2024. Year in Films.

This analysis divides recent film releases into three distinct categories to reflect a nuanced perspective on critical reception and personal enjoyment. Firstly, “Films We Rated Higher Than Average” highlights movies that, while generally well-received, resonated more strongly with our specific tastes, suggesting they possess qualities that might be overlooked or undervalued by broader audiences. Secondly, “Films Were Actually Good” acknowledges movies that met or exceeded general expectations, delivering solid cinematic experiences that justify their positive reviews. Finally, “Films Should Have Been Rated Lower” identifies movies that, despite generating significant buzz or acclaim, fell short of our personal standards, indicating a potential disconnect between popular opinion and our critical evaluation. This categorization aims to provide a more detailed and subjective understanding of film quality, moving beyond simple numerical scores to explore the diverse ways in which movies can connect or fail to connect with individual viewers.

Let’s start with films rated higher than their average scores. All of Us Strangers, where a screenwriter’s encounters with his deceased parents and a mysterious neighbor blur the lines between reality and memory, felt like it deserved even more recognition for its profound impact. Furiosa: A Mad Max Saga, a prequel exploring Furiosa’s origins and her fight for survival in a post-apocalyptic wasteland, was a grander experience than Fury Road, and it’s a shame its box office performance might hinder future installments. Late Night with the Devil, a live television broadcast in 1977 takes a dark turn when a possessed young girl is interviewed, had an effective atmosphere, even if the climax didn’t fully land. The Bikeriders, chronicling the rise of a Midwestern motorcycle club through the eyes of its members, had strong cinematography, making it feel underrated despite a somewhat flawed narrative perspective. Back to Black, a biopic depicting the tumultuous life and career of singer Amy Winehouse, resonated strongly, despite critical and audience lukewarmness. Treasure, a father and daughter take a trip to Poland, where they confront the lingering trauma of the Holocaust, brought a fresh perspective to a familiar theme. The Trouble with Jessica, a woman with a dark secret disrupts a dinner party, had a unique theatrical feel that worked well. Kraven the Hunter, a Russian big-game hunter proves that he is a force to be reckoned with, was enjoyable, though lacking depth. Finally, Joker: Folie à Deux, Arthur Fleck forms an alliance with Harley Quinn, was a film we enjoyed, despite being in the minority.

In the “actually good” category, Ryuichi Sakamoto: Opus, a final solo performance by the renowned composer, was a poignant farewell, with the raw emotion of Sakamoto’s final moments. Kneecap, an Irish-language film following a rap trio’s rise to fame, offered high-energy entertainment, a must-see for music fans. Robot Dreams, a dog’s loneliness is replaced by a robot friend, until he is left behind, was a heartbreaking animated tale, and Young Woman and the Sea, the story of Gertrude Ederle, the first woman to swim the English Channel, an inspiring story of determination. The Teachers’ Lounge, a dedicated teacher investigates a series of thefts at her school, Crossing, a man flees East Germany to find his estranged son in Switzerland, and Challengers, a tennis star enters a challenger event to get his career back on track, all delivered solid experiences. The Substance, a woman uses a mysterious substance to create a younger, better version of herself, had a brilliant concept, even if the execution faltered later. The Apprentice, a look at Donald Trump’s early career as a real estate mogul, provided well-acted and emotionally impactful moments.

Conversely, some films were overrated. Perfect Days, a man who cleans public toilets in Tokyo finds beauty in the simplicity of his daily routine, suffered from tedious repetition. Anora, a Brooklyn sex worker marries the son of a Russian oligarch, felt disjointed, failing to live up to the hype. Sing Sing, a group of incarcerated men find redemption through theater, lacked audience engagement despite its interesting concept. The Count of Monte-Cristo, a man wrongly imprisoned seeks revenge on those who betrayed him, felt dated. The Iron Claw, the story of the Von Erich wrestling family, failed to engage despite its compelling story. Conclave, cardinals gather to elect a new pope, lacked intrigue. Ordinary Angels, a small-town hairdresser rallies a community to help a widowed father save his critically ill daughter, was overly sentimental and its social commentary ridiculous. La Chimera, an English archaeologist gets involved in an international network of stolen Etruscan artifacts, was simply boring. Alien: Romulus, a group of young space colonizers encounter a terrifying lifeform, was a cinematic failure. The Outrun, a recovering alcoholic returns to her childhood home in the Scottish islands, had good visuals but a weak character connection. The Fall Guy, a stuntman gets caught up in a conspiracy while working on a film set, was overrated. Small Things Like These, a coal delivery man in a small Irish town uncovers dark secrets, lacked cinematic impact. Unstoppable, a group of young soccer players defies the odds, was cheesy and shallow. Smile 2, a pop star experiences terrifying visions, relied too heavily on jump scares. Beetlejuice Beetlejuice, a sequel to the 1988 film, may only appeal to nostalgic viewers. Longlegs, an FBI agent investigates a serial killer, failed as a thriller. Abigail, a group of criminals kidnap a young girl who turns out to be a vampire, was ridiculous. Love Lies Bleeding, a gym manager falls in love with a mysterious drifter, lacked substance. It Ends with Us, a woman reflects on her past relationships, was boring with poor acting. Terrifier 3, the murderous Art the Clown returns, prioritized gore over substance. A Quiet Place: Day One, the origins of the alien invasion, felt unnecessary, and Godzilla x Kong: The New Empire, Godzilla and Kong team up against a new threat, was one of the year’s worst.