100 Best 2024 Movies You Should Watch Right Now

After years of relatively tame, tearjerking LGBTQ+ dramas, finally comes a sexy, erotic thriller made for and by sapphic women that pushes past convention. Love Lies Bleeding is an unexpected sophomore film from British director Rose Glass, not just because it’s set in New Mexico, but because of the 80s B-movie vibe literally on steroids that seems drastically different from her debut film Saint Maud. But both have the altered, surreal moments that blur the line between real and imagined, this time with a desperate edge of star-crossed lovers and the rage fuelled by familial trauma, jealousy, and overdosing on steroids. Kristen Stewart and new leading lady Katy O’Brian are delightful to watch with their immediate chemistry.

We sacrifice so much for our dreams, so if it all fails, whether that be because of ourselves or because of extenuating circumstances, sometimes, a bit of perspective is needed to get back up. The Taiwanese-Japanese romantic drama 18×2 Beyond Youthful Days is centered on two young adults that meet in a karaoke bar in Tainan, one who hopes to pass the summer with some money, and the other hoping to fulfill her dream of travelling the world. It’s a familiar coming-of-age concept, but it’s done so bittersweet and beautifully as the adult Jimmy recalls each moment they shared while on the journey to fulfill their promise to meet each other after they reach their dreams. 18×2 Beyond Youthful Days doesn’t tread new paths, but the film’s way of depicting memories as well as the charming chemistry of the leads transforms the real life travelogue into a moving testament of the connections we form while travelling.

Produced by M. Night Shyamalan, Caddo Lake isn’t the most shocking thriller out there. It starts slow, suffers from low-budget CGI, and tends to be schmaltzy at times. But it is, overall, a strong and suspenseful film. Once it kicks into gear and finds its rhythm, it turns into something wholly arresting. The plot twists and turns, while the solid performances of Eliza Scanlen and Dylan O’Brien guide you through them. Its folksy setting adds to the mystical feeling the film is gunning for, too. Don’t expect all your questions to be answered by the end of the film, but be prepared to be taken aback by the eerie mystery of it all.

Heretic starts slow and talky, veering into philosophical territory as Hugh Grant’s creepy Mr. Reed drills Sisters Barnes (Sophie Thatcher) and Paxton (Chloe East) about faith and religion. But pretty soon, it turns into an utterly gripping escape thriller and supernatural mystery. Some things about the movie will frustrate you, and even more will have you questioning life itself. But there’s no doubt Heretic will keep you on the edge of your seat, maybe even with one of your eyes half closed.

Upon learning that three young members of their family will soon lose their ability to see, parents Sébastien and Edith Pelletier decide to travel around the world to tick off things from their children’s bucket list. That list alone, which includes drinking juice atop a camel and seeing Mount Everest, makes for an adorable watch (it’s always nice to see deeply active and curious children in an increasingly digital world), but it’s the dedication their parents, Sébastien and Edith, pour into them that gives the film its heart. They prepare their children as much as they can by allowing them to see and sense everything, so that they have touchstones and references when their sight begins to fade. While watching the sunset in a dreamy Egypt desert, Edith asks 11-year-old Mia, “Without your eyes, can you feel the immensity of this place?” Mia says “Oui,” as she runs sand through her hands.

Many films have been made about that uniquely taut mother-daughter bond, but maybe none is as delicate as Janet Planet. The film, written and directed by playwright and first-time filmmaker Annie Baker, explores that relationship in a way that may jar viewers, initially. The pauses are heavy and long as Baker lingers on mood, expressions, and the tiniest of details, like a flicker of light or a sudden movement. There are more scenes without dialogue than with it. The plot is also nonexistent as it simply follows Lacy and Janet for the whole summer, and a little during the fall. But that’s not the point. The point is that we can feel that palpable love-hate tension between mother and daughter, and relate to it too. You only need to know where to look.

Kinds of Kindness is three different short films stacked into one. They don’t share a lot of similarities, except that their characters are played by the same actors, all of whom excellently display varying degrees of isolation and desperation. None of these people are likable—in fact, they’re despicable—but damn if they don’t make you stop and think about what you’re watching. There’s a hitman who struggles with his guilty conscience, a plane crash survivor who may or may not have infectious cannibalism, and a cult member obsessed with cementing her status in the group. You’ll need about a day to process this deeply disturbing movie, but you won’t for a second doubt seeing it in all its glorious weirdness.

More than anything, Netflix’s 116-minute Menendez Brothers documentary feels like a PR shield to protect the streamer against the onslaught of criticism its dramatized series (Ryan Murhphy’s Monsters) received. Netflix wants to have its cake and eat it too. If Monsters painted the brothers as evil and spoiled, The Menendez Brothers takes a more humane approach by shedding much-needed light on male sexual abuse. It also literally gives the brothers a voice by having their present-day selves, through exclusive phone calls, weigh in on the events that led to that fateful day they killed their parents, as well as on the heated legal proceedings themselves. The series is at its best when it focuses on the present (How are the brothers faring in prison? Why is this generation so passionate about protecting them?) and when it gives us a legal breakdown of the complicated case. Since many other documentaries about the brothers tend to focus on the scandal and psychology of such a case, it helps to see what went down in this new light, with input from the brothers no less.

Real life violence is usually not a good idea, but when those in power would do anything to gain more power at the expense of those more vulnerable, sometimes those with the strength should wreak violence. After a fruitful action-comedy collaboration with Netflix, writer-director Timo Tjahjanto teams up with them again for a darker crime thriller The Shadow Strays. It’s a straightforward rescue crime thriller that follows the trend set by John Wick, but with Tjahjanto’s insane horror-inspired, gore-filled kills and Aurora Ribero’s dynamic performance, The Shadow Strays is brutal, exciting, and a cathartic watch in a world betrayed by those at the top.

The Beatles ‘64 zeroes in on a precise moment in The Beatles timeline: their American debut, which propelled them from English boyband to Global sensation. Since their appearance in The Ed Sullivan Show in 1964, they’ve been on a nonstop upward trajectory to success. The documentary, co-produced by Martin Scorsese, explores why that is by expanding their two-week trip in the US into food for thought: why did they blow up the way they did? Was it because the country was in shambles and needed an escape? Was it because developments in tech and media unwittingly jumpstarted the fandom/parasocial craze? The documentary considers all this by having historians, experts, music icons, and even fans weigh in. In that sense, it can be all over the place, but the music and the pristine, restored clips of interviews with the Beatles and their performances onstage make it a worthwhile watch.