100 Best 2024 Movies You Should Watch Right Now

You’d think a Disney movie about a sweet kid overcoming the difficulties of cerebral palsy would be overly sweet or forcefully positive (Disney-fied, if you will), but Out of My Mind is surprisingly tempered. A smart and sensitive script and great performances across the board work to make the film a balanced and heart-warming portrait of a disabled girl coming of age. It doesn’t give you false hope that everything will be okay, but it’s not grim about the world either. Instead, it gives you a realistic and likable character in Melody (played by Phoebe-Rae Taylor and voiced, amusingly, by Jennifer Aniston), a bright 6th-grader determined to compete in a national trivia quiz with her classmates. Throughout the film, displays a toughness and an agency that not many disabled characters get to enjoy onscreen. There are cliched moments here and there, but Taylor and her co-stars make them feel true and lived in.

Juror #2 is the kind of film that doesn’t waste time: it’s immediately compelling as it throws questions about morality, guilt, and conscience straight to your face. There are familiar people in this stacked cast, including Chris Messina and J.K. Simmons, but it’s Nicholas Hoult as the titular second juror and Toni Collete as the ambitious prosecutor who stand out. The weight of the film’s heavy questions lies on their shoulders, and they convey every feeling—from doubt and remorse to exaltation and hope—with painful clarity. I only the film hadn’t taken the easy way out, and that the debate among the jury could have been thornier and trickier, but as it is, Juror #2 is a compelling addition to our book of excellent courtroom dramas.

Everything about Sugarcane is arresting, whether it’s the epic shots of the sweeping reservation (“Canada is our land,” one native announces), the emotional moments shared by survivors of the abusive residential schools, or the damning discoveries they find in an investigation into the Catholic priests. Every second of it is sure to shock and infuriate. Not everything is tragic though. There are slivers of hope, especially from the independently assembled team leading the investigation. The police are apathetic and the suspects are evasive, but despite the deep trauma, pain, and violence the community of Sugarcane has gone through, they persist.

Given the genre being centered on a child protagonist, many coming-of-age stories sideline parents in the narrative, sometimes to the point they’re not mentioned at all. So when Andrea Arnold returned to fiction filmmaking with coming-of-age story Bird, it was surprising to see how true it delves into parenthood, albeit from the eyes of the teenager being parented. Maybe it shouldn’t have been a surprise, considering Barry Keoghan, fresh off of Saltburn, was casted as the protagonist’s single dad, but Arnold structures the entire story to fit in different stages of parenthood in a rundown town, through the strong way she characterizes the people Bailey gets to know in her journey and through the brilliant incorporation of magic in a not-so-magical place. The parents here may not be perfect, but Bird takes flight precisely because of the film’s empathy and understanding.

If you’re expecting a documentary about the particular U2 concert in Sarajevo, to focus exclusively on U2, you’re not really going to get it in Kiss the Future. But that’s not necessarily a bad thing. In fact, it’s probably the best approach for this particular documentary, as it focuses more on the way Sarajevans found solidarity with each other through the music U2 made in response to the Northern Ireland troubles, and thus, of course, the film needed to focus as well on the Sarajevans’ conflict. Director Nenad Cicin-Sain got key viewpoints on the Bosnian War in Sarajevo, such as Christiane Amanpour, who covered the war, and former President Bill Clinton, but Kiss the Future shines when we hear from the people on the ground, from the Sarajevans that gone through this harrowing time.

Witches begins as an innocuous exploration into witchery: how they’re depicted and why they’re alluring. Director Elizabeth Sankey builds an amusing collage of witches from films like The Craft and shows like Bewitched. At this point, you expect it to go a certain way–it resembles the many documentaries that are delightful yet detached, educational yet nowhere near novel. But then it makes a fearless and interesting turn. Sankey tells a deeply personal story about her struggles with childbirth and motherhood, connects it to how past societies crucified witches (many of whom were misunderstood and misdiagnosed mothers), and invites friends, experts, doctors, and historians in on the conversation to create something more holistic, historical, and honest than your typical documentary. It’s equal parts moving and enlightening, but most importantly it rouses you into empathy and action. Hopefully, the belittling of the child-bearing and child-rearing experience ends now.

There have been nearly 30 movie adaptations and countless TV shows of Alexandre Dumas’ The Count of Monte-Cristo, and it’s not hard to see why. It’s a classic tale of fate, justice, corruption, and love, making it an educational and entertaining watch. You might think, then, that this latest one by Matthieu Delaporte and Alexandre de La Patellière won’t add anything much to the roster, and in a way, that’s true. The film doesn’t change much of the dialogue, setting, and characters. It stands out, however, for being impressively concise and fast-paced without sacrificing the novel’s weighty themes and messages. Even if you already know what happens in this classic tale of vengeance, it still feels thrilling—thanks to its impeccable pace, sure, but also, to compelling performances across the board and lavish costumes and set designs that transport you to 19th-century France. The film is three hours long, but it never feels that way.

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.

There’s a pervasive myth in movies that struggle (financial, physical, or otherwise) makes you stronger, but the truth is that struggle makes you weaker. Adversity makes you more resilient and resourceful, sure, but it takes a lot more to be stronger. The Fire Inside, a biopic about American Olympic athlete Ressa Shields, understands that truth, so instead of being a romanticized rags-to-riches picture, it’s instead a sympathetic and thoughtful film about how Shields and her trainer, Jason Crutchfield, navigate the many hurdles and biases that they encounter as a Black and poverty-stricken athletic team. The film is a sports drama, but the excellent dialogue (written by award-winning filmmaker Barry Jenkins) hits just as much as the boxing scenes. Unlike most sports movies, The Fire Inside’s story doesn’t stop at the crucial match—we get to see how Shield fares after all the hype and fanfare, which makes it all the more compelling and memorable.