a step back and see the whole picture, it looks spotty. Plenty of critics talk about how haphazard the plot lurches along, with the antagonist being killed way too quickly, and too many subplots for one film (which is a shame, because Monica Belluci and Willem Dafoe were way too good for their bit parts). With the "Macarthur Park" musical number though, it really feels like they were reaching for something to top the iconic "Day-O" scene, and it just comes across as weird and lame. There really isn't that much new or becoming brought to the table with this long-awaited follow-up. But at least my monkey-brain was partial towards it.
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35: In A Violent Nature
This film made a bit of a splash as a unique horror-movie experience. Not only is it a slasher that closely follows the killer around (I'm pretty sure that's been done before, but still...), it is also presented as slow cinema. Man, it is slow. Long, silent shots of a dude walking around the forest–of course folks will find it boring and empty. But, the negative space has the purposeful effect of making the violent scenes even more shocking since they're fewer and further between (but still incredibly brutal). It also leaves enough space to let the viewer speculate on the understated themes concerning the violence of nature and the nature of violence. It is what you make of it, but ultimately, the concept of a meditative slasher is something different and after seeing my fair share of meditative films, I understand what it's going for.
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34: Beverly Hills Cop: Axel F
Most folks probably still have a bad taste in their mouth after the third film. Thankfully, Axel F is a grade better. A perfectly watchable legacy sequel that aligns with the formula of its predecessors and keeps its story engaging through its pacing, plenty of good action sequences, and a fair amount of comedy. It's not knee-slappingly funny, but it does feel like Eddie Murphy stays true to the character and his antics are still a good draw to the film. There are a few added surprises to the story and characters, serving to progress the series into a new generation in the same way A Good Day To Die Hard tried to do (but thankfully it's not nearly as lame). All things considering, this is a fair Beverly Hills Cop sequel, and it's generally better than most other cash grabs that have dominated the market lately.
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33: Ghostbusters: Frozen Empire
Afterlife revived this franchise with a fair level of heart. Frozen Empire feels like business as usual, but there is plenty to admire in this effort. I am quite smitten with the expanded lore the movie dips into, showcasing a broader array of ghosts, beasties, gadgets, and concepts that stir the imagination. I was satisfied with the way the film juggles its many characters, old and new. I didn't even think the core premise would entice me that much (Ghostbusters against a freezing New York? Pffft.), but the way it's built-up is competent enough to keep my interest after all.
But there are things to nitpick as well. The film still hinges on the iconography of the original cast (and Dan Aykroyd has way too much fun with this, while Bill Murray is at his most bored and the rest struggle to find a good place). Something about the plotting is haphazard, and it wouldn't surprise me if this film was butchered in post-production somehow. Or maybe it's just written and edited sloppily.
For better or for worse, it's entertaining all the same, and the film does carry over the right tone and ideas that mirror a classic Real Ghostbusters cartoon episode. It's certainly not the best of the franchise though.
But there are things to nitpick as well. The film still hinges on the iconography of the original cast (and Dan Aykroyd has way too much fun with this, while Bill Murray is at his most bored and the rest struggle to find a good place). Something about the plotting is haphazard, and it wouldn't surprise me if this film was butchered in post-production somehow. Or maybe it's just written and edited sloppily.
For better or for worse, it's entertaining all the same, and the film does carry over the right tone and ideas that mirror a classic Real Ghostbusters cartoon episode. It's certainly not the best of the franchise though.
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32: Damsel
You can kinda tell where this one is going. It's a common fantasy trope for damsels to be sacrificed to dragons, and they are often in need of rescuing. Obviously, this film flips the script to show a damsel fending for herself. Maybe nothing new in the modern landscape where "girlbosses" are everywhere. But taken as a cross between the I Spit on Your Grave revenge thriller plotline and the gritty Revenant style survivalist tone, I thought that Damsel is a pretty cool premise full of interesting twists and thrills that kept me rooting for the protagonist the whole time.
That being said, I see that many viewers are not as easily charmed. Sure, much of it is predictable. The first act drags. After decades of other, better fantasy media (especially Game of Thrones), the film might come across as samey-same. I'll even admit that the film has some dumb moments. I put up with it because I enjoy this take on a familiar genre, the film looks decent, and the narrative experience overall keeps my interest.
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31: Hundreds of Beavers
The cheap-looking animation looked lame at first glance. I probably would have rated this film higher if it was less janky-looking. And yet, the film cleverly leverages its obvious cheapness to present itself as the same cartoony, over-the-top vaudeville comedy as the best from the silent era. Invoking the physicality of Buster Keaton and Charlie Chaplin, but with the cartoon shenanigans of Looney Tunes, the film achieves its own identity as live-action slapstick. When it gets going, it becomes quite the amusing onslaught of visual gags. It works with the magic of snappy editing and grand physical performances. It doesn't even matter how cheap and bad it looks, the film is a hoot.
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30: Cuckoo
This is a film to see for the atmosphere. It is a tense and stylish experience with strange vibes, thanks largely to the film's composition and pacing. Can't say the story captivated the whole time and congealed into a clear-cut narrative, but there is clearly a push towards a shocking finale where the cuckoo bird dynamics become the defining metaphor. It's more entertaining just watching Hunter Schafer progress through this experience, and on that level, the film is a fascinating experience.
The sheer vibes of this film made a bit of a splash, and even I'll admit that the film draws attention with its somber sound design, symmetrical framing, and restrained performances. It would have been a solid police procedural as-is, but the film went the extra mile to load itself up with pieces of the supernatural and slasher horror. While the focus on occult serial killing grants this film a disturbing vibe, I think it's too many ingredients. As a police procedural, I am let down by how powerless the characters become. But taken as straight horror, I find the plot head-scratching, given how it limits itself to the small cast and makes connections that raise more questions than it answers. I find it hard to suspend disbelief with much of it. I would have liked it fine if it stuck to one lane and remained either a mystery, a slasher, or a paranormal thriller. In trying for all these things, I found it unbecoming, despite the formalized style.
Nicholas Cage's appearance would have been the scariest movie monster of the year if it wasn't for Nosferatu.
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29: Longlegs
The sheer vibes of this film made a bit of a splash, and even I'll admit that the film draws attention with its somber sound design, symmetrical framing, and restrained performances. It would have been a solid police procedural as-is, but the film went the extra mile to load itself up with pieces of the supernatural and slasher horror. While the focus on occult serial killing grants this film a disturbing vibe, I think it's too many ingredients. As a police procedural, I am let down by how powerless the characters become. But taken as straight horror, I find the plot head-scratching, given how it limits itself to the small cast and makes connections that raise more questions than it answers. I find it hard to suspend disbelief with much of it. I would have liked it fine if it stuck to one lane and remained either a mystery, a slasher, or a paranormal thriller. In trying for all these things, I found it unbecoming, despite the formalized style.
Nicholas Cage's appearance would have been the scariest movie monster of the year if it wasn't for Nosferatu.
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28: The Beekeeper
In many respects, this is just a John Wick clone disguised as a Jason Statham action vehicle. And yet, it's a combination that boasts exciting action sequences with a few brutal fights that'll keep you cheering for this bizarre beekeeping superagent the whole way through. It helps that Statham is still Statham in the role, exuding stoic attitude while flexing physical skill. The bad guys are great love-to-hate villains, but with the opening act's focus on scammers victimizing people, the film won me over from the first frame and gave the conflict some much-needed heart. Even though the Beekeeper comes across as an invincible boogeyman, the story keeps you on his side and it's still quite satisfying to watch him dispatch heartless scammers and corporate goons with impunity. It gets ridiculous by the finale, where the stakes are cranked up to their highest degree, and the subplots with the FBI agents are a slight drag, but the film is hella fun. Probably my new favorite David Ayer film to date (although sadly that bar was set low).
This film also has my favorite opening credits scene of the year. The bee stuff and geometric shapes with that cool music really came across as cool and classy.
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27: Kill
This is going to sound weird, but here it is: the violence in a movie literally titled Kill kinda bothers me. It shouldn't, because this is clearly gritty revenge-thriller experience that dudes like myself should love, especially after four John Wicks and the Beekeeper and everything else. The thing is, most of those movies can't be taken seriously. Kill plays things so straight and horrific that I can't really root for the "heroes," especially in the end when they become as monstrous as the "villains" they are fighting. And I can tell that this is the point of the movie: to blur the lines, to show violence as a horrific form of suffering, and to maybe suggest that everybody is capable of this same horror. But because every killing is so brutal, the film's experience becomes grating and harsh. I enjoy most action movies because of the sense of awe they inspire: this one just made me depressed and confused.
But I wouldn't have rated it this high if it didn't have redeeming qualities. It's not like the story doesn't work: the work is done to put personal stakes into the story, making the inevitable revenge spree weighty and poignant. The film looks decent with its cinematography. And the biggest highlight–the action choreography–goes all out and aims to be impressive.
I'm pretty sure plenty of action fans won't have much of a problem rooting for the ultraviolent rampage, but this is a rare case where I couldn't condone the glorification of this kind of violence. It's a grade too brutal. But I also understand what it's going for, and can't fault it for much. It's a hard film to reconcile, but I might value it somewhat for forcing me to challenge my own stance on action-movie violence.
But I wouldn't have rated it this high if it didn't have redeeming qualities. It's not like the story doesn't work: the work is done to put personal stakes into the story, making the inevitable revenge spree weighty and poignant. The film looks decent with its cinematography. And the biggest highlight–the action choreography–goes all out and aims to be impressive.
I'm pretty sure plenty of action fans won't have much of a problem rooting for the ultraviolent rampage, but this is a rare case where I couldn't condone the glorification of this kind of violence. It's a grade too brutal. But I also understand what it's going for, and can't fault it for much. It's a hard film to reconcile, but I might value it somewhat for forcing me to challenge my own stance on action-movie violence.
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26: The Bikeriders
Dis here’s a solid flick, ya know? A straight-up tale 'bout bike lovers and da crazy friendships they build. Ain't much of a story, but it paints a real nice picture of a certain scene, ya dig? Da movie looks sharp, da acting's top-notch, and don’t get me started on dem accents, they're one for da books.
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25: Bad Boys: Ride or Die
Fourth in the series, and I learned from the beginning not to expect too much from this crass, tasteless, ultraviolent series. The first two films are still strangely charming thanks to Michael Bay's sheer lack of subtlety. But hot diggity, this entry is packed with spectacular surprises that makes this one of the better films of the series. I did not expect the action scenes to hit as hard as they do–they are easily some of the best of the year. I did not expect Reggie's character to kick as much butt as he did. I did not expect the father/son dynamics to work that well, but they actually do. I did not expect Marcus' near-death experience to have much of a bearing on this story, but they managed to make it jokey and make it count in the end. I did not expect the more inventive camera angles being used, or for the film to look as good as it does. Above all though, I didn't expect the film to be as fun and fresh as it is.
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24: Civil War
I'm sure the temptation is so strong for many filmmakers to use the premise of a new American civil war to harp on modern political divides and issues. Those looking for a reflection on modern politics will be let down, because Alex Garland resists the temptation and keeps the lore of his Civil War vague. He is only interested in reflecting the horrors of bigger issues: of war itself. In its own way, the film leverages the same pattern of Annihilation as it showcases an odyssey across an altered America. Through the perspective of wartime journalists, there is always a humanitarian eye on the events, and it serves to highlight the horrors of violence and human cruelty. It's as if a speculative premise like Red Dawn was married with the themes and tone of Come and See–it's a surprisingly tense experience that will leave you shell-shocked.
A big part of cinema is the photography, and I always welcome new ways for filmmakers to leverage the camera. With Here, there is a simple gimmick: to keep the camera in one fixed place and show how one location can change over the ages. It starts off with the classic eye-popping Zemeckis spectacle, showing the age of dinosaurs and the passing of eons, before a house is built and the film settles into the simple, human dramas that inhabit it. One camera captures several generations of families, with an occasional peek at other pieces of history, to reveal the highs and lows of humanity. It's like the broad themes of Tree of Life but with the ambient approach of 24 Frames.
It would be a bigger slam dunk if it wasn't for the over-reliance on tech. AI face replacement and de-aging might have excited Zemeckis and the gang, but it does grant the film an artificial veneer that detracts from the experience. A few vignettes get try-hard with the messages, and some scenes are just unbecoming. I appreciate the effort put into this experiment, but it could have used more finesse.
Another sequel nobody asked for. It's easy to pick this apart as a rehash of the original Gladiator but with weaker writing and talent, overblown CGI, and a ton of historical inaccuracies.
However, the film is hardly a bore. Ridley Scott gives the film his signature texture and verisimilitude, thanks largely to the expensive production and quality cinematography. It's hard to top the talent from the 2000 film, but Denzel Washington easily steals the show, and I've grown a soft spot for Pedro Pascal. Arena fights are as eye-popping as ever. If there is any really strong, relevant scene to this film, it's got to be the ending with the characters fighting on a bridge–not only because it looks cool, but because it's the crossroads of history.
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23: Here
A big part of cinema is the photography, and I always welcome new ways for filmmakers to leverage the camera. With Here, there is a simple gimmick: to keep the camera in one fixed place and show how one location can change over the ages. It starts off with the classic eye-popping Zemeckis spectacle, showing the age of dinosaurs and the passing of eons, before a house is built and the film settles into the simple, human dramas that inhabit it. One camera captures several generations of families, with an occasional peek at other pieces of history, to reveal the highs and lows of humanity. It's like the broad themes of Tree of Life but with the ambient approach of 24 Frames.
It would be a bigger slam dunk if it wasn't for the over-reliance on tech. AI face replacement and de-aging might have excited Zemeckis and the gang, but it does grant the film an artificial veneer that detracts from the experience. A few vignettes get try-hard with the messages, and some scenes are just unbecoming. I appreciate the effort put into this experiment, but it could have used more finesse.
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22: Gladiator II
Another sequel nobody asked for. It's easy to pick this apart as a rehash of the original Gladiator but with weaker writing and talent, overblown CGI, and a ton of historical inaccuracies.
However, the film is hardly a bore. Ridley Scott gives the film his signature texture and verisimilitude, thanks largely to the expensive production and quality cinematography. It's hard to top the talent from the 2000 film, but Denzel Washington easily steals the show, and I've grown a soft spot for Pedro Pascal. Arena fights are as eye-popping as ever. If there is any really strong, relevant scene to this film, it's got to be the ending with the characters fighting on a bridge–not only because it looks cool, but because it's the crossroads of history.
Anybody looking for good, bloody, historic-themed action could do worse.
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21: Monkey Man
Amidst the wealth of revenge thrillers on the market these days (thanks John Wick), Monkey Man bears the distinction of showcasing a man who regularly dresses up as a monkey in a boxing ring. Interesting flex, but the heart of the film digs into deeper issues concerning social class disparity. The elements of a good revenge story are there, from the injustices the lead suffers to the heart-pounding fight-scene choreography. Action fans will find plenty to admire in Dev Patel's debut film.
That being said, I am just a little let down by how choppy the editing style often is. Photography seems to indulge in a lot of close-ups, making the experience a little more chaotic than usual. Above all though, like it is with Kill, the violence in Monkey Man is often brutal and played so straight that it seems harsh.
That being said, I am just a little let down by how choppy the editing style often is. Photography seems to indulge in a lot of close-ups, making the experience a little more chaotic than usual. Above all though, like it is with Kill, the violence in Monkey Man is often brutal and played so straight that it seems harsh.
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20: A Quiet Place: Day One
Shut up, it's time for A Quiet Place again! Although this would have been a bigger slam-dunk if it continued the story from the last two films, this prequel delivers the eye-popping, ear-ringing, bone-rattling set-pieces that make these films unique and entertaining. The story being told is fine–won't hit as hard as the predecessors, but there is an attempt to make it relevant and different. For the most part, it's worth seeing for the experience.
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19: Buy Now! The Shopping Conspiracy
Chances are that you might already be aware of much of this information. It's still a good eye-opener for folks who aren't in the know. No surprise, big companies are exploitative. But what's really exposed in Buy Now! are the finer issues concerning how disposal everything is made today (on purpose), and how it impacts the environment. Companies cand and will bend ethics to gain some extra bucks, and it's sobering to see its effects on the end consumer and the world.
That being said, the film might shoot itself in the foot a little by using AI narration and graphics, and some of these interviews might have to be taken with a bucket of salt. From what I've read, some of them aren't actually putting their money where their mouths are.
That being said, the film might shoot itself in the foot a little by using AI narration and graphics, and some of these interviews might have to be taken with a bucket of salt. From what I've read, some of them aren't actually putting their money where their mouths are.
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18: Twisters
You're kidding me, another Twister movie after all these years? It seems ridiculous considering that it's been 28 years, and for all its strengths as a popcorn disaster flick, it's not like Twister has a ravenous fanbase begging for a sequel. But the original film did have enough heart to give its technical wizardry some weight as a story experience, so I guess the nostalgia was always there.
You know what though? The second film managed to also have enough heart to give its story some weight. Going for the same-but-different approach, one can't help but to notice the rehashed parts of the plot. You might even be able to predict the twists. But the film won me over from frame one with its focus on the character. With the plucky characters and the rural vibes of the plains states, the film achieves enough heart and character to make it worth the time. It even bears a simple but inspiring message about overcoming fear. It's much more than I expected for this kind of sequel.
You know what though? The second film managed to also have enough heart to give its story some weight. Going for the same-but-different approach, one can't help but to notice the rehashed parts of the plot. You might even be able to predict the twists. But the film won me over from frame one with its focus on the character. With the plucky characters and the rural vibes of the plains states, the film achieves enough heart and character to make it worth the time. It even bears a simple but inspiring message about overcoming fear. It's much more than I expected for this kind of sequel.
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17: Kingdom of the Planet of the Apes
Caesar's story may be over, but a world occupied by talking apes persists. Franchise fans will be pleased that the quality and talents behind Kingdom of the POTA remain on-par with its predecessors. I'm pleased that the film's focus on technology and societal advancement gives the story some relevancy and will stimulate some interesting thoughts. I'm even happy that there's some attempt to make the new characters relatable. It never quite surpasses the highs of the Caesar saga, but there aren't any lows to speak of, and it remains an interesting addition to the universe of apes.
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16: Deadpool & Wolverine
Behold, the coming of Marvel Jesus! See it in a theater packed wall-to-wall with a bunch of comic-book nerds, and you're guaranteed a good time. The movie is blatantly designed to deliver cheer-worthy moments every so-many minutes, with numerous surprise cameos, callbacks, nostalgia baiting, and needle drops. But it's still true to the Deadpool name with the constant fourth-wall breaks, crude R-rated humor, subversive jokes, and an absolute lack of good taste. You'll laugh, you'll cheer, you might even throw up. Bring your friends, and maybe your family if they're cool and mature enough to watch [CENSORED]. It's easily the most crowd-pleasing slam-dunk of a film I've experienced.
It's just a question of, what else is there? Will it even have the same impact without a crowd? Can I still cheer when [CENSORED] saunters on the screen? Will I still find the [CENSORED] scene funny? Will the plot hold water, especially with [CENSORED]? Who knows? It might be a one-and-done for me in spite of this. The first Deadpool held up okay on its merits as a [CENSORED]. Deadpool 2 is just [CENSORED]. This one, though? [CENSORED]
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15: Trap
I know it might be stupid–it's an M Night Shyamalan thriller, and his bar was already set way too high 25 years ago. I gotta say though, I'd rather watch a twisty plotline like this unfold rather than to sit around and wait for a twist ending (although there are twists in the end that try to give this some more oomph). Running down this plotline is an experience that elicits thrills and interest, and even though folks might not like the shifts in the final acts, I enjoy the unpredictability of it. It helps that Josh Hartnett is freakishly good in the role. His performance galvanizes the twisty plot by nature of the sheer charisma his character exudes (which tracks long the idea that serial killers are well-known to have heightened charisma). In the end, the film's biggest scare is the mere idea that a guy like this could be anyone, anywhere, and could even appear as a good-nature father figure.
And what the heck, I didn't even mind Shyamalan's daughter starring as Lady Raven and doing all the music for the whole runtime. Hot contender for best original movie songs of the year.
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14: Super/Man: The Christopher Reeve Story
Christopher Reeve made us believe that a man could fly once. His tragic accident and its aftermath may be well-known, but this documentary paints a broad portrait of Reeve's life as a young man struggling to gain his family's approval, an aspiring actor with an active lifestyle, an airplane pilot, and ultimately as a man who would never give up. There is little said about his iconic role as Superman (which is just as well, that's been covered to death in other media), but the film has a warm and inspiring focus on Reeve being a super human being.
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13: Nosferatu
Orlock could never please me as Dracula could. Among the three Dracula knock-offs we have now (1922's Nosferatu, 1979's remake, and now this one), I prefer Robert Eggers' version the most by nature of its sheer production quality. The film oozes a bleak gothic style that befits its Victorian aesthetic, but there are still bursts of subversive shock and terror that push the experience into deeper levels of horror and suspense. With his role as Count Orlock, Bill Skarsgård continues his run of embodying the creepiest horror icons of the last decade (and that 'stache is to die for). Of all the things I'll remember the most out of Nosferatu '24, it might be the grotesquely deep and fluid sound of Orlock sucking the blood out of his victims. It's never been more ghastly, but it underscores the nature of the monster, and demonstrates how sound design alone can impact the experience. Even when the story seems empty and aimless, the music, the visuals, the brooding pace, and the understated script elevates the tension and delivers a truly unsettling experience.
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12: The Wild Robot
On the surface, it's a cute cartoon about a robot that can walk with the animals and talk with the animals. Like the best of the animated genre though, the film reaches for an emotional core through the magical combination of good storytelling and a strong visual punch. It also helps that The Wild Robot opens with plenty of hilarity. Its emotional goals are achieved though by focusing on the unique bond between machine and nature, thanks to the charming banter and growth of key characters. It all comes together to deliver the simple, universal message that you can be more than what you were programmed for.
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11: The Contestant
Japan, WTF?
Nasubi's story is one that deserves to be told, and even though it's been documented in places like YouTube, The Contestant is a legitimate documentary that presents the story as-is with little fluff and plenty of creditability. The film exposes the horrific experience that Nasubi endured, and the corporate greed that prompted it. While his time on the Susunu! Denpa Shōnen show commands the most attention–drawing us in with the misery and humiliation that was suffered–the last portion of the film cuts deeper into the heart of the contestant himself. One can admire Mr. Tomoaki's resilience and enduring optimism through his ordeal, but you can still see the pain even through his smiles.
There does come a point where laughing at another man's misfortune is not funny anymore. This gentleman went on to climb Everest. When an earthquake struck the expedition, he stuck around to help the rescue efforts. He deserves all the respect. TV producers like Tsuchiya should be dragged in the mud for a year–maybe they'll learn ethics and human decency for a change. Seriously...
Nasubi's story is one that deserves to be told, and even though it's been documented in places like YouTube, The Contestant is a legitimate documentary that presents the story as-is with little fluff and plenty of creditability. The film exposes the horrific experience that Nasubi endured, and the corporate greed that prompted it. While his time on the Susunu! Denpa Shōnen show commands the most attention–drawing us in with the misery and humiliation that was suffered–the last portion of the film cuts deeper into the heart of the contestant himself. One can admire Mr. Tomoaki's resilience and enduring optimism through his ordeal, but you can still see the pain even through his smiles.
There does come a point where laughing at another man's misfortune is not funny anymore. This gentleman went on to climb Everest. When an earthquake struck the expedition, he stuck around to help the rescue efforts. He deserves all the respect. TV producers like Tsuchiya should be dragged in the mud for a year–maybe they'll learn ethics and human decency for a change. Seriously...
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10: Challengers
The hottest tennis you'll ever see. The film will certainly stick out for its steamy love triangle, but it also rides high on pure style. Between Trent Reznor's high-tempo score (my favorite soundtrack of the year) and the crazy ways the camera captures each tennis match (including insane shots where the camera IS THE BALL), there is a heated energy to the film even when nothing is really happening. There are stretches where it feels empty, but the film is rarely a bore. It helps that the cast is excellent, the script is pointed, and the camera work is always interesting.
This is also probably my favorite movie poster of the year.
This is also probably my favorite movie poster of the year.
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9: The First Omen
If you've seen the 1976 original, then you know how this story goes. It's not pretty. Dear God, is it ever not pretty...
With so many Omen films come and gone over the years, the formula has been well-worn, with the expectations for more freak accidents and dire warnings about the inevitable Antichrist. You'd think a prequel would be pretty mundane, following the same formula and running down the checklist that the original film left behind. But with The First Omen, there is a clear effort to deviate from those expectations, including a subversive opener where a freak accident happens but it's not quite the same. There are a few predictable callbacks, sure, but the real meat of the film focuses on one sister's horrific discoveries as she journeys into the dark heart of a corrupted order. The real shocks come not in the form of fated accidents, but in the more visceral terrors of the body becoming a vessel for evil. Even though we all know that this has to end where the original film began, it stands out as its own unique story and experience, which is far more than can be said about every other Omen sequel.
With so many Omen films come and gone over the years, the formula has been well-worn, with the expectations for more freak accidents and dire warnings about the inevitable Antichrist. You'd think a prequel would be pretty mundane, following the same formula and running down the checklist that the original film left behind. But with The First Omen, there is a clear effort to deviate from those expectations, including a subversive opener where a freak accident happens but it's not quite the same. There are a few predictable callbacks, sure, but the real meat of the film focuses on one sister's horrific discoveries as she journeys into the dark heart of a corrupted order. The real shocks come not in the form of fated accidents, but in the more visceral terrors of the body becoming a vessel for evil. Even though we all know that this has to end where the original film began, it stands out as its own unique story and experience, which is far more than can be said about every other Omen sequel.
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8: Robot Dreams
No electric sheep here, but if robots could dream about us, it might be the most flattering thing.
Pablo Berger brings Sara Varon's comic to life with an aesthetic that's simple, but lively and full of personality. It becomes a captivating canvas to show the heart-warming friendship between a dog and a robot, followed by their heart-breaking separation. Friendship is the dream in the end. Who knows if a robot can really dream of reuniting with its owner, or if people will really grow this fond of their fellow robots, but like an animated Past Lives, it's the yearning that directs the characters and drives the plotline. There's a surprising amount of heart that emerges from this simple, wordless cartoon, making it one of the most moving animations I've seen this year.
Pablo Berger brings Sara Varon's comic to life with an aesthetic that's simple, but lively and full of personality. It becomes a captivating canvas to show the heart-warming friendship between a dog and a robot, followed by their heart-breaking separation. Friendship is the dream in the end. Who knows if a robot can really dream of reuniting with its owner, or if people will really grow this fond of their fellow robots, but like an animated Past Lives, it's the yearning that directs the characters and drives the plotline. There's a surprising amount of heart that emerges from this simple, wordless cartoon, making it one of the most moving animations I've seen this year.
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7: Alien: Romulus
What a misleading title–there are no Romulans!
There are things to this film that will make it or break it for many folks (and it's the same old shenanigans–nostalgia baiting, repeating lines from older movies out of context, wedging in lore that some people would rather forget about, using CGI to bring back a dead actor). I wouldn't blame viewers for seeing this as an unoriginal, samey-same Alien film.
Considering everything that we had before, I still hold that Romulus outclasses most of its predecessors by default. If nothing else, the production is phenomenal, matching up with the previous movies accurately while bringing amazing new visual setpieces to the table. Even though the facehuggers and xenomorphs are nothing new, the film finds awesome new ways to leverage their familiar features and abilities, and even goes so far as staging thrilling setpieces around unique situations (such as acid blood in zero-G, who would have thought?). There are some surprising twists towards the end, which might elicit more cringe and laughs than scares, but I appreciate how the film tries to connect some of the loose ends in this messy franchise.
What ultimately sells me on the film is the central character and her story. It won me over in the opening act as it sufficiently raises the stakes and got me invested in the characters' struggles. Story is still king, and the focus on character is what I care about more than the things that others complain about. Between the story, the amazing production design, eye-popping effects, and some of the most unsettling alien encounters of the series, the experience in the Romulus station is unforgettable and terrifying.
It's easy to take some things for granted, including people. A single film leverages the talents of many people–anywhere from dozens to thousands–to make on-screen magic happen. It's especially easy to take stuntmen for granted, since they stand in the shadow of their respective big-shot stars. They take the falls that the stars can't afford to take, contributing another level of spectacle to the grand vision of a single film.
In this respect, The Fall Guy is a big huzzah to the stuntman profession, just as much as it's also a Hollywood love story, a gritty neo-noir mystery, and a thrilling action/thriller. It's one of those films that has it all, but there's a clever zing to the picture that keeps it engaging and fun. Above all though, the film wears its heart on its sleeve the whole time, granting enough emotional weight to make the characters endearing. I even love how complete the plotline feels, given how the twists are foreshadowed and how every element connects in an organic manner. I even love how the opener shows the guy literally falling, giving the title its clever double-meaning.
Give your stuntman a big thumbs-up! You never really know how much they go through.
Also, why the f**k isn't Metalstorm a real movie?
There are things to this film that will make it or break it for many folks (and it's the same old shenanigans–nostalgia baiting, repeating lines from older movies out of context, wedging in lore that some people would rather forget about, using CGI to bring back a dead actor). I wouldn't blame viewers for seeing this as an unoriginal, samey-same Alien film.
Considering everything that we had before, I still hold that Romulus outclasses most of its predecessors by default. If nothing else, the production is phenomenal, matching up with the previous movies accurately while bringing amazing new visual setpieces to the table. Even though the facehuggers and xenomorphs are nothing new, the film finds awesome new ways to leverage their familiar features and abilities, and even goes so far as staging thrilling setpieces around unique situations (such as acid blood in zero-G, who would have thought?). There are some surprising twists towards the end, which might elicit more cringe and laughs than scares, but I appreciate how the film tries to connect some of the loose ends in this messy franchise.
What ultimately sells me on the film is the central character and her story. It won me over in the opening act as it sufficiently raises the stakes and got me invested in the characters' struggles. Story is still king, and the focus on character is what I care about more than the things that others complain about. Between the story, the amazing production design, eye-popping effects, and some of the most unsettling alien encounters of the series, the experience in the Romulus station is unforgettable and terrifying.
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6: The Fall Guy
It's easy to take some things for granted, including people. A single film leverages the talents of many people–anywhere from dozens to thousands–to make on-screen magic happen. It's especially easy to take stuntmen for granted, since they stand in the shadow of their respective big-shot stars. They take the falls that the stars can't afford to take, contributing another level of spectacle to the grand vision of a single film.
In this respect, The Fall Guy is a big huzzah to the stuntman profession, just as much as it's also a Hollywood love story, a gritty neo-noir mystery, and a thrilling action/thriller. It's one of those films that has it all, but there's a clever zing to the picture that keeps it engaging and fun. Above all though, the film wears its heart on its sleeve the whole time, granting enough emotional weight to make the characters endearing. I even love how complete the plotline feels, given how the twists are foreshadowed and how every element connects in an organic manner. I even love how the opener shows the guy literally falling, giving the title its clever double-meaning.
Give your stuntman a big thumbs-up! You never really know how much they go through.
Also, why the f**k isn't Metalstorm a real movie?
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5: The Brutalist
It's more than architecture–the film's dialogue underscores brutalism as a parallel to endurance. A huge monolith of concrete will stand against the elements and outlast the waves of petty human turmoil. It does so because it's blank, devoid of any specific political statement and expression.
Or is it? All art is political in the end, and by The Brutalist's finale, the big twist is that there was a message this whole time. But it still points to resilience as the recurring theme, and from the opening act onward, I couldn't help but to respect László Tóth as the hard-working Hungarian-Jewish immigrant who suffers just to get on his feet, only to find his success being exploited by a capitalist industrialist. There's a lot to unpack just in the premise, but it keeps the drama stimulating throughout its huge 215-minute runtime. It helps that Adrien Brody delivers a performance of a lifetime (for a second time, considering The Pianist), as does Guy Pearce. The cast overall delivers the right verisimilitude, granting a humanist quality to each character. Photography is often spectacular, the music score is nice, and the overall experience is reminiscent of the days of big, epic storytelling.
I do have gripes though, holding this back from becoming the film of the year. The story indulges in many stretches of the mundane, but could have benefitted more by showing other parts of the story that remains unspoken. In that vein, the ending became a little head-scratching, since the film refuses to show the fate of a certain character, and then it indulges in a jarring epilogue that presents more questions than answers. I understand what it's going for though, and it's possible that a neatly-tied-up ending would have been more disappointing. Life is weird and messy, and the film shows it that way. The final dialogue tells us that the destination is worthwhile, but you don't have to dig deep to see that it's a lie. The journey matters, and this film is quite the interesting odyssey. Not bad for a film about architecture–this will mop the floor with The Fountainhead.
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4: Furiosa: A Mad Max Saga
Nine years after riding historic on the Fury Road, George Miller indulges us in one of the many backstories he penned for his iconic characters. A prequel movie covering the origins of Furiosa might not be the follow-up Mad Max fans would have expected or even wanted, although this has been in the cards for a long time, with Furiosa and Fury Road planned as back-to-back shoots to begin with.
While Fury Road roared out the gate first and delivered a rip-roaring action experience, Furiosa takes a road less travelled, presenting the post-apocalyptic wasteland as a sprawling epic. There is a mythic quality to the film, not only in its vivid Snyder-esque visual presentation, but also with the way the story showcases feuding wasteland gangs as grand power struggles with long-running histories of battles, deceptions, and power plays. Given the chapter-by-chapter chronicle of these events, witnessed through the eyes of a scorned woman, it plays out like an Old Testament story for the new world. Back-to-back with Fury Road, it becomes a sobering saga that shows a paradise lost.
It may be hard to reconcile the overabundance of CGI, which is more notable in this entry, and Charlize Theron's presence is sorely missed despite Ana Taylor-Joy's best efforts. Chris Hemsworth is an absolute mad lad as Dementus though. The involving and dynamic War Rig battles stand out as some of the best of the series. The production remains attentive to showcasing incredible details behind this mad future. No matter how mundane this release seems, or how poor its box office returns are, the film presents an imaginative fable that perhaps best realizes George Miller's intention with the series to begin with: to create an apocalyptic legend.
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3: Inside Out 2
Well, I may not be a teenage girl in San Francisco, but somehow Pixar was able to make me relate to this character successfully across two films now. The sequel carries over much from its predecessor–in fact, it's almost the same, as it propels the iconic emotion characters on another adventure through the brain. There are some smart additions to the world-building, introducing new dynamics to the film's inventive take on how the mind works. Obviously, the new emotion characters are the main draw, especially since they're the ones that enable the plot in the first place. But while it'd be simple-minded to treat a character like Anxiety as an enemy or a threat, the film takes the stance of addressing the complexity of growth and personality, pushing self-forgiveness and acceptance as the final solution rather than repression. Hot dang, even if I'm way outside the target audience, it still resonates because I have felt the same effects of anxiety and negative thought patterns just like Riley did. And while the film tracks on the usual trajectory of coming-of-age films, where teenagers putting on airs is a common problem, the emotional journey is something we all experience and can relate to.
It also helps that the film looks fabulous and it's probably the funniest film of the year. Seriously, this makes me laugh and smile more than actual comedy films lately. Comedy is dead–long live Pixar!
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2: The Substance
There are two sides to everything. With the star of The Substance split into two distinct characters, the film takes the unique stance of exploring all sides of show business. There is the fame, and there is the loneliness. There is beauty, and there is ugliness. Pleasure and pain. Youth and old age. Love and hate.
And all of these things aren't just in Elisabeth Sparkle–they're in all of us. Balance is needed. Without it, one side dominates over another, and we start to loathe ourselves. We might become monstrous, or we might even become self-destructive. Remember: you are the matrix, and you are one. We all activate once, when we are born. We all stabilize every day, through our health choices. Switching might be necessary to maintain balance.
In context of Elisabeth's story though, we are given a film that embodies both style and substance. The visuals and the sound–both are perfectly balanced as a mesmerizing experience, boasting a smooth and clean aesthetics thanks to its superb cinematography and nuanced sound design. The art and the entertainment–we are given a high-brow approach to low-brow body-horror (complete with a Grand Guignol finale with the most blood I've seen since Evil Dead II). The things said and the things unsaid will demonstrate the nuances of the script and performances (with exceptional complements to Demi Moore and Margaret Qualley). Story and experience stand out through its singular focus on the characters and the unique premise. As it roasts Hollywood's toxic landscape and our culture's absurd beauty standards, stands as a warning for how much mutation and destruction can occur when things fall out of balance.
The solution? Just remember: take care of yourself. *blows a kiss*
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1: Dune Part Two
Love it or hate it, Part One was always designed as the appetizer. Covering only the first act of Herbert's classic novel, with such a slow pace and meditative tone, of course it feels a little boring and might lose some people. But now the stage is set, and now is the time for all the story's conflicts to come to a head. Now is the time for love to be found and lost. Now is the time for family secrets to be exposed and reconciled. Now is the time for prophecy to be fulfilled, or perhaps exploited. Now is the time for war.
This is the main event, and Part Two wastes no time getting to the excitement with its stunning chase scene, set against a blood-red eclipse, showcasing troopers that can fly! The combat scenes continue frequently, with a consistent eye-popping quality and plenty of spectacle and thrills. However, the film takes care to run with the existing loose threads and weave the story it needs to in between the battles, staying approximate to Herbert's original themes and world-building, despite deviating on certain other matters. The film might lose some fans with its narrative choices, but it does lead to a more uncertain ending that not only sets up a potential lead-in for Dune: Messiah, but also emphasizes the key point that there is a fine line between a charismatic leader and a tyrant.
As expected, the talent behind this chapter of Dune is as dedicated as ever. Every aspect–the performances, the costumes, the cinematography, set design, effects, the script, Hans Zimmer's music–is spectacular, with few sequences that will stand out for their amazing inventiveness (most especially the Harkonen arena fight, shot in infrared). With all the ground covered behind the courtly intrigue, ancient prophecies, and even some slice-of-life scenes, the film presents itself as a grand epic that befits the Dune universe. If Part One was just an appetizer, like some kind of salad, then Part Two was a thick, juicy steak with just the right amount of doneness and seasoning. Here's hoping that the next courses of this amazing meal will be equally amazing.
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Least favorite film: The Exorcism
Favorite blockbuster: Dune Part Two
Favorite arthouse film: The Substance
Favorite science fiction film: Dune Part Two
Favorite fantasy/epic: Dune Part Two, technically
Favorite drama film: Dune Part Two...again...
Favorite action film: Dune Part Two...again?!
Favorite thriller: Trap
Favorite superhero film: Deadpool & Wolverine
Favorite comedy film: Inside Out 2
Favorite horror film: The Substance
Favorite documentary: The Contestant
Favorite animated/family film: Inside Out 2
Favorite foreign film: Robot Dreams
Biggest guilty pleasure: Trap
Most disappointing film: Borderlands
Favorite male performance: Timothée Chalamet in Dune Part Two...no surprise
Favorite female performance: Demi Moore in The Substance
Favorite direction: Denis Villeneuve for...you know what, eff it, let's make it Coralie Fargeat for The Substance
Favorite action scenes: Dune Part...you know what, make it Furiosa for a change
Favorite special effects: Du...never mind, make it Alien: Romulus
Favorite film score: Hans Z...no, wait, make it Trent Reznor and Atticus Ross for Challengers
Favorite original soundtrack with songs: Trap
Favorite direction: Denis Villeneuve for...you know what, eff it, let's make it Coralie Fargeat for The Substance
Favorite action scenes: Dune Part...you know what, make it Furiosa for a change
Favorite special effects: Du...never mind, make it Alien: Romulus
Favorite film score: Hans Z...no, wait, make it Trent Reznor and Atticus Ross for Challengers
Favorite original soundtrack with songs: Trap
Favorite opening credits sequence: The Beekeeper
Favorite closing credits sequence: Carry-On
Favorite movie poster: Challengers
Watch the trailers in order here!
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2025 Films Al Is Looking Forward To
Avatar: Fire and Ash: Is this really happening, Mr. Cameron? We're not going to have to wait another 13 years or so? Cool, I'll see it.
Mickey 17: An original sci-fi film by Bong Joon Ho? Cool, I'll see it!
Mission Impossible: Dead Reckoning Part Two: Not much needs to be said, all these films have been solid spy thrillers and I'm interested to see how this wraps up the story.
Superman: It's hard to tell right now if this will be a slam dunk or not, but in the hands of James Gunn, I expect it'll be a fun and colorful film all the same.
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