First as a quick bit of business, there will be no newsletter covering my favorite things of the past week. I’ve unfortunately been sick the past week, so first my media consumption has been down, and second I just haven’t had time to get it written in addition to this. I hate to do this so early into starting things, but we should be back to business as usual next week. I’ll even throw in some things from this week then. Now onto business.

2024 was a good year for movies, but it was also a year that left me feeling strangely unfulfilled. It’s hard to pin down exactly why I feel that way. I saw 45 movies that were new to me in 2024, with 34 of those in theaters. I got to see movies in French, German, Spanish, and Haitian Creole. I saw movies that were incredibly creative and poignant, and overall really something special. And yet, and yet, and yet. As good a year as 2024 was for movies, it felt (to me) that it was living in the shadow of 2023.

At first, I struggled to think of why. I rated movies more highly this year, and definitely had more that I rated 5 stars. But when I think of my top movies of last year, and particularly the movies that I saw in theaters, I got more out of the theatrical experiences. There was nothing that came close to the electrifying energy of Barbenheimer. Often theaters for even “big” movie experiences like Inside Out 2 or Deadpool & Wolverine felt strangely lifeless.

There were also choices I made that amplified this feeling. I saw more movies in 2024 than in 2023, and the unfortunate truth of that is just that I saw more mediocre movies. Additionally, there were multiple movies that I looked forward to that didn’t meet my expectations. And that’s okay! The fact that Sing Sing was not some sort of Shakespearean drama, or that Thelma wasn’t a heist/action movie, or that I Saw the TV Glow didn’t change my gender does not mean that any of the movies I built up were bad! In fact, they still ended up being mostly excellent. It did unfortunately mean that I entered with expectations that were not met, and so left feeling disappointed. The best movie experiences I had over the last year often came when I managed to not have expectations, which allowed my favorite movies to sneak up on me in unexpected places, be that at a friend’s apartment, watching a movie on my phone when I couldn’t sleep, or randomly going to see a foreign film on a Tuesday afternoon during the liminal period between the bar exam and my job start. I think others can relate to this idea. It’s when we least expect it, when we lower our guards, that we’re able to take in the full of what life is offering us.

Setting aside any disappointments from 2024, it was inarguably a great year for movie. The fact that I’m not a horror fan meant that I missed out on some of the great hits of the year like Longlegs, The Substance, or Strange Darling, and time constraints kept me from seeing other fan favorites like Conclave, The Wild Robot, or A Real Pain. This year I’m going to try to be more open-minded about the art I engage with, to come in without preconceptions based on trailers, or genre, or what other people are saying. Who knows, hopefully there will be some great surprises in store. On that note, here are my favorite movies of 2024.

Honorable Mentions

This was a tough list for me to pare down. I really did see some incredible movies, and it seems wild to not talk about movies like Merry Little Batman, Didi, Challengers, or Humanist Vampire Seeking Consenting Suicidal Person, not even getting into the movies I mentioned previously. But when push comes to shove, there are only so many spots I can give without this list becoming horrifically long and unwieldy. So, here are the honorable mentions

The Wasp (2024). 96 minutes. Directed by Guillem Morales and written by Morgan Lloyd Malcolm. Starring Naomie Harris and Natalie Dormer. 4⭐

The Wasp was one of the most chilling movies that I saw all year. Heather is a well-to-do woman living in London, but in an absolutely loveless, abusive relationship. She comes across an old friend from her school days, Carla, and makes a proposal that will drastically change both of their lives.

I don’t know if it’s accurate to say that I enjoyed this movie, but the way the film twists morality into knots and thorns was so endlessly fascinating that when I went over all the movies I saw last year, I knew that I couldn’t avoid talking about it. However, avoiding discussion on the plot is also vital for this movie, as there are twists and turns laid out from the very start of the movie that could give the whole game away if I’m not careful. Carla and Heather are both horribly broken people, and seeing the two women interact and dredge up each other’s trauma is incredibly painful yet exhilarating. So much of this movie is simply seeing these two play off each other, and both Naomie Harris and Natalie Dormer do a fantastic job acting emotionally stunted and casually cruel. The way this movie spoke to my own traumatic experiences was so raw and real that I left the movie feeling genuinely shaken. This is a hard movie to recommend, but a truly gripping, if equally grueling, psychological thriller. TW for sexual abuse.

Seeking Mavis Beacon (2024). 102 (1hr 42) minutes. Directed by Jazmin Jones. Starring Jazmine Jones and Olivia McKayla Ross. 5⭐

Seeking Mavis Beacon was an incredibly fascinating documentary that hit on so many issues that I care about. It follows two young black women who set out on a journey to find the woman who served as the original model for Mavis Beacon in Mavis Beacon Teaches Typing. It is a beautiful journey to try and reclaim the legacy of a Haitian woman whose face was used to make millions, all while not giving the woman any credit herself. As the journey goes on, the problems and questions become deeper, leading to one final issue: What if Mavis doesn’t want to be found?

Ask the people who know me, there are two issues that I care deeply about that are also intrinsically at odds with each other: the archival of media and history, and the right to privacy/right to be forgotten. This movie begins with the filmmakers, Jazmin Jones and Olivia McKayla Ross, focusing solely on the first element. Mavis Beacon Teaches Typing was a hugely influential piece of software, and choosing to have a black woman be the face of that brand did a lot to help get POC on board the tech boom. Jazmin and Olivia are determined to give credit to the true name behind the face that was Mavis. They deal with an ever increasing set of roadblocks from unhelpful sources, to lost files, to low funds, to a global pandemic. Despite this, it seems at first that nothing can stop them from reaching their goal. The problems come when it becomes increasingly evident that the model does not wish to be found. She was embittered by her experiences with the creators of the software, and at this stage in her life, it seems she wishes for nothing more than to be left alone. Seeing documentarians have to grapple with what to do in this situation was incredibly fascinating, and the choices made by the duo were something to behold. There has been criticism that this becomes more a movie about Jazmin Jones than Mavis Beacon, but if that’s a problem I don’t want a solution. Jones is an equally compelling figure whose drive, style, and passion permeate the entirety of this film, and having a figure other than Mavis to highlight is what keeps this journey from being a loss.

20,000 Species of Bees (2023). 125 (2hr 5) minutes. Spanish Language (some French and Basque as well). Directed and written by Estibaliz Urresola Solaguren. Starring Sofía Otero Labrador. 4.5⭐

Desperately seeking inspiration, sculptor Ane leaves her home in France and goes with her three children to her hometown in the Basque Country of Spain. Her child Aitor, called Coco throughout most of the movie, comes under the wing of Ane’s aunt Lourdes, a beekeeper. Coco struggles to connect to others, and throughout the movie becomes more withdrawn as the reality of returning to France draws closer. Spending time with Lourdes in the hills, seeing Ane shape bodies from clay, and being able to inhabit new identities allows Coco to become the person she’s always been inside, Lucia.

This movie was an incredibly beautiful and raw look at trans childhood. Lucia has spent most of her life presenting androgynously, and is starting to butt up against the realities of aging and puberty. She leaves France as a bit of a brat, but as the movie goes on it becomes clear that her antisocial behaviors are coming from a place of dysphoria. Going to Spain, creating a new identity, and being mentored in the feminine history of her family by Lourdes is a life changing experience for Lucia. But things obviously can’t be that simple. Ane, and her husband who is absent for most of the movie, are portrayed as progressive artists who feel stifled by the small minds of the people around them, especially while they are in the country. Showing their struggle at their child’s transition felt incredibly realistic, and how deeply entrenched gender norms are throughout all parts of society, even those who claim progressive values. Lucia’s extended family is also portrayed as being religious and slightly conservative, presenting another barrier to her transition. Lucia’s struggle is not just in accepting herself, but getting others to accept her when she has so little control over her own life at this age. The movie ends with a lot of ambiguity, but thankfully with hope for Lucia’s future.

Chicken for Linda (2023). 73 (1hr 13) minutes. French Language. Written and directed by Chiara Malta and Sebastien Laudenbach. Starring Clotilde Hesme and Melinee Leclerc. 5⭐

Paulette is a young French widow raising her daughter Linda. Following an argument where Paulette slaps Linda, Paulette asks what she can do to make amends. Linda wants her mom to make chicken with peppers, one of the few things she remembers of her father. Paulette sets off to get a chicken, but Paris is on strike, leading to an increasingly fantastic and whimsical journey of a mother doing whatever she must to do right by her child.

Chicken for Linda was such a surprise delight. It has an incredibly unique, almost unfinished feeling art style that is infused with so much emotion and physicality. Seeing the deep and genuine bond between Paulette and Linda was incredibly touching, and I think many people will relate to the messy parental bond shown. Both Paulette and Linda are struggling greatly from their loss, in ways that can be at odds with the other. Both women are also incredibly charismatic, drawing in the people around them in wild and wonderful ways. This movie also feels incredibly French. The amount of disdain shown to the police in the movie is very funny, and the way the people rally together in times of need is truly heartwarming. The movie is paced incredibly well, with a shocking amount of story told in just over an hour. This film was a true surprise and joy to behold, and I recommend it to anyone who can get their hands on it.

My Top 5 Movies of 2024

Number 5: Flipside

2023; 92 (1hr 32) minutes. Written and Directed by Chris Wilcha. Starring Chris Wilcha. 5⭐

This movie follows Chris Wilcha in the midst of a crisis of self. Following his breakout debut film in 1999, Chris always believed he would be a documentarian in the vein of Michael Moore. However, he struggles to follow through with his projects, and instead bounces from job to job; directing commercials, the briefly lived televised version of this American life, and a few vanity projects for celebrities. In the background, he continues to try to start new documentaries, eventually vowing that a documentary focused on his hometown record store, Flipside, is going to be what shifts in his career. Years later, the Flipside project as so many others has been left unfinished. Instead, we see Chris sift through his collection of unfinished projects and return to Flipside in a markedly different manner than he did before, taking in the life he’s lived and coming to terms with the person he is.

This movie is tailor made for the stereotypical “burnt out gifted kid.” We see Chris have such grand dreams for himself, yet he struggles with execution and eventually settles on the good enough. He has a pleasant life with his wife and kids, he gets to work in the field he cares about, yet he still isn’t satisfied. He starts and stops so many projects throughout the years, carefully shown throughout the movie. We see how this process impacts not just Chris, but the people he works with. Some subjects pass away before Chris can finish, or suffer from dementia. Others, like the owner of Flipside, feel so burned by Chris’s failure to live up to his promises that they become increasingly cold to him. Yet throughout, Chris retains a sense of optimism and hope, even while acknowledging his failures. He takes the time to learn from and appreciate each project, and through this movie attempts to find a healthier goal and balance for himself, learning to appreciate the path that he’s chosen, while still holding space for his dreams. It’s a delicate balance, and can get incredibly sentimental at times, but there’s a core here that most people can connect with and appreciate. I know I certainly did.

Number 4: Robot Dreams

2023; 102 (1hr 42) minutes. Written and Directed by Pablo Berger, adapted from the graphic novel of the same name by Sara Varon. 5⭐

Dog lives a boring, lonely life in New York City. Determined to change his circumstances, he orders a robot companion from a TV commercial. Dog and Robot become quick friends, going everywhere together. This draws out a more adventurous side from Dog, while Robot’s childlike wonder serves as fuel to explore new activities. However, following a tragic incident at the beach, Dog and Robot become separated, and must learn to live without the other.

This movie draws intense parallels to one of the great movies of 2023, Past Lives. This beautifully animated film was made in Spain, but manages to strongly capture the vibe and atmosphere of New York City. The lack of dialogue requires a physicality and expressiveness from the characters that heightens their emotions. Dog is a classic neurotic, overly careful and set in his ways due to fear of the unknown. Seeing Dog grow throughout the course of the movie is a true delight, especially seeing the lengths he goes through to try to reconnect with Robot. Robot meanwhile is forced to grow through patience. At his entrance, Robot has a sense of whimsy and dynamism, taking in the world through frantic activity. When forced to go low power, he has to learn to appreciate the world in other ways, without activity. A truly beautiful story about how relationships, even if they don’t last, can be incredibly meaningful and leave lasting marks on those involved.

Number 3: Bottoms

2023; 91 (1hr 31) minutes. Directed by Emma Seligman. Written by Emma Seligman and Rachel Sennott. Starring Rachel Sennott and Ayo Edebiri. 5⭐

PJ and Josie are possibly the biggest losers at their high school, and it’s not even because they’re gay. Caught in an increasingly intricate lie at the start of the movie, the two start a “self-defense club” to try to hook up with their cheerleader crushes and to avoid being disciplined by their principal. As the lies continue to build, and as the self-defense club takes increasingly violent turns, PJ and Josie are forced into increasingly desperate situations to avoid losing everything they have, including their friendship.

Bottoms is quite possibly the funniest movie I’ve ever seen. Rachel Sennott and Ayo Edebiri are effortlessly funny and play off each other flawlessly. The jokes are so densely layered that it’s almost impossible to catch everything on a single watch. From the way scenes are shot, to the physicality of the actors, to the writing, to the sets, to the increasingly absurd and fantastic plot: everything is done for the sake of the joke. It can almost be too much at times. This movie is not afraid to take wild swings about gender, societal values, and the fetishization of high school life. This movie is so incredibly clever and thoughtful, it pains me that so few people have seen it. Explaining comedy through writing is difficult, and so much of what makes this movie enjoyable needs to be seen to be understood. It’s campy, surreal, and just overall hilarious. For anyone who hasn’t seen it, this movie is a must watch.

Number 2: KNEECAP

2024; 105 (1hr 45) minutes. Written and Directed by Rich Peppiatt. Staring Moglai Bap, Mo Chara, and DJ Provai as themselves. 5⭐

The exaggerated true story of how Northern Irish hiphop group Kneecap came together. Friends Liam and Naoise were raised by the tales of Naoise’s IRA father, Arlo. Following Arlo’s abandonment of his family to avoid arrest, Naoise and Liam become listless and disillusioned as they enter adulthood. Following a chance encounter with Liam, music teacher JJ is introduced to the boys and he becomes convinced their artistry can be a vehicle to preserve the Irish language. The three form a band, but as their popularity grows, they face increasing public and private pressure to quit due to the style of their music and their lyrics.

This is a movie that grows on me every time I think about it. KNEECAP was one of the most creative and joyful movies I saw over the course of the past year. I left the film and looked up the actors, only to be shocked that the band had played themselves. This movie weaves in different creative mediums throughout, using animation, claymation, and stop motion at different points to paint its message. The movie shifts effortlessly between Irish and English, and it doesn’t coddle English listeners, providing subtitles only where necessary. It’s clear why Kneecap received so much pushback, because their lyrics are meant to be provocative. The music is incredibly anti-imperialist and seethes against the British occupation of Ireland, that is when it isn’t about sex and drugs. This movie is incredibly over the top, but at the same time that’s the point. Kneecap is about a group of lads having fun and staying true to themselves. This doesn’t mean that they don’t care. JJ aka DJ Provai makes it very clear throughout that he thinks connecting the Irish language to modern musical forms is a necessary step for the survival and evolution of the language, and Liam and Naoise agree. At the beginning of the movie, there’s a monologue about the Troubles where Naoise wonders if he missed the moment, if everything that mattered has already passed him by before he even had a chance to make a mark. Kneecap is a clear response to that sentiment, a refusal to shut up and stay quiet, a choice not to respect the status quo created by the previous generation. No matter what England says about Belfast, Kneecap is an IRISH band and won’t let itself be coopted. The unabashed joy they have in staying true to themselves is pretty damn inspiring and this is the one movie from the list I most want people to seek out and watch.

Number 1: The Iron Claw

2023; 132 (2hr 12) minutes. Written and Directed by Sean Durkin. Starring Zac Efron, Jeremy Allen White, Harris Dickinson, Holt McCallany, and Lily James.

Going into the 1980s, the Von Erich Family is at the top of the world. Led by family patriarch Fritz, the four sons of the family have honed their craft to be some of the best athletes in the world, poised to challenge for world titles wrestling and ready to compete at the Summer Olympic Games. But after tragedy strikes, eldest brother Kevin is left scrambling to hold together the pieces of his family as things begin to swiftly unravel.

The first movie I saw in 2024 was also my favorite. It’s probably natural that I’ve become drawn to stories about messy families dealing with grief. This movie is a true heartbreaking delight. The first half of the movie meticulously builds up the joys and triumphs of the family, showing just how strong the family’s bonds are. You can see the love between the Von Erich brothers, how even under their father’s firm hand there is a joy permeates their life. But halfway through the movie, when one of those pillars is removed, everything begins to fall apart. Everything is from the POV of Kevin von Erich, played by Efron, who is also the only surviving brother of the real life Von Erich family. Because of this, at times we are left struggling to understand the motivations of the other characters, wondering why they make the choices that they do. But this sense of confusion isn’t meaningless, but instead works with the grief. Death is confusing, and it can come without rhyme or reason. Sometimes we can’t understand, the best we can do is to just accept. And this movie portrays that process beautifully.

And there you have it, my favorite movies of 2024. Looking back at the top 5, it’s funny how many technically came out in 2023, but this was by no means intentional. 4 of the 5 I saw in theaters this past year. 2025 is off to a slow and chaotic start in many ways for me, but keep your eyes peeled. There are already some movies I’ve seen that I’m excited to talk about and share with you all.