The Best Films Of 2024 — And No, ‘Wicked’ Isn’t One of Them

A great thing about having an inclusive team of journalists (a rarity in this industry) get together to discuss the best movies of the year is that that list will include many that the broader media (read: white mainstream) routinely overlooks. While some movies have popped up on lists so many times that it’s easy to become brainwashed by popular opinion, there is something to be said about considering some of the ones that too often fall under the radar.

They’re the indie horror films, the actually complex celeb doc about a Black female superstar, the lesbian crime drama and the riotous pregnancy comedy where a character actually shits while pushing out a baby. The coming-of-age drama about a Taiwanese American teen struggling to survive the late aughts, the beautifully tender drama that centers incarcerated Black men and the quiet Mumbai drama that follows women on journeys toward independence.

Some of the titles on our list might be familiar to you, as they’re certainly too good for us to forget as well. But others, ones that are woefully less discussed, haven’t left our minds since the day we watched them. And they deserved just as much attention.

“All We Imagine As Light”

I love a slice-of-life movie set in a city. Payal Kapadia’s gorgeous and tender drama starts from a bird’s-eye view, opening with documentary-style footage of the bustling streets of Mumbai and voiceovers of various residents talking about the dreams versus reality of living in a city with vast inequities. The film then zooms in on the stories of three characters who work at a hospital. Nurse Prabha (Kani Kusruti) rents a room to her younger colleague Anu (Divya Prabha), who is in a forbidden romance with a Muslim man. Prabha also helps her older colleague Parvaty (Chhaya Kadam), who is being forcibly evicted from her apartment because a real estate developer is demolishing it to build a high-rise. While the stories of each woman are tinged with yearning and sorrow, they’re also connected through the joy and power of finding sisterhood. — Marina

I’ve never much cared for filmmaker Sean Baker’s work. It often lacks a point of view and, even when he centers nonwhite characters like he does in “Tangerine,” it feels like it exists to stoke the curiosity of white audiences only. Sex worker dramedy “Anora” doesn’t necessarily circumvent that. But there’s a cinematic construction to what the writer-director does in his latest that both compels a variety of viewers to not look away and to actually feel something about what’s happening in the story. “Uncut Gems”-esque frenetic pacing, a deft lead performance by Mikey Madison and an increasingly entertaining plot that challenges the mythologies of sex, money and romance make the film’s over two-hour runtime fly by. — Candice

Jesse Eisenberg has said the inspiration for this movie, following two polar opposite cousins on a trip to Poland to honor their Holocaust survivor grandmother, was an online pop-up ad that read: “Auschwitz tours (with lunch).” His subsequent film, which he wrote, directed and stars in, alongside a spectacular Kieran Culkin, humorously captures that awkward juxtaposition of visiting historic sites of horrific atrocities — while dealing with the quotidian needs of traveling. Fusing an uproarious road-trip comedy with a thoughtful meditation on grief, “A Real Pain” is rightfully getting awards attention for Culkin’s magnetic turn. But don’t sleep on the rest of its wonderful supporting cast, including Will Sharpe and Jennifer Grey. — Marina

We truly do not deserve the dream comedic team of Michelle Buteau and Ilana Glazer. The two had me in stitches throughout “Babes,” a buddy comedy about two longtime friends navigating pregnancy and motherhood together. The directorial debut of the great Pamela Adlon, it is the rare movie to acknowledge that giving birth, while miraculous, is also extremely and comically gross. In addition to the belly laughs, “Babes” also poignantly documents how, as our lives diverge, friendships may also have to adjust, sometimes painfully. But we have to keep showing up for each other — and keep finding ways to laugh. — Marina

The only word that comes to mind when I think of Luca Guadagnino’s “Challengers” is electric. A knockout script by Justin Kuritzkes, a pulsing score by Atticus Ross and Trent Reznor, and mesmerizing performances by Zendaya, Josh O’Connor and Mike Faist coalesce to form a thrilling story of sex, power and athleticism. The film follows a love triangle of three tennis players over the course of 13 years, culminating in one final explosive match (directed to perfection by Guadagnino). It’s one of those movies that’s so artfully constructed, you’ll spot more and more thoughtful character choices with each watch; I saw it twice in theaters, and found the second viewing just as engaging now that I was able to watch the story unfold through the lens of knowing how it ends. “Challengers” will make you ponder whether tennis is just a relationship, or if a relationship is just a tennis match. — Alexandra

Who would have thought that the process of electing the next pope would yield the level of petty and highly sophisticated conniving as what goes on in director Edward Berger’s latest? The movie, categorized as both a drama and a thriller, contains scenes with whispery meetings in hallways and nuns listening through closed doors that could be enough to satisfy even self-proclaimed lovers of catty, low-brow entertainment. The thing is, though, “Conclave” itself is of the highest brow; about (mostly) men who take choosing the new man-made deity very seriously. The entire infrastructure of faith, you see, depends on it. But are the prospective popes’ reasons for running selfish, for the church or for some higher cause that the members of the conclave are too self-important to see? Complete with dazzling performances by Ralph Fiennes, Stanley Tucci, John Lithgow and Carlos Diehz, “Conclave” is far more thrilling than it perhaps ever should be. And thank god for that. — Candice

Particularly at a time when mass incarceration rates reflect a staggering number of Black men behind bars, Hollywood films have typically done very little to counteract perceptions of their humanity. Thankfully, this year brought us two films that do just that: “Sing Sing” and Daughters.” The latter, a documentary directed by Natalie Rae and activist Angela Patton, zeroes in on a basic need that’s too often overlooked: being able to touch their loved ones. Through the stories of the daughters the men incarcerated left behind, Rae and Patton take audiences through the process of what it means to organize a father-daughter dance inside the prison. From the complex emotions that bring forth for the women raising the daughters on the outside, to the young girls and teenagers desperate to feel their fathers’ arms around them and the fathers’ own nervousness, “Daughters” is a deeply heartfelt look at an underserved love.
— Candice

Director Sean Wang has had a big year: In January, he was nominated for an Oscar for a lovely short film about his grandmothers, and premiered his feature debut, “Dìdi (弟弟),” at the Sundance Film Festival. A scrappy, coming-of-age dramedy based on his adolescence in the Bay Area in the early aughts, it instantly (and painfully, at times) transports you back to that time, through the eyes of teenager Chris (Izaac Wang). Above all, the film is a wonderful showcase for the legendary Joan Chen, who anchors the film as Chris’ beleaguered mother, pulled in all directions from raising Chris and his older sister alone, to managing her demanding mother-in-law (played by the director’s grandmother), while trying to carve out space for her own creative dreams. Chen has long deserved a role like this, and hopefully, awards voters this season take note. — Marina

“Exhibiting Forgiveness”

“Exhibiting Forgiveness” is a quiet movie, but it deserves the loudest praise. Starring Andre Holland, Andra Day, Aunjanue Ellis-Taylor and John Earl Jelks, the film explores what it means to forgive those closest to you even under the toughest circumstances. Holland portrays artist Tarrell, who is reunited with his estranged father (Jelks) while helping his mother (Ellis-Taylor) move out of her home and closer to him, his wife (Day) and his son. In brief flashbacks, Tarrell is tormented by his abusive father as a child. The film, which is inspired by director Titus Kaphar’s life, beautifully explores family and forgiveness in ways we don’t often see on-screen — and it’ll be a shame if the film isn’t a part of the awards conversation in 2025. — Erin

Denzel Washington’s performance in “Gladiator II” is incredible. The trailer led me to believe that Washington, who portrays power-hungry Macrinus, might just have a small role in the film. I’m glad I was wrong. It’s not that the rest of the cast wasn’t great, but no one plays a villain quite like Denzel. Paul Mescal stars as Lucius, the son of Maximus (Russell Crowe in 2000’s incredible epic “Gladiator”) and Lucilla (Connie Nielsen, who reprises her role from the original film). Pedro Pascal, a Roman general and Lucilla’s husband, is tired of fighting wars on behalf of twin-tyrant emperors Geta (Joseph Quinn) and Caracalla (Fred Hechinger). The battle scenes are gory, the world-building is impressive and, surprisingly, you get a few laughs in, too. Sure, it doesn’t match up to the original film, but director Ridley Scott offers up an entertaining follow-up that’s worth the price of admission to your nearest theater. — Erin

“Handling the Undead”

There is no genre like horror that interestingly expresses the often inexplicable forms grief can take. Writer-director Thea Hvistendahl’s chilly Norwegian offering is a deeply sad and longing tale of what comes after death — when both the living and the dead remain unsettled. The filmmaker evokes such raw emotion from a quiet yet shocking ghost story for adults. — Candice

“His Three Daughters”

Director Azazel Jacobs’ contained family drama will likely be drowned out by the bigger, buzzier and, ahem, more musical offerings this year. But it remains one of the most painfully honest and affecting movies 2024 has given us, and with a trio of superb performances from Carrie Coon, Natasha Lyonne and Elizabeth Olsen as sisters at odds with one another who reunite in the home of their dying father. We purposely never see the dad until the film’s final moments. As its title implies, the movie centers the complicated relationship between the three very different women. And it is an engrossing journey to watch. — Candice

“Inside Out 2” is the kind of animated film I wish existed when I was a kid. The Disney-Pixar blockbuster was a satisfying follow-up to the 2015 original that found a way to humanize the emotions of an 11-year-old girl, Riley, grappling with change. The first film chronicled her frustrations with moving away from her hometown to a new city, but the sequel tops that by tackling the complexities of a growing teen with anxiety. Animated films have always been a comfort to me, even as an adult, especially cathartic ones that connect to my inner child. It may not be a groundbreaking movie, but it’s certainly a heartfelt watch that anyone can relate to. — Njera

“Late Night With the Devil”

The thing about ’70s horror is that filmmakers often sat audiences in 90 minutes of uncomfortable, mounting dread, which is different from the ritualistic (though wildly entertaining) jump scares we see in many mainstream films today. Filmmakers Cameron and Colin Cairnes channel that technique in a satisfying offering set during the Jimmy Carter era of late night TV when families gathered around the tube for news and entertainment, but especially for comfort. Anchored by David Dastmalchian’s sympathetic performance as a talk show host accommodating a possibly demonic guest, the Cairneses turn that on its head with a deeply unsettling image of the paranoia, satanic fear and shock value that also shaped the era. — Candice

It’s the way writer-director Rose Glass’ endlessly wild, lesbian-romance-gone-horrifically-awry begins to feel like a runaway train almost as soon as it begins — and in the best way. Co-written by Weronika Tofilka, “Love Lies Bleeding” not only has Kristen Stewart delivering a career-best performance alongside a just-as-good Katy O’Brian; it’s also an out-of-nowhere, unruly and feminine offering from one of the most interesting newer filmmakers today. — Candice

“Megan Thee Stallion: In Her Own Words”

“Megan Thee Stallion: In Her Own Words” accomplishes a rare feat for celebrity documentaries: it actually offers a complex and intimate look at its subject — Grammy winning rapper Megan Thee Stallion, aka Megan Pete — throughout one of the toughest moments of her life. Directed by Nneka Onuorah, the film follows Megan before and after she was shot by rapper Tory Lanez in 2020. The film has several intimate interviews with Megan, footage from the immediate aftermath of the shooting and various clips of her rocking stages from Houston all the way to “Saturday Night Live.” Audiences witness Megan dealing with depression, online trolls and the grief of losing her mother amid the rise of her career. The film will make you cry, laugh and truly root for Megan Thee Stallion to win this rap game, as she rightfully should. — Erin

Writer-director Adam Elliot’s newest stop-motion animated work is just about the most depressing movie this year — and 2024 has also given us films about WWII and Donald Trump. A young girl’s decadeslong coming of age is wrought with familial death, romantic betrayal and intense loneliness that threaten to make the filmmaker’s longing film little more than trauma porn. Instead, it’s a pensive and vibrant reflection of life through the eyes of one peculiar woman that continues to stretch any perceived conventions of animation. — Candice

I’m a sucker for coming-of-age girlhood stories, so I was positive I would like “My Old Ass,” but nothing prepared me for how much I would love this fresh take on the genre. The story follows 18-year-old Elliott (Maisy Stella) a few months before she leaves for college; when she and her friends trip on shrooms one night, she meets her 39-year-old self (Aubrey Plaza), who offers advice that will alter the course of her summer and her life. Writer and director Megan Park is maybe the most underrated figure in Hollywood right now — I think it’s incredibly difficult to tell a story about Gen Z youth that’s not cringy or judgmental, and Park is able to masterfully portray timely jokes/slang/trends without ever sacrificing the intelligence and curiosity of her characters. And while the movie is largely comedic (there is one specific scene that made me laugh so hard I thought I would hyperventilate), it’s also surprisingly tear-jerking. It’s so good that as soon as the credits rolled, I felt sad that I would never be able to watch it for the first time ever again; I envy those who still have this viewing experience ahead of them. — Alexandra

It’s been a while since we’ve seen a movie that is unabashedly rooted in the horror genre, one that sends shivers down your spine throughout its entire runtime and makes no qualms about what it is. We too often get movies pegged as a “horror-thriller” or an “elevated horror,” whatever those two things are, but it’s become all too rare these days that a movie relentlessly sits in the space of the macabre and nothing else. It’s all the more fitting that writer-director Robert Eggers’ latest goes back to the genre’s uncompromising early cinematic offerings, with a revisit of 1922’s “Nosferatu: A Symphony of Horror.” While Eggers’ “Nosferatu” updates the original in its characterizations, it holds true to its lore about a vampire who haunts souls and rips vulnerable people from the inside out. With totally game performances by Bill Skarsgård, Lily-Rose Depp and Willem Dafoe and luscious cinematography, “Nosferatu” is sexier than the original but just as punishing and ice-cold. Marvelous. — Candice

“She Taught Love” got a small release on Hulu this past fall, but the film made quite an impression on me when I finally tuned in. Directed by Nate Edwards and written by seasoned actor Darrell Britt-Gibson (who also stars as the leading man), the romantic drama tells the love story of Frank and Mali (Arsema Thomas), the latter of whom is dying of cancer just as the pair catches a spark. Last year, Thomas made a splash in Netflix’s “Queen Charlotte,” the “Bridgerton” prequel, portraying a young Lady Danbury, and she’s just as delightful as the leading lady of “She Taught Love.” Britt-Gibson and Thomas’ stunning performances anchor a heartfelt tale reminiscent of the ’90s era of Black love stories, which is quite refreshing in this day and time where they’ve grown scarce on-screen. — Njera

“Sing Sing” is another film that not enough people were talking about this year. (Thankfully, A24 is re-releasing the film in theaters in January.) Earlier this month, the film’s leads Colman Domingo and Clarence Maclin, who portray incarcerated men at Sing Sing Correctional Facility, were both awarded Gotham Awards for their performances. Most of the cast of “Sing Sing” are formerly incarcerated alumni of the Rehabilitation Through the Arts program, including Maclin. The film brilliantly shows the men creating their own theatrical play at the prison and offers up the kind of story that we rarely see in Hollywood. It is a must watch. — Erin

“Soundtrack to a Coup d’Etat”
Writer-director Johan Grimonprez doesn’t make it easy for audiences to get into his documentary examining the relationship between the political resistance of jazz artists and the newly “independent” Congo amid the Cold War era. There’s a lot of cutaways to interviews and footage of artists, historians and other cultural experts interwoven with countless images of a Congo nation in turmoil under several rounds of colonization. But each morsel of information, statement of defiance and boisterous musical notes heard throughout works together to tell a story that is both timely and timeless — about the important role of art in the face of tyranny. — Candice

While Pedro Almodóvar’s newest film — his first English-language feature — isn’t quite as magisterial as his previous work, “The Room Next Door” still contains so much of what makes his films so great. The always dazzling Tilda Swinton and Julianne Moore star as Martha and Ingrid, two old friends (both writers in New York, making the movie feel very literary) contending with the former’s terminal illness. To spend her final days in style, Martha rents a palatial house upstate, asking Ingrid to accompany her. The film raises heavy questions about death and despair, but at the same time, is a wonderfully tender and cozy tale about old friends. — Marina

It’s the gore in director Coralie Fargeat’s Hollywood horror that people can’t seem to stop going on about. And it is quite gory and graphic — but with purpose. A brief lunch with a misogynistic male exec, a star’s make-or-break opening night and even, say, a hit of a street drug that keeps you young and consequently valuable are all heightened moments to produce the same level of anxiety among audiences. It’s some of the most seedily common events baked into our society that are the most insidious, to which Fargeat continuously draws our attention. Twin performances by Demi Moore and Margaret Qualley epitomize both the victim and mascot in that Hollywood (and beyond) nightmare. — Candice

“The Supremes At Earl’s All-You-Can-Eat”

“The Supremes At Earl’s All-You-Can Eat” is one of those movies that you’ll gladly watch over and over again, especially on a slow Sunday afternoon when you need something good and comforting to watch. The film, directed by Tina Mabry, is led by a phenomenal cast including Aunjanue Ellis-Taylor, Sanaa Lathan and Uzo Aduba. It follows the trio from their teenage years through adulthood as they navigate young love, their friendship and building their own families. All of the performances in the Hulu film are worth raving over, with the young cast portrayed by Tati Gabrielle, Kyanna Simone and Abigail Achiri showing incredible promise. — Erin

“We Grown Now” is a compassionate depiction of the beauty of Black boyhood and friendship. The nostalgic coming-of-age drama captures the unwavering bond between Malik (Blake Cameron James) and Eric (Gian Knight Ramirez), two dreamers who try their best to imagine a world of adventure beyond their Cabrini-Green housing project in early ’90s Chicago when tragedy strikes. The shooting death of their classmate shakes their worlds up so much that Malik’s mother, Dolores (Jurnee Smollett), moves her family away to find a safe haven elsewhere, nearly severing a bond the boys still manage to hold on to. It is easy to fall in love with the ensemble cast’s deeply moving performances — Cameron James’ is especially bewitching. Rarely do we see such a thoughtful story told through a child’s eye, but writer-director Minhal Baig delivers a film that’s both introspective and nuanced. — Njera