2024 Movie Diary

The past year in cinema feels like a solid B, although the 2024 movies might end up getting a higher grade when I finally see more of them. I did consume more movies than in 2023 though.

I had a great time in theaters, especially for the big communal experiences, but the list of films that I’m excited to revisit is short and several streaming films were instantly forgettable.

My favorites

My old ass (2024) – A coming of age film that delivers all the feelings and laughs, while still being zany and grounded at the same time. Aubrey Plaza delivers a compelling supporting performance that resonates with millennial audiences, who might not always connect with the zoomer star.

Civil War (2024) – A heart pounding adventure that looks amazing and places you in a very specific setting with very little exposition. The movie can be hard to watch at times, but scenes and narrative choices have resonated with me months later. It’s great to see Kristen Dunst and Wagner Moula flexing their acting chops.

Challengers (2024) – A funny, SEXY drama that creatively uses time to tell a love triangle story. Josh O’Connor offers a quirky mix of charm and sleaze that dominates the movie.

Furiosa: A Mad Max Saga (2024) – An inventive, adrenaline ride from basically start to finish, while also illuminating a fascinating world and injecting much needed humor. Anyone who doesn’t like this movie can get bent.

Beetlejuice Beetlejuice (2024) – This legacy sequel has all the right moves, offering the right mix of sentimentality and new direction. It makes for a laugh-out-loud movie-going experience.

Poor Things (2023) – A unique, zany comedy that required some initial patience. The production design is fascinating and Mark Ruffalo steals the movie in a supporting role.

All of us Strangers (2023) – A haunting and heart wrenching love story about a loner who comes to grips with his relationship with his (spoiler: dead) parents and his isolationist tendencies. Andrew Scott, who I met in Key West in December, is amazing and I cried a couple times.

Please Give (2010) – A first-ballot entry into the Nicole Holofcener hall of fame, with the way it captures a mother-daughter relationship and the ordinary failings of people.

Tristam Shandy: A cock and bull story (2005) – A British comedy that brings the sensibilities of The Trip, while also skewering the film industry in a timeless fashion.

Crimson Tide (1995) – A barrage of speeches delivered by movie stars in cramped settings adds up to a non-stop thrill ride that feels like a type of 90s film that Hollywood can’t recreate.

Two thumbs up

Godzilla Minus One (2024) – The buildup is slow, but stick around for the war epic tucked into the second half of this film. It is melodramatic and cliched in all the right ways.

Mean Girls (2024) – A fun adaptation that has been meaningfully updated for a new generation, with songs that work and a star turn from Renee Rapp.

The Iron Claw (2023) – A drama about a wrestling family could have led to unintentional comedy, but the final product is a heartbreaking car crash of an indie with Zac Efron anchoring a great cast.

Hit Man (2024) – A wacky dramedy that is extremely watchable and expertly deploys the out-of-this-world sexiness of the two leads.

May December (2023) – A surprisingly funny and poignant melodrama that becomes intentionally harder to swallow as the dark reality is hammered home. Charles Melton is a revelation.

Popstar: Never Stop Never Stopping (2016) – An insightful sendup of the music industry and celebrity documentaries that features creative tunes and amusing cameos.

Isle of Dogs (2018) – The visual and comedic stylings of Wed Anderson are packaged into a playfully funny stop-motion animation (that may be culturally problematic).

Minari (2020) – A heartbreaking and sweet unfolding of the immigrant story in America, while avoiding the cliches that you might be waiting for.

A Star Is Born (2018) – Lady Gaga and Bradley Cooper deliver movie star performances as we follow two singers on opposite career trajectories. The original music provides legitimacy to the storytelling and sticks with you afterward.

Layer Cake (2004) – Daniel Craig is a blast in pre-James Bond form. This crime world drama has great pacing, a fantastic ensemble and is consistently ominous without being too violent.

Would recommend

Conclave (2024) – A political thriller dressed up in the pomp and circumstance of the Catholic church, with big movie star performances from a cast of familiar faces, including John Lithgow.

Snack Shack (2024) – Gabrielle LaBelle jumps off the screen in this familiar coming of age story at a municipal pool. The love triangle bogs down the plot and the co-lead is unlikable at times.

Saltburn (2023) – Imagine The Talented Mr. Ripley with high school kids, winking sensibilities and (unintentional?) comedy.

The Beekeeper (2024) – Dumb, corny action fun that leans into the public’s perception about powerful people and institutions.

The Creator (2023) – A visually interesting and creative premise that is weighed down by unearned melodrama and a too-long, nonsensical plot with a robot kid that I didn’t care about.

Friends with Money (2006) – A sharp and honest reflection of how people actually talk and the reckoning that comes with being middle age. I am a sucker for anything that Nicole Holofcener writes.

The Holdovers (2023) – A hokey coming-of-age story that hits a lot of stereotypes, but is ultimately a pleasant film that boomers love.

Polite Society (2023) – A whimsical interpretation of teenage angst about growing up and growing apart that leans too heavily into the imagination of its protagonist. It has real Scott Pilgrim vibes.

American Fiction (2023) – A great supporting cast, anchored by Sterling K. Brown, overshadowed the protagonist. The central story seems to be playing variations of the same note on repeat and plays out mostly in the trailer.

The Taste of Things (2023) – The cooking scenes are filmed like a carefully choreographed dance routine and almost excuse the dearth of plot.

Dune: Part One (2021) – For some reason, I found this sprawling epic better on second viewing in my home theater. For some reason the palace intrigued resonated with me this time around.

Dune: Part Two (2024) – The movie looks beautiful and the action seasons are captivating, but the movie stretches on too long and some scenes feel repetitive.

Drive Away Dolls (2024) – If you get high and see one movie this year it should be this one. A zany caper that sprints to the finish line.

Burn After Reading (2008) – A satirical sendup of narcissists that offers a different character and story to connect with depending on when you see it.

Witness (1985) – Can I interest you in sexy Harrison Ford? A simple premise that feels timeless because of the setting.

Anatomy of a Fall (2023) – A legal drama that successfully navigates between scenes in the courtroom and at home to make for a compelling whodunnit.

Sicario (2015) – A rollercoaster ride that looks amazing and addictively plotted no matter what viewing you’re on.

Everybody Wants Some!! (2016) – The second exclamation mark is for Glen Powell and Zoey Deutch. I want to hang in this world all day long (and party with them too).

Good Time (2017) – Robert Pattinson is at the center of a heist gone wrong, which leads to a prolonged chase that might be the most stressful experience I had in 2024.

Before Sunrise (1995) – Richard Linklater creates a world that feels lived in and real with the dialogue and framing of two wayward young people. Julie Delpy is soooo charming.

Deadpool (2016) – A well-paced comic book movie with action scenes and jokes that stand up to repeat viewing.

Manhunter (1986) – A thriller throwback with a “that guy” cast of characters, including in the leads, that contribute to a watchable drama. Didn’t miss Anthony Hopkins for a second.

The Master (2012) – I wish this had just been a journey along with Philip Seymour Hoffman, who is a fascinating stage presence. Unfortunately,  Joaquin Phoenix is at the center of the movie and annoyed the hell out of me.

Twisters (2024) – Is it too long? Yes. Is it corny? Of course. Should the leads have kissed? Undoubtedly. Was this a great communal experience in the theater? 100 percent.

Deadpool & Wolverine (2024) – A top-notch theatrical experience that adeptly tugged on my heart strings and made me feel in on all the jokes. It’s also too long and probably doesn’t hold up to repeat viewing.

Love Lies Bleeding (2024) – An oppressive thriller that stumbles with the introduction of surreal elements and a larger family backstory.

The Day of the Jackal (1973) – A process movie that gives you a front row seat to the work of an assassin and the copy trying to stop him, but it’s too late on dialogue for me

The Fall Guy (2024) – Ryan Gosling delivers a movie star performance and there are fun set pieces, but the movie is too long and characters are dumb.

Beetlejuice (1988) – A charming, fast-paced romp that stands the test of time and is a great vehicle for Michael Keaton.

The Hateful Eight (2015) – An addictive mix of Agatha Christie and Reservoir Dogs in a cabin.

The Hustler (1961) – A starring vehicle for Paul Newman that sparks like a live wire when the villain played by George C. Scott is on the screen  and hums with heart when Jackie Gleason opens his mouth. The love story is too much.

Saturday Night (2024) – I really wanted to like this movie. I love nostalgia and pop culture with charming young actors. Ultimately, though, it felt too much like Studio 60 on the Sunset Strip.

Late Night with the Devil (2024) – A slow boil horror film delivered creatively in a late-night television show setting, but is undone by an underwhelming and strange final act.

Lone Star (1996) – Imagine a prestige crime story on television that jumps around in time, offers cultural commentary and has movie stars. Now imagine it as a movie with a shockingly young Chris Cooper as the lead.

Brothers (2024) – A throwaway caper comedy that gets miles of goodwill from its lead performances by Josh Brolin and Peter Dinklage.

Three Amigos! (1986) – Stupid good fun for 90 minutes.

The Limey (1999) – Terence Stamp’s singular presence is enough to carry this formulaic revenge film.

The Verdict (1982) – An outcast attorney looks for a major payday (and some redemption?) from a medical malpractice case that he wants to take to trial. This legal drama feels like a collection of great speeches.

Meh

Babes (2024) – Imagine Knocked Up through the lens of a female protagonist and the baby’s dad is dead.

The Beanie Bubble (2023) – An uninspired historical narrative that never connected with me.

Tetris (2023) – This movie looks cheap and probably focuses on the wrong characters.

Wicked Little Letters (2023) – A cliched and predictable dramedy that is far too sweet.

Those Who Wish Me Dead (2021) – A cliched and nonsensical chase movie that is largely without compelling characters and has too much buildup for a climax that doesn’t deliver.

Dumb Money (2023) – This ripped from the financial headlines story doesn’t deserve to enjoy the same air as The Big Short.

Maggie Moore(s) (2023) – A crime comedy that feels like a lesser Elmore Leonard adaptation.

Harold and Maude (1971) – A coming-of-age film about two weirdos that I never connected with and didn’t want to spend time with.

Babylon (2022) – Any one or two of the storylines in this movie could have worked as an epic film, but all together this look at early Hollywood feels disjointed and doesn’t resonate emotionally, which is disappointing because some of the scenes are beautiful.

The Marvels (2023) – This Marvel film may look bad, but it’s fun and has plot points that feel different from traditional comic book fare.

Madame Web (2024) – A surprisingly watchable disaster.

Three Days of the Condor (1975) – An incredibly hot Robert Redford and interesting spy craft didn’t do enough to shake the odd love story jammed into middle.

Punch Drunk Love (2002) – Feels like a weird miss from Paul Thomas Anderson.  Maybe the problem is the casting of Adam Sandler.

Working Girl (1988) – Maybe it’s me, but this romantic-comedy feels extremely dated. It is wild seeing Harrison Ford playing something akin to a regular guy and Sigourney Weaver is a good villain.

Twister (1996) – Bill Paxton and Helen Hunt don’t really work as the leads of this adventure film that seems to get by mostly on nostalgia at this point.

The Bikeriders (2024) – An overly serious drama that is almost made watchable by its heavyweight supporting cast.

No Way Out (1987) – The second half of this movie is a claustrophobic thriller that will keep you on the edge of your seat. Unfortunately, you have to go through a love triangle in the first half to get to the good stuff.

Deadpool 2 (2018) – An overly indulgent expansion of the first film that still makes me laugh, despite the diminishing returns.

A Most Wanted Man (2014) – Philip Seymour Hoffman is captivating at the center of a spy drama that fizzles when he’s off camera.

Knox Goes Away (2024) – Michael Keaton’s presence isn’t enough to hold together or provide emotional stakes for a hitman drama that I wanted to like.

The Instigators (2024) – A dumb caper that is made almost enjoyable by the presence of Casey Affleck and Matt Damon.

Trap (2024) – A great premise and start to a suspense film that quickly goes off the rails and becomes unintentionally funny.

Reality Bites (1994) – Maybe I’ve become too old to connect with aimless twenty somethings, because I didn’t find this indie classic charming at all.

The Paper (1994) – A great cast and setting is largely wasted on an overly dramatic story and characters drawn as cartoons. (As a journalist, I may be too close to the subject to judge it fairly.)

God’s Pocket (2013) – An all-star cast can’t redeem a family drama that feels like a parody of itself.

Widows (2018) – Way too much story, including an uninteresting political drama, overwhelm a compelling heist plot that ultimately doesn’t get enough attention to make the movie worth it.

The Color of Money (1986) – An odd, dated movie that is worth watching as a cultural relic because of the performances by a young Tom Cruise and aging Paul Newman.

Find me Guilty (2006) – A half-baked legal drama.

Absence of Malice (1981) – A lackluster thriller featuring Sally Field as an incompetent and unethical reporter. This seems like a relic of a very specific period in time.

Bombs!

Wolfs (2024) – A disappointing and boring execution of a great setup for a buddy action film.

Maestro (2023) – I gave up about halfway through this film. Maybe it wasn’t for me. Maybe it’s not good.

Ferrari (2023) – An overly serious family/work drama that looks good and at the same time suffers from having too much going on and not enough. There’s also no good reason for the characters to speak accented English.

Internal Affairs (1990) – A nonsensical relic of a movie that made me nostalgic for The Departed. Richard Gere is menacing as a corrupt cop and there is some weird sex stuff.

Four Weddings and a Funeral (1994) – I’m sorry, but is this supposed to be charming? Pass.

Killer Heat (2024) – An unwatchable attempt at film noir that made me nostalgic for the movie Brick, which had interesting characters and dialogue.

The Hudsucker Proxy (1994) – A largely unwatchable comedy that is offering some commentary on capitalism that went over my head.

Unfinished business from 2024: Anora, Didi, September 5, The Brutalist, Wild Robot, Juror #2, The Apprentice.