The best movies of 2024 (so far) (2024)

The best movies of 2024 (so far) (1)

Photograph: Time Out

From ‘The Zone of Interest’ to ‘The Substance’, the very best reasons to head to the cinema this year

Edited by Phil de Semlyen

Global film editor

Contributors: Anna Smith, Olly Richards, David Hughes, Hanna Flint & Matthew Singer

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For the first half of 2024, the main talking point around the movies was that no one was going to see them. Why weren’t audiences flocking to see Ryan Gosling drive stunt cars and flirt with Emily Blunt? Why did Furiosaflop when the last Mad Max film was such a hit? It was especially perplexing given that last year, the worldwide box office had seemed to finally rebound from the post-pandemic doldrums.

Studio fortunes are improving, however, on the backs of some major kids movies and the monster success of Inside Out 2 and . So how about we all stop wringing our hands, and begin appreciating what’s been a pretty great year for movies so far, both in the mainstream and at the arthouse? You’ll notice some of these movies came out in the US at the back end of 2023, but we’re basing this list on UK release dates to include the best worldwide releases from between January and December. And there is plenty more coming, so keep this one bookmarked.

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Best new movies of 2024

1.The Zone of Interest
  • Film
  • Drama
Photograph: A24

A great artist can offer a radical new perspective on a well-trodden subject. So it is with Jonathan Glazer’s Holocaust masterpiece, which takes Hannah Arendt’s phrase ‘the banality of evil’ and shows us what banal evil really looks like. The family life of Auschwitz camp commandant Rudolf Höss (Christian Friedel) and his wife (Sandra Hüller) is a vision of cursed domesticity. The horrors remain out of sight but, crucially, not out of earshot. Sound designer Johnnie Burn’s soundscape has the yelling of guards and the crack of rifle shots punctuating scenes of gardening and kids’ playing. The result is aCome and See for the 2020s.

2.Poor Things
  • Film
Photograph: Atsushi Nishijima

Sensual coming-of-age journey on helium or problematic story of sexual exploitation? The conversation came late to Yorgos Lanthimos’s singular adaptation of Scottish writer Alasdair Gray’s cult 1992 novel, but it came pretty hard. And yet, with Dogtooth, The Lobster and The Favourite behind him, the Greek is a master of creating lopsided, not-for-everyone visions of the human experience – and this Victorian Frankenstein riff, in which a magnet Emma Stone plays a lustier-than-normal version of the monster, is no exception. Surely the most bonkers film to score 11 Oscars nominations.

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3.Dune: Part Two
  • Film
  • Science fiction
Photograph: © 2024 Warner Bros. Entertainment Inc

Does Denis Villeneuve ever miss? He’s certainly hitting close to .400 when it comes to blockbuster moviemaking – and his first proper sequel keeps that hot streak alive. Having done the heavy lifting of reimagining Frank Herbert’s sci-fi epic in the first Dune, Part Two adds moral complexity and giant desert battles to the world-building and galactic scheming. But even the ludicrously starry cast can’t compete with those monstrous sandworms – giant Tube trains careering through the sandy substrata of Arrakis that give this awe-inspiring movie its most awesome motif.

4.All Of Us Strangers
  • Film
  • Thrillers
Photograph: Searchlight Pictures

A flooring piece of work – in the sense that it will leave you sobbing on the cinema floor – Andrew Haigh’s ghostly love story could just be the Brit’s masterpiece. It’s the story of a screenwriter (Andrew Scott, wonderful), whose lonely life in a London apartment block is interrupted by a mysterious neighbour (Paul Mescal, all dangerous charm) and an even more mysterious visit to his childhood home, where his parents (Claire Foy and Jamie Bell) are there to meet him. It’s at least semi-autobiographical – remarkably, Haigh shot it in his own boyhood home – and that makes its undercurrents (connection, loneliness, and just really missing mum and dad) feel personal as well as universal.

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5.The Substance
  • Film
Foto: Cortesía IMDB

Even in a gala year for horror, Coralie Fargeat’s Faustian body-negative shocker is some contribution to the genre. The French filmmaker has Demi Moore, no doubt channelling a few of her own Hollywood nightmares, playing a faded starlet who takes a mystery serum and spawns a younger version of herself (Margaret Qualley), who then ignores the Ts and Cs on the mysterious potion and causes all hell to break loose. Intensely visceral and fun with it, the gross-out splurges of gore never overwhelm The Substance’s humanity and its solidarity with women sidelined by a sexist system.

6.Furiosa: A Mad Max Saga
  • Film
  • Action and adventure
Foto: Cortesía Warner

Nomovies areproviding moviegoers with more bang for their buckthanGeorge Miller’sMad Maxfranchise, and Fury Road and nowFuriosa, the most mythologically rich blockbusters since Lord of the Rings, come with an almost deranged desire to shock and awe. Unlike the arrow-sleekFury Road, Furiosa, a generation-spanning origin story with Alyla Browne and Anya Taylor-Joy stepping into Charlize Theron’s boots, gets weighed down byextra narrative baggage. But withChris Hemsworth a joy as the scheming, oratorical Dementus, and one War Rig chase as mind blowing as anything in its predecessor, it’s still an essential watch. No one is doing it quite like the Aussie doctor.

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7.About Dry Grasses
  • Film
  • Drama
Photograph: Nuri Bilge Ceylan

This latest film from Turkish auteur Nuri Bilge Ceylan (Winter Sleep) once again confirms him as one of the most serious and consistent filmmakers at work today. It’s a demanding study of an unpleasant male teacher at work – unhappily – in the rural wilds of Túrkiye. It comes with ravishing photography, intense conversations, moral quandaries and some unexpected playfulness – all deeply rewarding to chew over.

8.Green Border
  • Film
  • Drama
Photograph: Agata Kubis

At a time when refugees are vilifiedby populists, Agnieszka Holland delivers the perfect rebuttal to that nasty, inhumane mode of thinking. Green Border is a tough watch as it follows a small band of Syrians, Africans and Afghans shunted back and forth between Belarus and Poland, human chess pieces in European politics who are left to suffer in ​the freezing forests of Eastern Europe. But there’s hope here, too: in the younger Europeans who reject the barbarity of their elders, and in the richly-drawn migrants themselves, some of whom are played by actual refugees. It’s a bleak but brilliant piece of humanist filmmaking.

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9.A Different Man
  • Film
  • Drama
Photograph: A24

The year’s other great movie about an actor who takes an experimental drug and ends up tormented by an alternate version of themselves is less body horror than body tragicomedy. Sebastian Stan is Edward, a struggling thespian whose life gets superficially better, then much, much worse, after curing the severe facial deformity that’s long afflicted him. The meta-narrative, involving a play titled Edward that Edward himself is gradually forced out of, has strong Charlie Kaufman vibes, but writer-director Aaron Schimberg’s playful genre-mixing and peculiar non-sequiturs give the film a strange, surreal feeling all its own. And Adam Pearson is wonderful as Edward’s gregarious doppelgänger, hilariously unaware that he’s driving Edward mad simply by being comfortable in his own skin.

Matthew Singer
Film writer and editor

10.Longlegs
  • Film
  • Horror

The best supernatural chiller since Hereditary, this serial-killer procedural arrives with more buzz than a fly-blown John Doe. It’s an unenviable burden to carry, and plenty of gorehounds will grumble that it’s not scary enough, especially with US distributors Neon playing the ‘it’s utterly terrifying’ card pretty hard in its breakout viral campaign. But see it unencumberedfrom heavy expectations and immerse yourself in a lingering, hauntingly blank-hearted horror film from Oz ‘son of Anthony’ Perkins and producer-star Nicolas Cage. Fans of It Follows and The Guest have been saying it for yonks, but her Clarice Starling-like FBI agent is yet more proof that Maika Monroe is a star.

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11.Hit Man
  • Film
  • Comedy
Photograph: Venice Film Festival

It’s frustrating that Richard Linklater’s stupidly entertaining comedy-thriller was deprived of a full-scale cinema release, because it’s absolutely what Friday nights at the cinema are all about. With the Cheshire cat grin of a younger Tom Cruise, Anyone But You star Glen Powell plays a sad-sack New Orleans professor who discovers a gift for impersonating assassins for the police. Then he meets Adria Arjona’s abused wife and would-be murderess and his moral code gets scrambled in all sorts of mind-bending ways. Still, it’ll be on Netflix, if you did miss it.

12.The Taste of Things
  • Film
Photograph: Carole Bethuel

Juliette Binoche and Benoît Magimel, her old flame IRL, combine to dizzyingly romantic effect in Tran Anh Hung’s Cannes-prize-winning period piece. The Scent of Green Papaya man delivers what’s basically ‘The Intoxicating Aroma of Flash-Fried Loin of Beef’ in a movie so in love with the sensuous pleasures of food, its opening 30-odd minutes of Nigella-style sizzling, chopping, roasting and saucing that it might leave you gnawing your arm in hunger. And in the spirit of great foodie films – Babette’s Feast, Big Night, Tampopo et al – it’s about more than just the culinary arts. Binoche is luminous as a gifted cook whose tender bond with the man she works for (Magimel) is entirely on her own terms. With its rural, 19th century setting, it’s a swooning time machine to past pleasures.

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13.Io Capitano
  • Film
  • Action and adventure
Photograph: Greta De Lazzaris /Altitude

A hard-scrabble adventure story, Matteo Garrone’s (Gomorrah, Tale of Tales) tale of two gangly Senegalese boys trying to make it to Italy by land and sea is bleak and bruising one minute, transcendent and magical the next. Despite desertscapes straight out of a David Lean epic, it never sugarcoats the migrant experience. Far from it – Seydou and Moussa, played with huge charm and increasing trepidation by Seydou Sarr and Moustapha Fall, suffer deeply for their dreams of a better life. It’s a sensitive, stirring and hugely relevant film that’s well worth searching out on the big screen.

14.La Chimera
  • Film
  • Drama
Photograph: Cannes Film Festival

Few filmmakers find space for the earthy and the fantastical with the assurance of Alice Rohrwacher (Happy as Lazzaro). The Italian auteur delivers another mythically-tinged picaresque, lit up this time by Josh O’Connor as a dodgy but charming British archeologist – a Graham Greene character in a dirt-stained suit – on the hunt for Etruscan treasures with a band of colourful grave robbers. Shot through with surrealist beauty and grubby opportunism, La Chimera is a jalopy ride through rural 1980s Lazio, with narrative bumps and hairpins to lend a sense of the unexpected, and views to match.

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15.Blink Twice
  • Film
  • Thrillers
Photograph: Warner Bros.

In Zoë Kravitz’s directorial debut, two waitresses accept a billionaire’s invitation to his private island, only for things to get weird, and increasingly disturbing. Kravitz builds the tension and twists the knife impressively for a newcomer in a colour-saturated, elegantly exaggerated thrillerthat’s anchored by strong performances from Naomi Ackie and Channing Tatum. It’s not quite up there with Get Out as a debut, but very, very close.

Helen O’Hara
Film journalist, author and broadcaster

16.Challengers
  • Film
Photograph: Warner Bros Entertainment

The sexiest thing to happen to tennis since Björn Borg launched his range of skimpy undies, Luca Guadagnino’s homoerotically-charged love triangle is like Jules and Jim sponsored by Head. Mike Faist and Josh O’Connor are great as the jaded champion and scrappy coulda-been facing off in a US Open warm-up event, but Zendaya steals the show as the pointy bit of the triangle: an injury-hit ex-prodigy whose ambitions are poured into a husband (Faist) incapable of satisfying them. And Trent Reznor and Atticus Ross’s fierce, electro score might be their best work since The Social Network.

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17.I Saw the TV Glow
  • Film
  • Horror
Photograph: Berlin Film Festival

‘If David Lynch grew up obsessed with Buffy the Vampire Slayer’ seems a simplistic description, but it’s about as close as an elevator pitch will get you to grasping the second feature from emerging horror dynamo Jane Schoenbrun (2021’s We’re All Going to the World’s Fair). Storywise, it focuses on two lonely teens who bond over a television show that may or may not actually exist, but it’s really a mood piece: heavy on atmosphere and thick with anxiety, with a distinctive Day-Glo visual palette. According to Schoenbrun, it’s also an allegory for the trans experience, and though gender dysphoria is never explicitly mentioned, the sense of living a life that’s not your own comes through clearly. Nightmarish and nakedly emotional, it has one of the year’s best endings too.

Matthew Singer
Film writer and editor

18.Alien: Romulus
  • Film
  • Horror
Photograph: 20th Century Studios

Count this Alien resurrection as one of the year’s nicest surprises – and by ‘nice’, obviously we mean sadistic, gross and jaw-droppingly violent. Horror master Fede Álvarez presides over a conveyor belt of juicy, acid-dripping shocks as Priscilla star Cailee Spaeny leads a band of young mining colony workers onto a space station that’s about to become xenomorph central. It’s a hugely satisfying horror movie, while simultaneously suggesting that we’ve reached the outer limits of the franchise’s lore. The Alien: Covenant and Prometheus-riffing third act is the weakest stretch.

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19.Inside Out 2
  • Film
  • Animation
Photograph: Pixar

Is Pixar back? No one had this nine-years-in-the-making sequel down as the film to save the multiplex summer. But with first week receipts closing in on $500 million, Inside Out 2 feels big, both for cinemas and for the cultural clout of a once-great animation house struggling with its place in the Disney hierarchy. If it’s not quite up there with the first film – firmly established in Pixar’s top three – there’s loads to love in its expansion of Riley’s mind. Maya Hawke is fab as the voice of the jittery but well-meaning Anxiety, and Pouchy has just surpassed Forky, Spanish Buzz and Ken as Pixar’s most inspired piece of comic relief.

20.The Iron Claw
  • Film
  • Drama
Photograph: Devin Yalkin

You don’t have to like wrestling, or Zac Efron, or know anything about the true story of the Von Erich family to be hit like a piledriver powerslam by Sean Durkin’s no-holds-barred ‘70s and ‘80s-set drama. Efron, bafflingly untroubled by awards attention, physically transforms to play Kevin Von Erich, one of four siblings (The Bear’s Jeremy Allen White is another) driven by their wrestler-turned-trainer father (Mindhunter’s Holt McCallany) beyond physical and emotional human limits. Go in cold if you can; the less you know, the better.

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21.The Holdovers
  • Film
Photograph: Universal Pictures

That sound you hear – some mild grousing, a bit of ‘no fucking Merlot’ – is the Giamatti hive assembling. For so long one of cinema’s most underappreciated (appreciated, just not enough), he’s emerged from Alexander Payne’s bittersweet ’70s-style Christmas movie as a popular hero of the kind that would probably make a few of his own characters sick. His spiky chemistry with newcomer Dominic Sessa, as a sour history teacher and the troubled student he’s stuck with over the vacations, and the upbeat support of Da’Vine Joy Randolph, make this Payne’s most oddly life-affirming movie.

22.Evil Does Not Exist
  • Film
  • Drama
Photograph: NEOPA, Fictive

Surely no film in 2024 will have a more bamboozlng ending than Ryusuke Hamaguchi’s rural fable. If the Drive My Car director, one of Japan’s finest purveyors of gentle human dramas since Ozu, goes fully mystical in the final reel, the lead-up offers a painfully relatable tale of ecology and capitalism at loggerheads. A Tokyo business’s insensitive plan to build a glamping site on a virgin patch of countryside shows how easily the balance between people, as much as the natural world, is disrupted. But it’s Hamaguchi’s ability to gift each of its characters an inner life that makes this quiet gem special.

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23.Janet Planet
  • Film
  • Drama
Photograph: A24

Playwright Annie Baker writes and directs a delightful account of a quirky 11-year-old hanging out with her divorced mother (Julianne Nicholson) in rural Massachusetts in the ’90s. Anchored by a wonderful performance from child actor Zoe Ziegler, it’s a witty, atmospheric slow burner with chapters dedicated to distinctive characters – played by actors including Sophie Okonedo and Will Patton. The child’s-eye perspective invites a deeply personal, nostalgic response.

24.If Only I Could Hibernate
  • Film
Photograph: Conic Film

The plot of Mongolian writer-director Zoljargal Purevdash’s Cannes-selected first feature may be nothing special – a teenage boy’s gift for physics could lift his struggling family out of poverty – but when every aspect of a film is so perfectly curated and calibrated, from performances to music to cinematography, it becomes something truly extraordinary. The setting may be icy, the story bleak at times, but the warmth shines through.

David Hughes

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25.Monster
  • Film
  • Drama
Photograph: Cannes International Film Festival

Japanese master Hirokazu Kore-eda’s humane lens is applied to another intimate-but-universal parable of lives in flux and embroidered with a gentle score by the late, great Ryuichi Sakamoto. Actually, it’s several lenses, because Monster takes a turn for the Rashomonwhen it reframes its story of a supposedly abusive teacher, struggling pupil Minato (Soya Kurokawa) and his anxious single mum from different angles, each non-judgmental but increasingly knotty. It won the Queer Palm at Cannes for its sensitive depiction of the growing bond between Minato and his school friend Eri (Hinata Hiiragi). In an Anatomy of a Fall-less year, it might have won the Palme D’Or too.

26.Do Not Expect Too Much from the End of the World
  • Film
  • Drama
Photograph: © 4 Proof Film

The ’90s was full of films that rinsed laughs from the soul-destroying tedium of McJobs – Office Space, Clerks, et al. But even the most gifted filmmakers have struggled to alchemise the zero-hour horrors of late capitalism into jokes, leaving the terrain clear for social realists like Ken Loach instead. Romanian maverick Radu Jude delivers a daring, starkly funny exception. His blackly funny road-trip through the gig economy collages Andrew Tate TikTok send-ups, film history homages, and a sharply observed takedown of modern working life through the eyes of Ilinca Manolache’s spiky, twentysomething production assistant doing the shift from hell. The result is the kind of bold jab atcorporatebullshit that would have Peter Gibbons nodding in approval.

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27.Origin
  • Film
Photograph: Atsushi Nishijima, Courtesy Array Filmworks

If movies are empathy machines, as Roger Ebert put it, Ava DuVernay’s travelogue is the highly calibrated kind. It’s a meta-narrative of a kind – an imagining of the creative process behind Pulitzer-winner Isabel Wilkerson’s 2020 book ’Caste: The Origins of Our Discontents’ – and one with major intellectual heft, but it’s also deeply moving: confronting with stark truths about systems of oppression and consoling with moments of quiet romanticism from the Selmadirector. Aunjanue Ellis-Taylor’s (King Richard) is wonderful: warm but unsentimental as a questing woman who is wounded by personal grief but galvanised byhistorical injustice.

28.The Promised Land
  • Film
  • Drama
Photograph: Henrik Ohsten

A magnificently windswept Mads Mikkelsen heads into the hostile wilds of Jutland in this epic Scandi western set in the 18th century. He’s tasked with cultivating the unforgiving landscape on behalf of the King – only for his aristocratic neighbour (Simon Bennebjerg, flamboyantly odious) to turn up and start torturing people. It’d make for a satisfyingly old-fashioned tale of good against bad, except that Mikkelsen’s settler has some bastard in him, too. Minimalist but magnetic, the great Dane is almost as spectacular as director Nikolaj Arcel’s widescreen landscapes.

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29.Priscilla
  • Film
Photograph: Philippe Le Sourd

In Cinderella, a young girl escapes a life of drudgery by meeting a dashing prince and living happily ever after in his castle. Sofia Coppola’s portrait of Priscilla Presley (Cailee Spaeny) is that in reverse. The gross imbalance of power in the young Priscilla’s relationship with the controlling Elvis (Jacob Elordi) is the thing that #MeToo movements are built on, and few filmmakers can wield this mix of the dreamy and dark-edged with Coppola’s levels of emotional precision. Here, she made a horror story dressed up as a fairy tale.

30.Samsara
  • Film
  • Drama
Photograph: Curzon

Giving glorious new meaning to the phrase ‘cinema trip’, this meditative voyage through sound and space challenges your senses by exploring life, death and reincarnation as it follows the transmigration of an elderly soul from Laos to Zanzibar. With a cast of non-actors, naturalistic camerawork, some colourful lap dissolves, and an intense ‘keep your eyes closed’ interlude, Spanish filmmaker Lois Patiño has crafted a playful and potent sojourn into the metaphysical.

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31.American Fiction
  • Film
Photograph: Curzon

If the end product wasn’t so entertaining, it might be a bit depressing to watch a 2001 race satire become one of 2024’s most culturally relevant movies. But the message of Percival Everett’s seminal novel ‘Erasure’ – that African-American artists are pressured to present the Black experience as a ghetto-based tragedy – finds the perfect expression in Jeffrey Wright’s career-best performance as author Thelonious ‘Monk’ Ellison, an author who sets out to expose that system only to get dragged deeper into it. The supporting turns, especially from Sterling K Brown as Monk’s troubled brother, add real pathos to the laughs.

32.The Fall Guy
  • Film
  • Action and adventure
Photograph: © Universal Studios

Plundering a dusty corner of 1980s TV and turning it into an action movie and stunt showcase with a puppy dog-ish eagerness to please, The Fall Guy is the ideal Friday night cinema outing: big laughs. big explosions, and nothing that's going to linger too long in your brain. Ryan Gosling and Emily Blunt make it sing as a lovelorn stunt man and the newbie director he's trying to win back. Can he save her movie? Would it be better if he didn't becauseit looks really terrible? Turn off your brain and enjoy the silliness.

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33.Monkey Man
  • Film
Photograph: Universal Pictures

Sometimes you have to take the law into your own hands. Dev Patel does that on both sides of the camera in a nonstop revenge thriller that somehow adds a splash more violence to the John Wick formula. With the support of producer Jordan Peele, he carves – literally, at points – the action-star role for himself that Hollywood wasn’t providing. As a filmmaker and storyteller, Monkey Man is a statement too. A little room to breathe and a few wider shots would have made the helter-skelter action all the more satisfying, but by foregrounding real social issues in his country boy’s quest to take down a fictional Mumbai’s corrupt one percent, Patel elevates his debut above standard exploitatiation thrillers.

34.Four Daughters
  • Film
  • Drama
Photograph: Cannes International Film Festival

Any film that draws comparisons with Abbas Kiarostami is automatically a grabber. Tunisian director Kaouther Ben Hania’s meta-doc has an Oscar nomination to its name, too. Both endorsements feel richly deserved: her daring, playful and emotionally charged film turns expectations on their head as it pieces together the real story of four siblings and their stern but matriarch Olfa. Except nothing – and no one – is quite what they seem here. The result is a mesmerising hybrid of filmmaking trickery and emotional authenticity that’s as gripping as any mystery-thriller.

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35.Rebel Ridge

The best movies of 2024 (so far) (77)
The best movies of 2024 (so far) (78)

Jeremy Saulnier has come to kick ass and discuss civil asset forfeiture, and he’s got plenty of time for both. In this Netflix-distributed action-thriller, the Green Room director deftly disseminates a complex legal issue through the strictures of a simple genre picture. The Underground Railroad’s Aaron Pierre is phenomenal as an ex-Marine with a particular set of skills taking on a corrupt small-town police department, led by a terrifically smug Don Johnson. Saulnier’s script is uncommonly smart, but he also knows the right moments to get a little stupid: see the scene in which the cops learn, via a slow-loading Wikipedia page, just what their adversary is capable of. It’s tremendously satisfying.

Matthew Singer
Film writer and editor

36.Memory
  • Film
  • Drama
Photograph: Bohemia Media

In the latest film by celebrated yet underrated Mexican director Michel Franco (Sundown), Oscar winner Jessica Chastain gives a restrained, pitch-perfect performance as a New York social worker Sylvia, a single mum and recovering alcoholic whose encounter with a man (Peter Sarsgaard) suffering from early-onset dementia brings memories up to the surface so quickly, she experiences an emotional equivalent of the bends. The irony is typical of Franco’s sparse, authenticoeuvre, and Jessica Harper is icily brilliant as Sylvia’s estranged mother, whose own repressed memories have spread like a cancer in her family.

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37.The End We Start From
  • Film
Photograph: Signature Entertainment

Add another brilliant Jodie Comer performance to the list in this very British disaster movie. She plays a new mother trying to survive when ceaseless rain makes much of the UK uninhabitable and causes society to collapse. We’ve seen a lot of the story beats before, but, ironically, the mundanity of the disaster – which initially just looks like your average November in London – makes this particularly chilling.

  • Film
  • Drama
Photograph: We Are Parable

So far, it’s been a year of seasoned filmmakers – Ava DuVernay, Hirokazu Kore-eda, Wim Wenders, Denis Villeneuve – strutting their accomplished stuff. But there’s been new names to clock, too, including, of course, American FictionOscar-winning writer-director Cord Jefferson. But don’t sleep on French-Senegalese filmmaker Ramata-Toulaye Sy’s debut either, a quietly simmering story of poisoned love in a rural West African village. It’d be reductive to describe it as a Senegalese ‘Romeo and Juliet’, but it dances gracefully along similar faultlines: how the expectations of a traditional community and the dreams of two of its lovelorn members make for a tragically combustible mix.

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39.Late Night With the Devil
  • Film
  • Horror
Photograph: Vertigo Releasing

Aussie filmmaking brothers Colin and Cameron Cairnes give a winningly creepy David Dastmalchian the perfect platform in a diabolically fun Satanic possession shocker set on a ’70s talk show. A possessed tween is wheeled onto the show with her wary parapsychologist to give Jack Delroy’s ratings the kiss of life. Needless to say, it has the opposite effect. The gore spurts liberally when it all goes south, but it’s the nicely observed ensemble of media figures, and the Cairnes’s smart riffs on Network and The King of Comedy, that gives it texture to go with the terror.

40.Love Lies Bleeding
  • Film
  • Thrillers
Photograph: A24

A wild mix of Thelma& Louise, Pumping Iron and Nicolas Winding Refn’s neon-noirs, Saint Maud’sRose Glass delivers the sort of erotically-charged thriller we’ve all been missing – while also feeling like something else entirely. Kristen Stewart is a bored gym manager in 1980s New Mexico whose life is upended when an uber-jacked drifter (Katy O’Brian) wanders into her dead-end town. It’s the odd details that make it: the flashes of hallucinatory horror; the close-ups on bulging muscles; the mortifying hairdos. But for all the blood, sweat and steroids, Glass never forsakes the queer love story at the movie’s heart. Not that she ever could: Stewart and O’Brian are far too magnetic.

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41.Chuck Chuck Baby

The best movies of 2024 (so far) (90)
The best movies of 2024 (so far) (91)

Welsh women laugh and love in this crowd-pleaser blending drama, comedy, music and romance. Louise Brealey puts in a delicate performance as Helen, a chicken factory worker recently separated from her no-good husband (Celyn Jones). Helen dreams of a second chance when her childhood crush (Annabel Scholey) returns to town. Janis Pugh’s film pays tribute to sisterhood among working class women, and it does it with a big smile on its face.

Anna Smith
Film critic and broadcaster

42.Scala!!!
  • Film
  • Documentaries
Photograph: BFI London Film Festival

A film made in the image of its subject, this punky, scrapbook-style doc tells the story of London’s legendary Scala Cinema, the kind of they-don’t-make-’em-like-they-used-to temple of cinema – and, you know, general shenanigans – that your local multiplex couldn’t emulate without being shuttered in minutes. It’s the kind of place that people queued for all-nighters and emerged changed forever, and not just by the fug of weed smoke. Many of those Scala-rites are reassembled here to share giddy reminiscences. Some of them now have influential moviemaking careers of their own.

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43.The Delinquents
  • Film
DR

Los Delincuentes (‘The Criminals’ in Spanish) is no more a heist thriller than L’Avventura is a manhunt movie. Sure, it starts with a Buenos Aires bank clerk opportunistically nicking $650,000 from his own bank’s safe, but from the moment he entrusts the loot to his wary colleague to hide it and hands himself into the police, the genre trappings begin to come apart in all kinds of digressive andsurreal ways. There are detours into the rich Argentine countryside, two love affairs – with the same woman – and a fourth-wall-breaking for the ages. It’s like a bit queuing for a rollercoaster and finding yourself in the hall of mirrors: irksome for some, but a treat for anyone willing to go with the flow.

44.Out of Darkness
  • Film
  • Horror
Photograph: Signature Entertainment

A windswept and Stone Aged ancestorof Neil Marshall’s supremely discomforting caving horror The Descent,the taut terrors in Andrew Cumming’s debutfilm come thick and fast. A small band of early settlers traversea bleakHighland landscape, only to start dying mysteriously – and fairly violently –at the hands of a demonic presence in the woods. TheScottish director knows what to show and what not to, giving us bursts ofdisorientating carnageand sharp jabs ofunsettlingsound design. The cast, speaking amade-up but highly plausible-soundingPaleolithic dialect, put meat on the bones ofthat lean premise with lived-in performances, and while the reveal drains some of the momentum, thefinal scenes provide an expectedlythoughtful finale.

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45.Gasoline Rainbow

The best movies of 2024 (so far) (99)
The best movies of 2024 (so far) (100)

The kids in this unique slice of cinéma vérité docufiction from indie auteurs the Ross brothers aren’t entirely all right, but they’re dealing with the anxiety of impending post-high school life the best they can. Namely, by jumping in a van, escaping their one-stoplight Oregon hometown and heading to the coast, 500 miles away. A freewheeling road movie in the Kerouac vein, it captures youth at its most authentically confused, reckless and romantic. (The cast are all first-time actors, playing themselves in loosely scripted scenes.) What it emphasises most, though, are the bonds of teenage friendship, especially among misfits who don’t have anyone else. It’s a wonderful ode to making your own family and finding your own way, whether by van, foot, train car or party boat.

Matthew Singer
Film writer and editor

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