The 25 Best Movies Of 2024, According To CinemaBlend

Nosferatu is one of the most artistically stunning films of 2024. Every frame looks like a painting, the score for the film is haunting and fills the room, and the cast is impeccable. Lily-Rose Depp gives life to a multi-layered role, and Bill Skarsgård further cements his place as a horror genre king thanks to his mind-blowing transformation into Count Orlock. His voice alone made me feel uneasy in my seat. With a tremendous supporting cast, it’s no surprise that this picture's masterful acting keeps the viewer’s attention. You feel the longing, aching, repulsion, and fear as the story unfolds, making Nosferatu a must-see theatrical experience.

In the current entertainment landscape, there are plenty of superhero movies, with most of them hailing from the likes of Marvel and DC. Amid all of that comes Ultraman: Rising, which offers up a fresh tale wrapped up in a familiar box. Spinning off from the beloved Japanese sci-fi franchise, Shannon Tindle’s film centers around Kenji Sato as he attempts to balance his roles as a professional baseball player and the titular hero. Ken’s world is really shaken up, though, when he finds himself in the position of watching over a baby Kaiju. Tindle’s beautifully animated, deftly written and effectively voice-acted feature is certainly a superhero story, but it’s also a tale about the complexities of parenthood and the notion of legacies. You may be tempted to believe this is simply a story about good versus evil, but it’s so much more than that.

Parker Finn surprised horror fans with a film that could have been a gimmicky mess but turned out to be an effectively chilling and refreshingly potent meditation on trauma in Smile. The filmmaker continues to astonish with a bigger, scarier, and even more thought-provoking sequel. Naomi Scott gives her best performance yet as Skye Riley -- a pop star with a tragic past whose road to recovery is worsened by a malevolent, manipulative, shapeshifting demon that makes its presence known to her with a cruelly evil grin. Her struggle to rid her life and, hopefully, the world of this entity (along with her own psychological wounds) makes Smile 2 a relentlessly shocking, cleverly subversive, and stunningly profound ride from start to finish.

Rebel Ridge answers a question I didn’t know anyone was asking: What if Rambo was a calm, collected, whipsmart veteran who was just as dangerous and determined for justice as the classic action-movie icon? Director Jeremy Saulnier brings the intrigue, violence, and fast-paced storytelling fans of his previous works know him for, but it’s the film’s star Aaron Pierre who brings the demure yet imposing presence of Terry Richmond to life, and you can’t overstate just how great Pierre is in this role. It’s a tight, action-packed flick with a satisfying end, and though its plot comes to a clean conclusion. I’ll take 100 more of them, please, and thank you.

If 2015’s Inside Out evoked all the feels that a young girl’s mind could handle at that point in her life, Pixar’s followup arrived with a slightly older Riley and even more emotions – quite literally. The sequel sees young-teen Riley, grappling with new emotions (Ennui, Embarrassment, Envy and Anxiety) as she faces more changes and challenges in her life. Growing up is hard, as many of us can attest, but the film’s depiction of the havoc anxiety (well-meaning though she may be) can wreak on the mind of a kid hits close to home for me and many others. Pixar had a lot to live up to after the outstanding, emotional and entertaining first film, and Inside Out 2 undoubtedly delivers.

This winning documentary doesn’t reinvent the wheel, push any boundaries, or break any molds. Instead, filmmaker Laurent Bouzereau receives the enviable task of simply sitting down and listening to the maestro, John Williams, recount stories about composing some of the greatest film scores of our generation. Where does one even begin when digging into the magical legacy of WIlliams? Your jaw drops as you scan his resume, from Star Wars and Jurassic Park to Harry Potter and Indiana Jones. But it’s the personal anecdotes shared by a gracious Williams – as well as the tributes delivered by endless Hollywood greats – that make Music By John Williams one of the year’s most enjoyable cinematic experiences.

In its basic components, Anora isn’t anything new. A more mature Cinderella story following a sex worker (Mikey Madison) and her love affair with a rich young Russian (Mark Eydelshteyn); that’s not where writer/director Sean Baker innovates. As we follow Ani’s wild ride through a particularly season in New York City, characters and events zig when you think they’re going to zag. Humor organically sneaks in without belittling the characters, all the while the story avoids gratuitous violence or sex. Much like Ani herself, Anora shines through the hidden depths that are plumbed, and the emotions we never expected to confront in this lived in world of romance-fueled chaos.

Fede Álvarez’s Alien: Romulus is one of the scariest and most intense movies I’ve experienced on the big screen in years. Going back to the iconic sci-fi franchise’s horror roots, this visually stunning and emotionally gripping story of rebirth, survival, and family had me wiping tears from my eyes (but only after prying my fingers from my armrest). If this is the start of a new chapter in Alien movie history, then I cannot wait to see what Álvarez and company do with a second chapter. But if this was just a one-and-done story, I’m really glad I was able to experience this incredible and unforgettable sci-fi story.

There’s something special about going into a movie fairly blind, and there was something particularly special about doing it with Thelma, as its relentless, plucky and perpetually overwhelmed title character spends much of the film’s runtime at least partially clueless about what’s going on. I won’t spoil you on where any of it goes. Instead, I’ll just say watching the always delightful June Squibb and Richard Roundtree in his last role try to navigate the predicament they find themselves in while dealing with scooter problems, pop-up ads and scammers is delightful. I’m so happy I found this movie, and if you have too, then 'I think I know you!'

Civil War came early in the year, but I spent the greater part of 2024 telling everyone I know about how dumbfounded I was by the thriller. Going in, all I knew that the A24 movie was the latest from the mind behind Ex Machina. While I think it's easy to pass off Civil War as a dystopian war movie with a political agenda, it's really a love letter to journalism and a nail-bitingly immersive drama with two compelling characters at the center of it. Kirsten Dunst gives an all-time great performance as a hardened legend in her field, foiled by Cailee Spaeny's rookie character. Few movies change the way I look at the world, but Civil War feels like you experienced something monumental.

A film that takes 'art imitating life' to wickedly unnatural conclusions, Aaron Schimberg’s A Different Man truly lives up to its titular descriptor. Sebastian Stan is enjoyably unlikeable as Edward, an aspiring actor suffering from neurofibromatosis whose life is forever changed thanks to an experimental surgery. Temporarily content as an attractive and successful real estate agent, Edward’s performative side soon returns after discovering a play was written about his former life, fronted by a charismatic chap named Oswald (Adam Pearson) who also has neurofibromatosis. This twisted and unpredictable morality tale is like Charlie Kaufman’s Twin Peaks, and its themes of happiness and regret stay lodged in the brain long after the credits have rolled. Schimberg created a gem, but Pearson owns the pic with scene-stealing humor and charm.

Jason Reitman’s frenetically paced Saturday Night is a movie I keep coming back to in my brain, and not simply because it pays homage to some comedic greats or hits longtime fans of the sketch comedy series in the feels. Sure, seeing John Belushi break out of 30 Rock to go ice skating is thrilling, but Jason Reitman’s movie is largely successful because it shows the chaos of a fledgling TV format in the ‘70s and putting young, disruptice folk in charge of young, challenging talent who all want different things from the sketch comedy series. It's genius to track the 90 minutes before the airing of the first episode in near real-time, and it's exciting to see some actors playing out sketches we’ve seen in a completely different context for 50 years. I couldn’t tear my eyes away.

There Will Be Blood is one of my top five movies of all time, and I never thought I’d get another big screen experience like that ever again. Well, that all changed when I saw The Brutalist, Brady Corbet’s epic about László Tóth (Adrien Brody), a Jewish Hungarian immigrant who comes to America after the end of World War II to carve out a life for himself in America. The sprawling story, which spans nearly 40 years over the course of the film’s 215-minute runtime, is full of wonder and detachment, ecstasy and agony, and the enduring human spirit in the face of indifference and evil. Shot using VistaVision, this is something I’m glad I saw in theaters this year.

Christopher Reeve is still considered to be one of the best actors to have played Superman, but there was more to the man than just his performance as one of pop culture’s greats superheroes – which is what Super/Man: The Christopher Reeve Story explores. The documentary goes an incredible job of both covering Reeve’s acting career and his work as an activist following the horse-riding accident that left him paralyzed for the final years of his life. While heartbreaking at times, this film is more so inspiring and effectively shows how Reeve served as a beacon of hope for many, just like the character he famously portrayed.

When I heard there was going to be a movie starring two of my favorite actors, Andrew Garfield and Florence Pugh, I had a feeling it would be my cup of tea, but wow, I wasn't expecting to be so floored and swept away by We Live In Time. John Crowley's film is far from a by-the-numbers rom-dram. It feels like a love letter to being a partner to someone itself, and how it can be wildly exciting, completely hilarious, achingly heartbreaking and with warts of compromise. From it's powerful plotline about the ticking time clock of life, to its final moments, this one is going to stick with me for awhile.

Framed as a buddy road trip movie, Will Ferrell and veteran SNL writer Harper Steele — who came out as transgender during the pandemic — set out on a trek across the U.S. in Will & Harper to see if it’s still safe for Steele to partake in her love of shitty dive bars and truck stops. At times laugh-out-loud funny, the documentary is strongest when everyone drops the act. Ferrell leads by example in support of his longtime friend as they encounter the kindness of strangers, open-mindedness in unexpected places and, unfortunately, reminders of just how hateful people can be of something they fear or don’t understand. Harper makes herself extremely vulnerable to help bridge that gap in one of the year’s most important watches.

Few films released this past year are as emotionally affecting as His Three Daughters. Writer/director Azazel Jacobs’ latest feature centers around a trio of estranged sisters who convene at their father’s apartment as he approaches the final days of his life amid hospice care. During the siblings’ stay, old wounds are re-opened, and the women hash out their issues in a way they surely never thought possible. This is an intimate piece of work from Jacobs, whose script dives deep into strained familial relationships and serves as a sharp meditation on grief. And, of course, the film is anchored by incredible performances from co-leads Carrie Coon, Elizabeth Olsen and Natasha Lyonne. In short, it’s a raw, yet warm, movie that’ll surely strike a chord with viewers and sit with them long after the credits roll.

If you go into A Complete Unknown looking for answers, you’ll be disappointed. James Mangold’s biopic about a young Bob Dylan’s rise to folk superstardom doesn’t try to explain where music’s most enigmatic lyricist comes from or why he’s long confounded fans, friends and love interests with his behavior. Instead, it just lets us hang out with him. It gives us pivotal moments, both personal and professional, during his meteoric ascendancy, and thanks to career best work from Timothee Chalamet and some dynamite supporting performances, it’s riveting enough just to be there, listen to the music and watch the hard rain fall.

Having actually been raised in the Catholic Church, the plot of Conclave – director Edward Berger’s adaptation of Robert Harris’ 2016 novel – certainly piqued my interest. However, I never anticipated just how thoroughly riveting watching the election of the new Pope could be. The key to the high-stakes drama’s engrossing power is not just in its blood-boiling commentary on faith and manipulation but, especially, in its astonishing performances by the likes Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rosselini. While the twist ending of Conclave did not satisfy me like I hoped it might, the shocking, spellbinding road to the conclusion answered my prayers.

2024 was a great year for animation with blockbuster hits like Inside Out 2 and underrated gems like Transformers One, but without question, the best animated movie of 2024 was The Wild Robot. The story about a robot lost on an island of wilderness is actually a story about parenthood. It’s about the mistakes we make and the lessons we learn. It’s a heartwarming story about chosen families and about taking responsibility. Director Chris Sanders has crafted something truly special here. The animation is simply stunning, some of the best we’ve seen from Dreamworks to date. It’s also arguably their most mature movie. Kids looking for a bright and colorful story will find it while adults will embrace a deeper meaning.

Sing Sing is a beautiful story about the power of art and empathy. The film follows a group of men at the Sing Sing prison who are part of a theater troupe, and it brilliantly captures how life-changing support, friendship and art can be. Notably, Colman Domingo and Paul Raci are the only known actor in the ensemble, as the rest of the performers were all part of the Sing Sing program while they were incarcerated. So, along with this movie being a wonderful depiction of this real-life troupe, it’s also a highlight reel of the incredible talent these men got to cultivate during a difficult time.

For fans of the Wicked stage musical, 2024 was truly a year to rejoicify, as the long-anticipated movie adaptation – well, Part 1 of it – finally arrived. Jon M. Chu’s movie adaptation flew into theaters (possibly via broom or bubble), and brought Oz back to life on the big screen in stunning fashion. Whether you’ve seen the stage production, listened to the soundtrack or went into the movie totally new to it, there’s so much to love about this musical. The film succeeds in making the most of its talented cast (particularly Cynthia Erivo and Ariana Grande), the outstanding songs of its soundtrack, and the truly magical place that is Oz. And quite frankly, it left me feeling very emotional and totally ready for Part 2.

Even hyped up on the first half of Denis Villeneuve’s Dune adaptation, I feared another IT: Chapter Two style stumble when trying to stick the landing. Those fears were unfounded, as Dune: Part Two exceeded my love for its predecessor, delivering an epic event we haven’t seen in theaters since the Middle-earth Saga. Timothee Chalamet’s Paul Atreides is a complicated anti-hero, and fleshed out as such in beautiful detail. The young man we thought we knew reluctantly becomes the tyrant we know he’ll become, and that journey is so satisfying to witness, I’m still sad that Denis Villeneuve is calling it quits after Dune: Messiah. With these two films as proof, I have an unshakable faith in that next chapter.

Journalism movies hold a soft spot in my heart. Give me two hours of reporters burrowing into a complicated story, and I’ll be glued to my seat. But director Tim Fehlbaum’s spellbinding September 5 most impressed me because it represents a turning point when television journalists were creating the rules regarding breaking news coverage, and doing it under the most intense scrutiny possible. Set at the Munich Olympics during a hostage crisis, September 5 follows network producers as they decide on the fly how to report a developing story to a nervous global audience. It’s a harrowing tightrope walk through the interpretation of facts, and one that shows we still have so much to learn about how news is told, and how it is received.

I'm a big horror fan, but there are plenty of times where the film world doesn't seem to appreciate these projects as much as me. Luckily, The Substance as an exception, as Coralie Fargeat's satirical body horror flick got buzz as soon as it premiered at Cannes. The movie pivots between horror and comedy throughout its runtime, with some truly stellar performances coming from Demi Moore and Margaret Qualley. And while the body horror is initially unsettling, The Substance's final act is an over top gore fest that essentially takes the piss out of the genre itself. And somehow, despite all the blood and guts, the most disgusting sequence of the entire film features Dennis Quaid eating a giant bowl of shrimp.