100 Best 2024 Movies Released So Far

With Netflix producing countless true crime documentaries, you’d be forgiven for dismissing How to Rob a Bank as usual, forgettable fare. But the documentary ever so slightly curbs cliches by focusing on a theme—in this case Hollywood, in honor of Scurlock’s pseudonym and love of movies—without losing sight of the bigger picture. Which is to say, directors Seth Porges and Stephen Robert Morse go all in the movie theme without giving way to cheesiness, mostly by honing in on Scurlock’s favorite films like Heat and Point Blank and effectively replicating the thrill of those action classics. It uses fine, storyboard-like illustrations that are mostly entertaining and nostalgic but occasionally quite beautiful, and borrows the same synth soundtrack from the said films. But it even though it initially sets Scurlock as the anti-hero, a Robin Hood of the times, its sympathies lie with the victims, the traumatized bank tellers and goers. It’s a smartly made and engaging film, complete with the quintessential shootouts and elaborate heists, and it thankfully doesn’t let the talking heads do all the work.

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.

No one watches a romantic comedy expecting anything novel, although it’s nice to be surprised once in a while. In the past years, we’ve seen movies like Rye Lane and Palm Springs subvert expectations and give the genre a pleasant, refreshing twist. Upgraded isn’t like those movies. It’s pretty standard and formulaic, but I would be lying if I said it wasn’t enjoyable—Amazon Prime’s latest romcom is breezy good fun from start to end. The predictable parts of the film are buoyed by vibrant performances. As leading lady Ana, Camila Mendes expertly toes the line between approachable and aspirational, while Marisa Tomei delivers campy goodness as Ana’s boss Claire Dupree, who is like a less serious, more humorous Miranda Priestly. In fact, the entire film is like a pleasant blend of The Devil Wears Prada and every single Cinderella story in Hollywood, from Pretty Woman to What a Girl Wants. If you’re looking for something new, you can skip this film, but if you like recalling your favorites and are satisfied by performances before anything else, then Upgraded comes highly recommended.

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.

Those familiar with John Green’s many book-to-movie adaptations (The Fault in Our Stars, Paper Towns) will recognize the author’s signature quirks in Turtles All the Way Down. There are kids who spout out quotable quotes and love interests too gorgeous to be real. But just the same, teenagers are given a fuller and deeper understanding here, which is Green’s best trademark and true strength. Helped by Director Hannah Mark’s strong vision, Turtles All the Way Down is a relatable and heartwarming look into the gnawing pain that can come with growing up. Specifically, the film invites us into the troubled mind of Aza, who suffers from debilitating OCD. It’s a realistic (and never pitiful) assessment of how anxious teens navigate love, friendship, and maybe most notable of all, money. There’s a focus on economic realities here that feels fitting and wise in this day and age. Many people forget how keenly aware young people are of money, and it’s refreshing to see it play out here, even if it’s just in the peripheral.

Is this the most thrilling head-scratcher we’ve seen in a while? No. Is it a rousing take on the feminist cause? Not really. But what Wicked Little Letters lacks in intrigue and relevance, it more than makes up for in entertainment value. Not that anyone needs convincing, but here Colman and Buckley further prove why they’re some of the most in-demand actors right now. They’re raw and fiery and hilarious, energizing every scene with their limitless energy. They make the film a breeze to watch, so if you’re looking to pass the time with enjoyable performances, Wicked Little Letters makes for a solidly entertaining watch.

Contrary to the headline displayed on this film’s poster, Disney’s The Beach Boys isn’t a definitive guide to the band. Instead, it plays like a “greatest hits” album that goes through their famous ups and downs. Their steady rise among American teens and leader Brian Wilson’s pop music innovations are covered, as are the more dour moments of their career, like the relentless abuse they got from their manager (the Wilsons’ father Murry) and the disagreements between Brian and his cousin and co-writer Mike Love. But for better or worse, the documentary doesn’t go into too much detail about these high-profile feuds, focusing instead on the joy and brilliance of their era-defining music, which tends to get buried beneath all the drama anyway. Because of this sunny approach, the film sometimes fails to match the band’s complexity. But there’s no denying that it’s just as enjoyable to watch as it is to listen to The Beach Boys’ music.

Reminiscent of classic gang films, The Bikeriders comes as a familiar but still enjoyable piece of Americana. It’s properly nostalgic and structured much like Goodfellas, with someone narrating the entire thing and smartly teasing the surprising end. In this case, the brooding leading man’s wife, Kathy (Comer), softens the film’s rough macho edges. But as fascinating as this slice of American life is, it’s the stacked cast who take the film one step further. Tom Hardy is commanding as the club’s leader, while Comer grounds the film’s darker moments with charm and reason. Mike Shannon and the rest of the gang are realistically gritty and interesting, but surprisingly, Austin Butler and Faist are given little to do. There’s an unevenness to The Bikeriders that makes you wonder if it would be better or worse under a different director, but as it stands, the film is a welcome entry in the crime and ride genre.