1.
Dune Part Two.
ᎮᎧᏇᏋᏒ ᎧᏉᏋᏒ ᏕᎮᎥፈᏋ ᎥᏕ ᎮᎧᏇᏋᏒ ᎧᏉᏋᏒ ᏗᏝᏝ
Years ago, I found myself cold on director Denis Villeneuve's take on Science Fiction:
Arrival had uninteresting characters and shot itself in the foot with its third act while
Blade Runner 2049 sort of wasted its potential in the last 40 minutes the moment Harrison Ford showed up. So I certainly had my skepticism for his two part adaptation of Frank Herbert’s classic novel. After all, many have struggled to adapt it in the past and considering my personal track record with his work, it was hard for me to get excited initially. But
Part One came in and blew the doors off for me with its truly alien universe, excellent cast and tremendous spectacle. I, of course, had high expectations for what
Part Two would wrought and did the Canadian auteur deliver on those promises?
Well, you bet your bottom dollar he did and then some.
A truly tremendous and awe inspiring work of art. A masterclass of an adaptation that simplifies the plotting but does not sacrifice its darkness or thematic complexity. A piece of confident craftsmanship a truly talented director can only do. A really righteous and kickass action film with a cast of characters with enough natural charisma that nearly dwarfs every single
Star Wars film. A horrifying fable about giving into fanaticism and the consequences of it all. A tragic romance that you know can only end one way.
Dune Part Two is indeed all of these things and more. And with a third installment on the way, I shall bow down to the Atreides flag without hesitation from now on, even if it leads us to our destruction.
2.
Queer.
In a year where Luca Guadagnino pumps out two dramatic pictures - one being the breezy and exciting sports flick
Challengers, the other being this sad and downbeat surreal drug addled character study based off of the William S Burroughs novel of the same name - my preference goes to the latter without question. Never in a million years would have I thought of seeing Burroughs on the big screen but lo and behold, that gay Italian boi pulled it off. Tender, passionate and deeply moving, Guadagnino has made his finest feature to date, adapting Burroughs in a way that captures the punk nature of his writing while also letting him apply his trademark sensuality to the proceedings. There's a lot here I can praise but I feel the most important element to single out here is Daniel Craig, who gives what would easily be the best performance of his career if he wasn't already James Bond. He's never been this vulnerable on screen before and coming from someone whose career was built on the back of one culture's most enduring macho men, it really says something about Craig and how he's willing to risk it all. A truly wonderful film and a great example of how passion projects can work out well in the end.
3.
Monkey Man.
The successor to
The Raid and
The Night Comes For Us has finally arrived and it didn’t even come from Indonesia. Instead, it came from Dev Patel in his searing and often exhilarating action packed debut about a man who’s life was ruined by India’s ruling elite and how he intends to burn it all down to the ground. For what sounds like a simple plot, it’s a helluva lot more ambitious than you’d expect as it operates not only as a blood drenched action flick but also a psychedelic hang out picture, an uncompromising criticism of the current Indian government, a buddy movie and a call to arms to stand up for what's right. Patel went through hell to get this made from filming the thing to getting it properly distributed and frankly, his blood sweat and tears absolutely paid off. Plus any movie that has needle drops like The Devil Is A Lie or Red Sex automatically gets brownie points from me.
4.
Longlegs.
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ꇓ•⅂— ꇓ— \\L ⊥L⊔
•⊥⊂ :'ↃↃ Ո•⊘— ⨀L VLꇓ— //•V⅂
⊥L⨀ L⊥V—
⊥L⨀ ⨀⊔:V—
//⏁⨀ •ᘰ ꇓ•⊥∴ ⨀:ꇓ—ᘰ •ᘰ :
Ↄ::::::::::::::::::::::::::::⅂—————!
Thanks to a reliable premise, NEON's truly Impressive marketing campaign and excellent reviews, Osgood Perkins’ forth feature wound up as the surprise smash of the summer and 2024’s highest grossing indie film. It’s premise is as boilerplate as you would expect - a FBI agent (Maika Monroe) with psychic powers is trying to solve a case with a satanic serial killer (Nicholas Cage) - but what separates this from other
Silence of The Lambs/
Se7en knockoffs is its opaque presentation and genuine sense of supernatural evil its able to conjure on screen. For some, the unrelenting building up and slow roll of the film will bother some but for anyone who’s a sucker for soaking in atmosphere or sharp genre craftsmanship is in for a treat. When a movie opens with a T Rex quote and ends with a T Rex song should definitely realize that Perkins is in to give you a good time, even as he subjects you to genuinely unsettling things like slaughtered families, satanic shadows, mind controlling dolls and Cage’s absolutely bonkers titular antagonist. It’s also a movie, not too dissimilar from M Night Shyamlan’s
Trap, that becomes more fascinating - and in this movie’s case, disturbing - the more you read into the subtext both directors are laying down here. And considering Perkins past (his father the legendary Anthony or how his mom died in 9/11), it feels as if he’s channeling something truly malevolent here, something you can't even say about the best chillers. To put it bluntly: It gets pretty close to the territory of such chillers like
Exorcist III or
Cure, which is great company to be in in my book.
5.
Civil War.
I almost feel a little bad in shilling myself for this one in comparison to Alex Garland's other works. In contrast to his fantastical tales of science fiction and horror, Garland has made a brutal and often unforgiving dystopian action thriller about a United States in flames at the hands of a president (an underused Nick Offerman) in his third term and a group of journalists (Kirsten Dunst, Wagner Mouna, Stephen McKinley Henderson and Caliee Spaeny) trying to make it to the White House before the heavily armed coalition of Texas and California known as The Western Forces storm the gates and take El Presidente’s head for themselves. Now why do I feel bad about liking this one? Because in spite of horrifying imagery, gut wrenching character moments and bleak setting, Garland has actually made a pretty sick and very economical action movie in the process. Don't expect much explanation in how these Divided United States came to be but do expect excellent set pieces, ear shredding sound design, surprisingly subtle satire in regards to how America barely explains civil wars in other countries, a genuinely great cast - with Jesse Plemons stealing the show as a nationalist militiaman - and sick needle drops, especially the end credits one that gave me serious
Dogville vibes. Garland is planning on leaving the directing game soon because he finds the process exhausting but at least he went out on a high note. Hope it doesn't take long for him to get back to it again.
6.
Gladiator II.
The original
Gladiator is one of the best movies ever made and expecting a sequel to replicate that magic is a ridiculous demand. So while Ridley Scott isn't above callbacks to the original or similar echoes, he's opted to make a sequel that largely feels different from its predecessor in terms of tone, texture and plotting. Instead of the straightforward tale of revenge and noble heroics of the first film, we have a complicated and bleak story of Roman politicking and moral rot. Instead of the intense coloring of the original, we have a gritier palette. Instead of a singular sniveling antagonist, we have two war mongering brothers and a calculating power broker saying for screen time. There's many differences to be found here but if you think this is going to be a dour experience you need not worry: There's plenty of rollicking action + violence, tremendous visual splendor and grand theatrics on display to make sure you get your money's worth. Throw in an exceptional cast (with a scene stealing Denzel Washington) and you have a sequel that definitely delivers the notion of entertainment to the masses. And unlike Scott's past couple of films, this managed to end on a note that's as moving as it is tragic. Even at the age of 87, he can still conjure up genuine movie magic. If he's going to make that third film he's threatening to make, I'd be up for seeing Lucius’ journey to its bitter end.
7.
I Saw The TV Glow.
Towards the end of Jane Schoenbrun's coming of age horror flick, the main character Owen (Justice Smith, doing career best work) has a major melt down at his dead end job working at a Chuck E Cheese-esque restaurant. Looking like a shriveled up raisin and wheezing like both of his lungs have been punctured by an invisible invader, he screams in horror as he realizes he's not who he's supposed to be and how he's wasted all these years trying to be something he's not. He even tries to profusely apologize to everyone around him for what he's done, even as they freeze up and are unresponsive. There's a million ways to interpret this scene - and the film in general - but the thesis of the film remains unbelievably clear: Living in denial of who you are is the greatest terror of all, scarier than any monster you could see on your favorite TV show as a kid. Schoenbrun shows such a substantial upgrade from their lo-fi debut in every way it's almost mind boggling, from the gut wrenching script to the terrific 90s laced production design and the dynamic duo leads of Smith and Jack Haven, the latter of whom gets an exceptional monolog at a Planetarium that needs to be seen to be believed. There's a core message here that can't be ignored and it has a power that feels universal to all audiences despite having a very niche target demo. Paul Schrader was on the money dubbing Schoenbrun as one of our finest new voices and I can’t wait to see what they do next.
8.
Snack Shack.
Coming of age movies are a dime a dozen any way you slice it. They could be contemporary or set way back when but you pretty much know the trajectory of them right from the first frame. This isn’t, however, a bad thing when placed in the right hands. Case in point? Adam Carter Rehmeier's early 90s flavored, Nebraska set comedy drama about best friends AJ (Conor Sherry) and Moose (Gabriel LaBelle) buying out a food shack at a local pool during the summer of ‘91 and the antics they get into, from local d***wad bullies, hot lifeguards, money troubles, fractured friendships, the cops and personal family tragedies. As I said, you can pretty much where the tea leaves are going with this one early on but thanks to Rehmeier’s terrific direction + scripting, the great chemistry with the entire cast both young and old alike, solid period detail and a runtime that actually earns where it almost starts getting close to the two hour mark, I found it incredibly hard not to be charmed by this. Paramount inexplicably dumped this near the beginning of spring last year and shame on them for letting a great little gem like this to die on the vine. Hopefully, it gets the proper recognition it deserves some day because solid little movies like this make the world go round.
9.
Trap.
I think it's high time we drop the whole “M Night Shyamalan is a bad filmmaker” narrative. Yes, the period between 2006 to 2013 was a rough one for the filmmaker as he found himself in a creative rut that included egotistical fairy tales, killer plants, misfiring adaptations and a vanity project that wasn’t even his. Thankfully, he’s been using his own money to start funding his own projects since
The Visit and since then, I think he’s really settled into a creative groove that has yielded idiosyncratic yet highly entertaining genre exercises. His latest one stars former 2000s heartthrob Josh Hartnett as a father with a serial killing hobby taking his daughter to a concert while the police circle around the area and attempt to capture him. In summary, this is what happens when you mash
The Stepfather with Brian De Palma’s
Snake Eyes, a combination I never would have imagined in a million years but am absolutely delighted to play out on screen. Unlike most people, I found myself loving both halves of the film: The first half’s obsession with logistics based thrills and seeing Hartnett elude the police each time never gets old while the second’s ever increasing absurdity definitely prevents things from getting boring. Much has been rightfully said about its leading man, who gives one of the year’s most delightfully cheeky performances. And to say nothing of the film’s fascinating subtext about it being Shaymlan’s role as a parent and how much dads are total weirdos, right down to casting his daughter Saleka Shyamalan in a prominent role in the film. It’s easily his best since Split and if that sounds like an endorsement to you, then you should plunge right in like I did.
10.
Beetlejuice Beetlejuice.
Growing up, I was a Tim Burton nerd through and through. I remember falling in love with works like
Edward Scissorhands or
Sleepy Hollow while even defending more zanier episodes of him like
Mars Attacks or his take on
Charlie and The Chocolate Factory. But starting with
Alice In Wonderland, he hit a massive creative slump and struggled for well over a decade to get his creative mojo back. Thankfully, however, Burton recognized this and decided to make what's easily his most engaged work in years with this delightful sequel to one of the signature films of his career. From gooey gags to colorful set design and stop motion effects, Burton shows that despite it all, he still has it. And while I will concede that the plot is a total mess of subplots, multiple characters, random tangents and flimsy threads, the sheer joyful energy of the film pretty much overwhelms these problems pretty easily. Then there's the cast, a colorful collection of old and new faces that never stops being amusing as hell to witness (especially Michael Keaton, who has not lost a single step despite playing the Juice meister many moons ago). I don't know where Burton will go from here after this and reportedly, he has no interest in a third
Beetlejuice movie but frankly, I'm glad he appears to be himself again. Here's hoping he can continue this soul train.
11.
The Contestant.
Anyone who finds what happened to this man entertaining ought to be shamed. The tale of Nasubi and his attempts to keep his sanity in tact for an entire nation’s entertainment - and the world entire, to some extent - is a harrowing one but Clair Titley is able to make sure his tale of directed torture and survival ultimately becomes a triumphant one, especially how he used his fame to help out those in need.
12.
The Brutalist.
For his next trick, Brady Corbet decides to do a spin at a Great American Epic after dabbling in the origins of European Fascism and popstar trauma with a sprawling story of a Hungarian Holocaust survivor who ventures to America to become an architect. This truly is as powerful and breathtaking as many claim, while also being breathlessly paced. While the second half does dip in quality, do not it dissuade you from the largely overwhelming accomplishment here. Welcome to the big leagues, Mr. Corbet.
13.
Kingdom of the Planet of The Apes.
Surprised at the somewhat muted reception for this. Is it because Wes Ball doesn’t have the same weight or cred that Matt Reeves had when the latter took over the series? No matter; The former was able to, in my humble opinion, keep up with the quality of the last two films with this installment, which aims to kickstart a new trilogy. And if the creatives play their cards right, we’ll be in for a more than worthy continuation of this saga.
14.
V/H/S Beyond.
Another year, another
V/H/S/ sequel on Shudder. But I must confess, this might be the best installment this series has had yet. By making most of the segments consistently tied to one theme (aliens and science fiction in general), it makes for a force and devilishly good time. Horror anthologies are a very hard thing to pull off the team on board with this - of which includes Jay Cheel, Jordan Downey, Virat Pal, Justin Martinez, Christian + Justin Long, and Kate Siegel - did an exemplary job here.
15.
The Vourdalak.
The best vampire film of the year, bar none. And to think it comes from a first timer like Adrien Beau, who imbues the film with personality, gore and a very charming but evil puppet. Traditional yet refreshing in period detail and a tight script. Also fun fact: Ariane Labed? She's the wife of Greek weirdo Yorgos Lanthimos. Should sort of tell you what you're in for here.
16.
Smile 2.
Parker Finn’s sequel to the horror smash of 2022 is here and it’s a sadistic doozy. To be honest, after watching Naomi Scott being mercilessly tortured by a misery demon with a nasty rictus grin, I felt genuinely exhausted and brutalized by this than I did than something much more brutal than
Terrifier 3 for god's sake! Guess that remake of
Possession is in good hands after all.
17.
A Different Man.
“A**hole Elephant Man” is the last thing to appear in my 2024 Bingo Film Chart but when the results are this good, I won’t complain. Aaron Schimberg has crafted something deviously clever and funny here and while he could have stood to make something that isn’t so visually drab looking, he more than makes up the proceedings with a brilliant script and a terrific trio of performers (Adam Pearson especially, who absolutely needs to be the leading star of a major blockbuster project by tomorrow morning).
18.
Immaculate.
Sydney Sweeney wanted to be in this since reading the script back in 2014 and I gotta say, that’s some dedication for what’s an unapologetically nasty nunsploitation horror flick. She, along with director Michael Mohan and screenwriter Andrew Lobel, cleverly trick the audience into thinking their in for a standard jump scare factory only to lead them down a path that shares more traits with
A Cure For Wellness than
The Nun. And to say nothing of that jaw dropping ending, which must be seen to be believed.
19.
Kinds of Kindness.
Huh, guess all it took for me to swallow a screenplay by Yorgos Lanthimos was to have it in a triptych of separate yet connected tales of morality, cruelty, sexuality and control. I have to say, I really gelled here with its sheer strangeness and humor, some of the most absolute biting I've seen in a while and the astounding cast that Lanthimos has assembled here is to die for. Plus if you ever wanted to see a movie where dogs were humans + vice versa, well here's your movie.
20.
Alien Romulus.
If one were to put a gun to my head and make me choose between
Alien or
Star Wars, the former wins out every damn day. Fede Alvarez makes his finest flick yet, a wickedly tight and exciting meat + potatoes thrill ride that hits a nice chord between entertaining franchise fans and newcomers alike. Not every call back works and it’s not as gruesome as it could be but Aleraz’s passion for the franchise is on full display here. And the cherry on top?
Prometheus/
Covenant truthers such as I are finally vindicated. SUCK ON THAT, NERDS!
21.
Abigail.
In a year where I get vampire movies from two very talented horror directors, somehow I prefer the one by the
Ready Or Not guys rather than the latest Robert Eggers feature. Fast, exceptionally gory, well cast and funny as hell, Radio Silence’s victory lap after their successes with the
Scream reboots a delight meant to be utterly savored. Shame it looks like brown sludge though; Get a proper colorist next time guys!
22.
Juror #2.
Clint Eastwood’s final feature? According to some recent reports, not just yet. But even if this does turn out to be the gruff maestro’s swan song, he went out on a very strong note: A lean, efficient and understated court drama about the eternal debate on whether or not justice is truly fair. The final shot felt like a stab to the heart in the ways Eastwood only knows how. Here’s one for you, old man.
23.
Anora.
The first 45 minutes of Sean Baker’s Cannes winning picture truly lived up to the hype for me. Shame the rest of the film didn’t quite match that opening salvo but still, this is another example of Baker’s honed sense of lived-in craft and deeply believable worlds. The hype around Mikey Madison is indeed real but for me, the unexpected highlight was Yura Borisov as an affable henchman.
24.
Love Lies Bleeding.
Following up a movie as shattering and incendiary as
Saint Maud is a tall bloody order, so thankfully Rose Glass threw out the rules and instead of following it up with another horror movie, she opted to make a wickedly nasty exploration lesbian 80s tinged thriller. In that sense, it feels like a spiritual successor to the Wachowski Sisters’ classic debut
Bound. it's a movie that’s got everything: Absolutely ripped chicks, Ed Harris eating bugs, Kirsten Stewart with a mullet, violence, sweaty hot sex and one of the sweetest damn endings of the year. Girls just wanna have fun, ya’ll!
25.
Emilia Pérez.
Welp, get your pitchforks pointed at me because I actually liked Jacques Audiard’s absolutely absurd and wildly passionate crime/queer/musical drama. For the record I have seen it twice and despite its ever pilling up list of controversies (the director not bothering to film it in Mexico with actual residents there, Karla Sofcia Gascaon's unfortunate past remarks, the admittedly ridiculous “Penis to Vagaina” number), I can’t help but finding myself swept up in the sheer audaciousness of it all. And hey, a movie endorsed by John Waters can't be all bad.
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The Blu-ray Community Top 25 Films of 2024 (Please Read 1st Post)
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