50 Best 2024 Movies Released So Far

At times of great societal turmoil, sometimes stars are born, not just to entertain the masses but to challenge the way things are done. Amar Singh Chamkila is one such star, and his music captivated all of Punjab in part due to his brash lyrics. His assassination remains unsolved, but director and co-writer Imtiaz Ali takes the event, and uses it to frame his life– the ways Punjab remembered him after death, the ways Chamkila showed his light as well as the ways he was limited by studio oversight and state censorship. The film isn’t a perfect contemplation of artistic freedom, nor is it the most comprehensive take on the singer’s life, but Ali’s direction challenges the way we view the artist and acutely recognizes the way stardom reveals the society’s conflicting desires.

Given the country’s divisive politics, a second civil war seems plausible, inevitable even. But even though Civil War, the film, takes place in this kind of world, its main focus is on the four journalists who race through the country to get the scoop on a fascist president who’s bound to be ousted anytime soon. We only get hints at the specific causes and developments of the war, but what we do get is an unsettlingly close look at the human toll of it, as well as the realities of reportage—crushing PTSD, ethical responsibilities, and all. It’s a brilliant movie if you set your expectations right.

Hit Man is many things—a romance, neo-noir, comedy, and thriller. And though it sometimes feels like it doesn’t quite reach its full potential in all those areas, it’s hard not to be blown away by Powell’s Rolodex of characters and his palpable chemistry with Arjona. The story itself isn’t as sturdy as I hoped it would be, but it’s supported by a strong, funny script co-written by the ever-reliable Linklater (who I suspect is behind the deep existential ruminations) and Powell (who must’ve supplied the cache of modern jokes), ultimately making Hit Man a smart, funny, and deeply pleasurable watch.

Often deemed as South Asian John Wick, Monkey Man, of course, has plenty of the stylish action that’s been captivating today’s filmmakers and audiences alike. Dev Patel, now writing and directing alongside leading the film, created a crazy combination of action sequences that mess around with perspective, that’s fuelled by insane choreography, and that take the best from the action thriller greats, but it also mixes in such unique ways, with his one man crusade expanding into an unforgettable folklore-inspired counter campaign against a corrupt, nationalist administration. It’s not a perfect film, but Monkey Man is such a bold debut that marks Patel as a director to watch.

Backed by hefty research, dramatized by great players, and made relevant by the current and future impact aerospace has on the human race, Wild Wild Space makes for a surprisingly thrilling watch. Like the title suggests, outer space is a gold mine of opportunity right now, and the three startups the film zeros in on—Astra, Planet Labs, and Rocket Lab—are competing much in the same way the cowboys of the Old West are, full of ambition and lacking any mercy. It’s packed with drama, which you wouldn’t normally expect from a film that’s largely about physics, finance, and politics, but here we are. And the simultaneous storytelling works, too. They’re all equally interesting and overlap in smart ways, thanks to Kauffman’s deft editing and Vance’s knowledgable takes that tie it all together. Scientist vs capitalist vs madcap underdog is a story you’d never know to watch till the end till now.

Places evoke certain emotions, but even the most rundown, cramped projects feel special when they’re home. We Grown Now is set in Chicago’s Cabrini-Green public housing complex, an area that was notorious for its crime and poverty, but to Malik and Eric, it’s a place where they became friends. The friendship they share leads them to classic coming-of-age moments like skipping school, egging each other to ask their crush out, and having fun, but unlike other coming-of-age films, these moments aren’t as carefree and consequence-less in the place they live in. We Grown Now is a genuine, full picture of growing up in a rough neighborhood, with both the happiness and hardships the place has to offer.

Are connections truly fated, completely chosen, or purely circumstantial? The slow tragedy of Henry James’ The Beast in the Jungle hangs entirely on the question, which captivated readers and filmmakers with the concept, including Bertrand Bonello, which forms the foundations of 2023’s The Beast. Bonello lets loose The Beast in the Jungle into an AI playbox of time and space and destiny, transforming the simple examination of human life into a sci-fi epic, a moving period romance, and an existential mystery all at once. It can occasionally feel a bit jumbled up at times, with the way Bonello jumps across lives, but Léa Seydoux and George MacKay hold everything together with their performance, making La Bête deeply striking, if a bit derivative.

Going to sleep is something we do every day, though, when we were kids, it certainly wasn’t easy. With family-friendly source material and a new (and adorable!) sleepytime ensemble, Orion and the Dark plays with this fact of childhood, but screenwriter Charlie Kaufman transforms it into something more as the title characters journey into literal midnight dreams, tell stories-within-stories, and return back home with a poetic repetition. It still has some of his existential despair– after all, the overly imaginative Orion literally contemplates the possibility of death through his many, many anxieties– but it doesn’t just play with the classic childhood fear. Kaufman transforms the bedtime story, and the act of storytelling itself, as co-creation and connection between generations of filmmakers and viewers, with this film’s surprisingly layered writing.

Giannis Antetokounmpo’s rags-to-riches life story is the stuff of movies, and indeed it’s been told many times on print and screen. But this is the first time he and his family are telling it themselves, which is a big deal since Antetokounmpo, as it turns out, is inseparable from his family. Their revealing interviews about how they struggled as undocumented immigrants from Nigeria in Greece add a new, moving depth to a well-known journey, which Director Kristen Lappas wisely divides into chapters named after Greek ideals Antetokounmpo represents. Despite Lappas’ background (she is Greek-American), she makes sure to balance Antetokounmpo’s heroic moments with the Greek government’s at-times unfair treatment of the athlete and other immigrants in the country. She also puts a spotlight on the pressures Antetokounmpo is going through as one of the youngest champs in NBA history. After all, at just 29 years old, he’s already a two-time MVP and playoff winner. This doc proves that the story of how he got there is no less remarkable.

After the La Manada rape case in 2016, it was necessary to document this event, especially since the widespread national outrage and demonstrations managed to move the country to change the way Spain defines consent. You Are Not Alone: Fighting the Wolf Pack documents this arduous journey. While it’s done through the familiar Netflix true crime approach, there’s some respect given to the victim that hasn’t been given previously by the media. The film sticks to the actual verbatim words used by the victim, albeit edited for clarity, but they ensured that their words were not accompanied with photos or similar looking actors, keeping the truth of their words without risking their safety. While the documentary’s direction isn’t new, the outrage is still felt, as well as the genuine hope of a country that came together to ensure justice.