116. Film + TV 2024 Index
The one you (I) have been waiting for.
2024 was a pretty fantastic year for movie-watching (but I think I say this every year). For some statistical reference, in 2023, I watched 117 films, and in 2024, I watched 126. The criteria for these most memorable remains the same:
As with most of my top-rated films, both my heart and mind gravitate towards those that face hard truths, ask tough questions, teach, and transports to new worlds. The list includes new-to-me films along with those released in 2024.
Here are my top four with an additional Honorable Mentions list.
*I’ve tried to link those available on popular streaming services. If not available there, you can find them for rent on all the usual platforms.
All of Us Strangers (2023, Dir. Andrew Haigh, Searchlight Pictures) ★★★★.6
‘All of Us Strangers’ is a vision so complete that you forget you’re not really of its world. Everything about this film is immersive. It’s a slow sinking to the bottom of the ocean, and it completely shattered me. Beautiful doesn’t even begin to describe it. It is a genuine, heartbreaking tale (and likely a true story for at least one person out there). It is also visually stunning, exquisitely cast and acted, and breathtaking in its unfolding. Though Andrew Scott and Paul Mescal are the leads (and they are phenomenal), none can overlook Jamie Bell and Claire Foy.
Past Lives (2023, Dir. Celine Song, A24) ★★★★.4
I’ve already written about this back when I made my way through all of the 2024 Oscars Best Picture nominations. Something I’ve since realized whenever I think back on it is its voyeuristic quality. It has that energetic tug where your eye keeps finding its way there, but once your eyes have landed, it feels so intimate that you know you’re the one who’s intruding. ‘Past Lives’ is something precious to keep safe.
Challengers (2024, Dir. Luca Guadagnino, Amazon MGM Studios) ★★★★.2
This has to win for the most stylish watch of 2024. Buckle up because when it starts, you’re immediately racing, and there’s no letting up on that gas pedal. Having seen six of Guadagnino’s recent catalog (from ‘I Am Love’ to now), this feels like a new departure for him, and I dig it. And yes, Zendaya, Mike Faist, and Josh O’Connor are as good (and good-looking; wow, that press tour fashion) as you’ve heard.
The Holdovers (2023, Dir. Alexander Payne, Focus Features) ★★★★.2
When I watched this last year, I knew it would become an annual holiday watch. To my surprise, I haven’t rewatched it yet, but only because it remains crystal clear in my mind. Another of my Best Pictures viewing, ‘The Holdovers’ completely captured my heart. It’s a coming-of-age tale but through the lens of three separate individuals, each in a different season of life. You can’t help but root for them all.
Honorable Mentions: The criteria for this section is simple: if the film stuck around in my brain for an extended period of time, it made this list.
My Old Ass (2024, Dir. Megan Park, Amazon MGM Studios)
When this was released, I bet it was immediately indoctrinated into the “coming-of-age” comedy canon. Hilarious, sweet, wholesome, awkward, beautiful. Maisy Stella was sensational.
Godzilla Minus One (2023, Dir. Takashi Yamazaki, Toho Co., Ltd)
There are a lot of Godzilla movies, but this stands among (and perhaps above) the best of them. A huge shout out to the pre-pro and VFX production of this small (crew) but mighty film. Well-deserved Oscar win for Best Visual Effects!
*Now, when I was compiling this list, one thing became abundantly clear: it was a spectacular year of horror genre watches. So the rest of our honorable mentions are all horror:
Longlegs (2024, Dir. Osgood Perkins, Neon)
On paper, this is an instant love for me, but I had some issues with it. Overall, each shot is skillfully considered, and the look is outstanding. I also particularly enjoyed the graphic design for this (logo, PR, posters). And, of course, Maika Monroe continues to reign supreme as Horror Queen.
Talk to Me (2022, Dir. Danny Philippou, Michael Philippou, A24)
I can’t believe it took me this long to watch this stupendous little horror flick. Since watching it last year, I have thought about it at least once a month. I don’t want to spoil a single drop; promise me you’ll see it.
The First Omen (2024, Dir. Arkasha Stevenson, 20th Century Studios)
Immaculate (2024, Dir. Michael Mohan, Neon)
I’m going to discuss these two together, given their close proximity in terms of theme, sequence, location, and premise. Both are (I suspect) under-watched films that are expertly done. Each had a great sense of visual style and featured some great “classic” horror scenarios utilizing the right kinds of twists with incredible leads (Nell Tiger Free in ‘The First Omen’ and Sydney Sweeney in ‘Immaculate’). They each have one of the best labor sequences in modern horror, too.
Best (in no particular order):
Film: ‘All of Us Strangers.’ It’s not a visual scene that pops into my head but rather a feeling.
Scene: Any of the tennis match scenes in ‘Challengers.’
Action Scene: Again, see any of the tennis match scenes in ‘Challengers.’
Actor: Andrew Scott in ‘All of Us Strangers.’
Actress: Maika Monroe in ‘Longlegs.’
Director: Andrew Haigh for ‘All of Us Strangers.’
Cinematographer: Ah, I want to give it to Jamie D. Ramsay ‘All of Us Strangers,’ but I think it has to be Sayombhu Mukdeeprom for ‘Challengers.’
Score: Trent Reznor and Atticus Ross for ‘Challengers.’
Ripley (Netflix) ★★★★.7
‘Ripley’ renders me speechless, but I’ll try my best. This is the most transportive television series I’ve ever experienced. Every shot tells a story, and it’s masterfully acted and framed. Simply put, it’s a work of art. I unknowingly watched the first episode without subtitles, thinking I wasn’t meant to understand the Italian and could have happily continued that journey. The story is so instinctive and visceral that it doesn’t need dialogue when everything is supplied so clearly. Andrew Scott is unstoppable, and Dakota Fanning remains excellent, but the true stars are director and writer Steven Zaillian, cinematographer Robert Elswit, and editors Joshua Raymond Lee and David O. Rogers. For a series where the pro/antagonist is so greedy, it is immensely generous to its audience.
Standout Episodes: ‘I A Hard Man to Find’ (Episode 1), ‘III Sommerso’ (E3), ‘V Lucio’ (E5), and ‘VIII Narcissus’ (E8).
Industry: Season 3 (HBO) ★★★★.6
‘Industry’ is a show I consistently wish for and look forward to. It’s one of those gems that refine and refract brilliantly with each new season and instantly draw you back in. The main cast is fantastic as always, but one of the best parts is the season's guest star; this time, none other than Kit Harington. I adored the unexpected paths and going down a surrealist route on more than one occasion. ‘Industry’ never fails to surprise.
Standout Episodes: ‘Il Mattino ha L'Oro in Bocca’ (S4E1), ‘It’ (S4E3), ‘White Mischief’ (S4E4), the amazing Robert sequence in ‘Company Man’ (S4E5), and ‘Infinite Largesse’ (S4E8).
Mr. & Mrs. Smith: Season 1 (Amazon Prime Video) ★★★★.4
By far the most entertaining romantic drama action series I watched in 2024. Its undeniable seductive quality is thanks to the exceptional cast, cinematography, costumes, sets, and locations. It’s humorous, ridiculous, and extravagant in the best way. Erskine and Glover shine, but the additional guest cast is prime.
Standout Episodes: ‘First Date’ (S1E1), ‘First Vacation’ (S1E3), ‘Do You Want Kids?’ (S1E5), and ‘A Breakup’ (S1E8).
Masters of the Air (Apple TV+) ★★★★.2
Watching ‘Masters of the Air’ became an event in our household (I devoted precious workweek sleep time to watching episodes). Epic, wholesome, with an enormous and talented cast. There’s a lot of new talent as well as probably every big actor name in young Hollywood right now (Butler, Turner, Boyle, Keoghan, Gatwa, to name a few). It’s (Steven) Spielberg and (Tom) Hanks to a T, even though neither directs nor acts in it (Executive Producer credit for both). Husband was also sucked right in, even after missing the first episode!
Standout Episodes: ‘Part One’ (E1), ‘Part Two’ (E2), ‘Part Four’ (E4), and ‘Part Five’ (E5).
Hacks: Season 3 (Max) ★★★★
Like a cake that gets better with each bite (if you know, you know), ‘Hacks’ gets tastier every season. Burst-laugh-out-loud funny, relatable, and filled with love and heartache, it’s tough not to root for this incredibly human show. Jean Smart and Hannah Einbinder remain defending champions of comedy chemistry (though Megan Stalter and Paul W. Downs give them a run for their money).
Standout Episodes: ‘Better Late’ (S3E2), some of my favorite moments of Jimmy and Kayla from ‘Join the Club’ (S3E4), ‘One Day’ (S3E5), and ‘Par the Course’ (S3E6), and ‘Bulletproof’ (S3E9).
Honorable Mentions:
The Gentlemen (Netflix)
A Guy Ritchie good time. Plus, Theo James and Kaya Scodelario. I don’t need to say more, but I will: fun, funny, sleek, great fashion and action.
House of the Dragon: Seasons 1 & 2 (HBO)
Jaw-dropping production quality: every episode is a feast for the eyes. When I first started watching Season 1 in 2023, I stopped after a few episodes because I couldn’t get into it. Fast forward to 2024, when I restarted, got hooked, and didn’t want to leave. Now I’m desperately waiting for Season 3.
Drops of God (Apple TV+)
A visceral, creative, emotional, under-the-radar limited series of two individuals going after an inheritance that includes the world’s most exclusive collection of wine (based on a manga series, which I didn’t know while watching but makes perfect sense after). I especially enjoyed the multilingual and gourmand aspects.
Jury Duty (Amazon Prime Video)
Hilarious. The perfect blend of ‘The Office’ and reality television.
Thanks so much for reading. Please let me know some of your favorite watches from last year, and I’ll add them to my watchlist! Substack has direct messaging now (exciting, though email and comments work just fine too!):
As always, I hope you have a great start to your week. See you February 2.
past lives will always be special <3
i agree on maika monroe's performance in longlegs! i love the shots and tone too, but the movie unfortunately doesn't live up to my expectation. i even wrote an entire 'food for thought' type of newsletter expressing my disappointment, oops. subjectively (and i think arguably as well), all the praises for longlegs, going as far as to compare it with silence of the lambs and se7en, feel too much.
that aside, i'm embarrassed to say i haven't watched the others mentioned here! ripley has been sitting on my netflix's watchlist but i'm still waiting for the mood to arrive. i do believe in andrew scott as an actor though (which means i also need to add 'all of us strangers' into my watchlist!)
thank you for sharing your 2024 film & tv index! i always love every newsletter i received from TF, but the yearly index is one i'm always looking forward to receiving the most! ;)
Ripley was fantastic, wasn't it? I'm delighted to find you liked it too. A lot of people I know stopped watching after an episode or two. That astonished me. Ripley hooked me. When I wanted to know more about who had created it, I understood why it was, as you say, a work of art. Steve Zaillian and Robert Elswiit are both masters in their respective areas. Their collaboration raised the bar for each of them. In an industry that can overvalue youth, I loved finding that Zaillian is 72 and Robert Elswit is 74. They are proof that one gets better at craft with age. What I most loved about Ripley was the black and white, and the way Zaillian and Elswit chose to turn the travelogue nature of a lot of Italy filming on its head and show you the city with its ugliness exposed. It reminded me of traveling in a foreign city when tired and seeing the flaws that are never in the guide books and in the color travel ads. The scenes were beautiful, the story had suspense and humor, and even the Maine Coon cat they used was a cut above the ordinary. I've watched Ripley twice. Reading what you wrote made me want to watch it again.
Did you see the Vanity Fair article about Zaillian and Elswit? Here it is in case you're interested. I love what Elswit says about color versus black and white. I agree with him: "It doesn’t look nearly as interesting, by the way, in color, it just doesn’t."
Zaillian: We shot for the first couple of weeks on a stage. This was our first day out in Rome, like, two weeks after we started shooting. And of course, it’s a night shoot. [Laughs] And I remember we didn’t have a lot of time. We were rushing towards the end. But Robert, I have to say, you are incredible. When I first saw this, I just thought, “Wow.”
Elswit: We picked a great place to do this. Backlight and water are as old as movies, I think. [Laughs] You’re very lucky to find a location where you can take advantage of it, and we did. You get the ground wet, get a big light up high, far away. And Atrani had really great texture. The cobblestones, the buildings themselves, everything else. That’s what you get in black-and-white—texture. That’s just the great example of something that’s been done since the 1920s, and so I’m glad we were able to do it. It’s wonderful. It doesn’t look nearly as interesting, by the way, in color, it just doesn’t."
https://www.vanityfair.com/hollywood/ripley-netflix-shot-list-awards-insider?_sp=793ff690-84c6-4c5b-b4d3-82f74e2d2be3.1725764596678