One powerful movie. Ryan Coogler keeps us on the edge of our seats, guessing where the story is going before it explodes in our faces. There’s a lot about music, especially the blues, Southern culture, power, magic, sex (romance?) and race (the good guys are Native American, the bad guys white, and everyone in between in Black). I only wish I had closed-captioning, and maybe if Michael B. Jordan hadn’t played both brothers I could’ve told them apart.
A minute-by-minute recreation of Navy Seals under attack in Ramadi, Iraq, remarkably devoid of a point-of-view, unless it’s that war is, if not hell, not a lot of fun. Why the American soldiers are holed up in this building, who is attacking them, or even why America is in this war are not even hinted at, which makes watching this film a somewhat clinical exercise. This happened, and that seems to be enough for the filmmakers.
Forget the context of the Palestinian-Israeli struggle, as if that were possible, this film succeeds as a wonderful human drama, a gripping story with superb lead performances by Saleh Bakri and Imogen Poots, both easy on the eyes. Then add the context of Palestinian life in the West Bank, even without Israel’s later all-out assault on Gaza, and the movie’s philosophical and political messages hit so much harder. Because it is a story well told and was filmed in comparatively controlled conditions, albeit on site, this is a much stronger and more watchable movie than the Oscar-winning documentary No Other Land. Major kudos to British filmmaker Fareh Nabulsi for pulling off a major movie with minimal resources.
An affectless Jeremie returns to a small French village (apparent population: 6) and shakes everyone’s world while mainly strolling through beautiful fall woods with mushrooms sprouting. We’re never sure what’s on Jeremie’s mind; like many a good French film, it’s all about relationships. It gives us time to think, and wonder.
A fun and funny dramedy set in a remote Arizona diner where (spoiler alert) everyone gets killed. Everything you need to know about each character is evident from their looks, and is confirmed once they open their mouth. You feel like you’re watching a movie from the ’60s, with no stars, one set and a budget under a million. And unlike the France in Misericordia, the scenery is no advertisement for Yuma County.
A remarkable challenge to Iran’s theocracy, this Cannes Award-winning film not surprising earned director Mohammad Rasoulof an eight-year prison sentence. The first half was a compelling political drama, intertwined with family dynamics and believable characters. The second half went off the rails, so much so that streaming it on two separate nights we felt we were watching different films.
A stylish espionage caper with fine performances by Cate Blanchett and Michael Fassbender that disguised the holes in the plot. I.e., I had no idea what happened by the end and wondered if the film, by Steven Soderbergh and David Koepp, was satirizing the genre. Put six very flawed spies around a table and see if you can guess who did it, without really knowing what “it” is.
Year after year I say it wasn’t a great year for movies, and the fact that I can’t find ten titles for this list reinforce that view for 2024. On the other hand, the industry’s policy of withholding prestige films until December makes it hard to catch up with everything, and there are two possible nominees, The Brutalist and The Seed and the Sacred Fig, that are still on our to-watch list.
1. Green Border. This documentary-like story of refugees trying to reach Europe made you feel and made you think like no other movie this year. The characters were vivid and compelling, their plight all too realistic, the plot unceasingly gripping.
2. A Complete Unknown. Great music, Timothee Chalamet’s Dylan, supporting work by Monica Barbara and Elle Fanning all combined to make this the most enjoyable film of the year.
3. The Apprentice. Sebastian Stan and Jeremy Strong’s Oscar-worthy performances unfortunately captured the Donald Trump we now know too well and a New York of ’70s we still remember.
4. Emilia Perez. An inventively audacious film that is gentle, sweet, violent and thought-provoking, all at once, with top performances by four leading ladies. And music.
5. The Bikeriders. A portrait of a time and place and subset of people, redneck South, with the great Jodi Comer setting the tone.
6. Sing Sing. A feel-good play within a play by Colman Domingo and actual prisoners.
7. Evil Does Not Exist. A moody, ambiguous, elegiac look at Japanese culture and man’s relationship with nature by the auteur Hamaguchi.
8. A Real Pain. Jesse Eisenberg, not Kieran Culkin, is the standout in this very personal story.
9. Anora. The first half hour aside, Sean Baker’s film was funny, sad and original, amazingly acted and deftly directed. Why not in the top five? That first half hour.
The characters in this Zambian movie about family might as well have been guinea fowl, so little did I relate to them. I waited in vain for a plot. The lead actress was good, but she didn’t relate either.
Unremitting footage of Israeli bulldozers knocking down Palestinian homes made a depressing, discouraging point if not compelling cinema. All honor to the Palestinian-Israeli filmmakers who bravely documented the cruel destruction of a defenseless West Bank village, humanizing the Palestinians with their goats and chickens and dehumanizing the Israeli soldiers with their uniforms and tanks. Rather than offer even a sliver of hope, the movie left us with our knowledge of how much worse the Palestinians’ plight has since become.
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