100 Best 2024 Movies You Should Watch Right Now

Grandparents are often depicted as innately loving, especially towards their grandchildren, so it’s a delight to see someone like M’s Amah, who is testy and tenacious, and quite proud to be doing her own thing even in her old age. She runs her house alone and sells congee in her neighborhood, and even when presented with the worst possible news, she refuses pity, only allowing M back in her life after he proves his motives are sincere. M, to his credit, is believably selfish and sensitive as a young school dropout. Together, the two and their crackling push-and-pull chemistry are a blast to watch. It’s tender, but never overly saccharine, and no matter how much you resist you’re sure to shed a few tears. How to Make Millions Before Grandma Dies may not have the most original plot (I’m sure you’ll be able to guess the ending just by reading the premise alone), but it’s thoroughly engaging, not only because of the two leads, but because of it’s relatable messages about family dynamics (especially Asian family dynamics), money, and legacy. The gentle, unobtrusive cinematography by Boonyanuch Kraithong makes it extra easy on the eyes too. I only wish the movie explored the misogyny of tradition more, instead of merely touching upon it (“Sons get the goods, daughters only get the genes” is such a brilliant line), but I suppose that would need a female writer/director at the helm.

“Inner beauty is what counts” is a cliche many films have tried and failed to tackle, but A Different Man manages to make it feel unsettlingly new. The film follows Edward, a disfigured man who lives a normal but lonely life. No one is overtly mean to Edward—in fact, many are nice—but he’s consumed by the thought of What If. What if he looked like everyone else? Would his neighbor Ingrid finally make a move on him? Would he be the actor he dreamed he’d be? Would he finally get fewer stares on the street? Those questions are answered when a medical trial transforms his face, but they’re rarely pleasant. A Different Man is a dark comedy with some hints of meta; Stan’s character provides the tragedy, Pearson delivers the wry humor, while Reinsve, as the playwright in charge of dramatizing Edward’s life, is the source of the film’s meta-commentary. It’s the weakest link of the three–it feels like a cop-out when it forgives itself for being “exploitative” but the rest of the film’s elements gel to make a modern parable of sorts about appearance and contentment.

While based on the Mononoke series, which is in turn, a spin-off of Ayakashi: Samurai Horror Tales, it might seem that Mononoke The Movie: The Phantom in the Rain would require some background reading for people new to the story. Thankfully, there’s no need to do homework for this beautifully designed masterpiece, as the Medicine Seller takes on a new case with every installment. 2024’s Phantom in the Rain (also known as Paper Umbrella) unfolds its world with ease, with doors opening and closing to a select few for a high-pressure, hierarchical imperial household. Immediately, the visuals are stunning, with traditional ukiyo ink and paper mixed with modern kaleidoscopic fill and movement, but even without the gorgeous art, the first Mononoke movie works with its eerie horror, intense sound design, and a compelling mystery driven by court intrigue and vengeful spirits.

For the longest time, television seemed to be the antithesis to reading– part of that belief still lingers to this day. However, just before the turn of the millennium, there was a show that didn’t find itself opposite to it, instead, it wanted to be its ally. That show was Reading Rainbow. Butterfly in the Sky tells its story. It’s quite nostalgic, as the show’s former cast and crew recall what it was like, and the way the film structured its sequences captures not just the show itself, but the cultural weight it represented, as it encouraged reading not just as a skill you need to learn, but as a way to interact with the wider world around us, which is worth protecting. Butterfly in the Sky believes in stories, and believes in the story that it wants to tell about Reading Rainbow.

Given the original real-life story behind it, perhaps it shouldn’t be surprising that The Girl with the Needle was so bleak. Serial killing, after all, is bad. But rather than focus on the historical killer, writer-director Magnus von Horn hones the camera to focus on one such mother that would have sought for help from Dagmar Overbye, on the circumstances that would have pushed them there, and the terror that they felt once they realized the truth. With gothic black-and-white shots, impeccable framing, and an excellent performance from Vic Carmen Sonne, The Girl with the Needle is harrowing and heartbreaking, especially with how it still remains relevant to our time.

All We Imagine as Light is a political film that has many smart and moving things to say about the loneliness of migrating from the country to the city, the double standards women face on the daily, and the ever-widening gap between the rich and poor. But thanks to director Payal Kapadia’s deft hands, these weighty themes don’t hit you like a brick in the face. Intertwined in the rich inner lives of the two Malayali nurses and the Marathi cook who lead the film, they come off as subtle and poetic, like everything else about the film. There’s a quiet power at work here, and it will entrance you till the end.

Just a few minutes in, you can already feel the immensity of The Brutalist. The rousing score stirs you. The weight of The Holocaust and Toth’s immigration story, which is also one of xenophobia and addiction, pulls you in. The visuals, shot in VistaVision, demand your attention. The period setting calls for nostalgia, but the inventiveness of the shots and the dizzying angles make them feel fresh. Technically and aesthetically, The Brutalist is near-perfect, and in those aspects alone it’s a marvel to witness. Where it might feel short, however, is intent. The film is politically ambiguous (director Brady Corbet has mentioned that he intended for audiences to interpret it how they wish) and consequently divisive. What could have been a brave and bold statement against the occupation of Palestine, for instance, feels only like a weak suggestion of it. It’s ambitious and epic, no doubt, though it can ring hollow if you’re looking for something more powerful and direct.

Once you get over the fact that A Complete Unknown isn’t like most biopics, the film becomes a blast to watch. It doesn’t extol the virtues of its hero, nor does it pretend to know who Dylan is at his core. Instead, the film relishes his enigma and puts forward his flaws alongside his genius. More importantly, it immerses audiences into the world surrounding Dylan—political and musical. This being a film about one of the most significant musicians in American history, it makes sense that the best parts of the film are the musical performances. The fact that the actors all use their own voices and play the instruments adds to the film’s verisimilitude (Monica Barbaro as Joan Baez is an outstanding highlight). Many parts of it are frustrating, to be sure. It can get trope-heavy, for instance, when Dylan is framed as the lonely tortured genius and the women around his adoring muses. And instinct will make us want to look for backstory. But as Dylan and his ‘60s peers would’ve probably put it, it’s all in the music, man. Just listen to the music, and you’ll find what you’re looking for.

We Are the World is a charity single created for African famine relief. It was a smash success– it inspired plenty of other charity singles and already has a TV documentary about it. But The Greatest Night in Pop reveals new behind-the-scenes footage with a home video flair, intercut with interviews from those who were in the booth on that fateful day. The anecdotes about that night might have already been said elsewhere, but director Bao Nguyen manages to capture the energy in the room, peeking into the emotions of the various personalities that helped shape the song. It’s an intriguing, if straightforward documentary, and it’s certainly a treat watching the decade’s best voices collaborate to make this one track.

Young Woman and the Sea is a neatly told, inspiring story about a woman who went against the tide to cement her legacy as one of the most fearless athletes to exist. The movie is polished and nicely detailed, anchored by winning performances and a triumphantly dramatic script—basically everything you’d expect from a Disney movie. And like many Disney movies, Young Woman and the Sea can sometimes be too on-the-nose about its advocacies, but it’s hard to deny its charm. The movie is a treat to watch, and an especially nice segue into the upcoming Olympics.