Best of 2024
With a year that’s officially marked by my plunge into arts journalism, I’ll do my very best to be succinct with my descriptions for each of my favorite books, albums, TV shows, and films. No guarantees, though…
Books
Every year I try to read more than the last. This year was, as the kids say, a flop. I did read some good books, though.
Brideshead Revisited — Evelyn Waugh
An examination of class and the effects of war on early 20th century Britain, there’s a reason Evelyn Waugh’s Brideshead Revisited stands the test of time. Maybe it’s just my perception of novels this old (I expect them to trudge along), but I was surprised by this story’s format, which spans many decades and features the framing of a timeline occurring years after the main contents of the novel. The language in this work is beautiful, and frequently both quietly profound and (perhaps unintentionally) hilarious.
“D’you want to change?”
“It’s the only evidence of life.”
“But you might change so that you didn’t love me anymore.”
“There is that risk.”
Bunt! — Ngozi Ukazu & Mad Rupert
Ngozi Ukazu, of Check, Please! hockey comic fame, is back and swinging for the bleachers with this new graphic novel, in a collaboration with her longtime friend Mad Rupert. This story follows a down-on-her-luck art student as she forms a competitive softball team at her fine arts university in order to secure a scholarship, after her original funding falls through. Between action-packed softball sequences and an endearingly contrasting cast of characters, Bunt! is so, so much fun. It’s visually beautiful and both hilarious and touching story-wise, not to mention thematically relevant with its tackling of institutional gentrification and questions like: is art school worth it?
“Win or lose, whatever decision you make will be the right one. You’ve worked your ass off to get into PICA, you’ve worked your ass off to stay at PICA. If you leave, you’ll just work your ass off somewhere else. For something else.”
Music
I’m not religious but I am willing to start a prayer circle to get Wolf Alice to release a new album. That dream notwithstanding, here’s what I had on repeat this past year.
Zach Bryan — Zach Bryan
I’ve long since accepted that I love country music, so perhaps the dive into Zach Bryan’s discography was a long time coming. This album was on repeat for three months straight, no exaggeration — a fact validated by this year’s Spotify Wrapped. There’s a rawness to both the lyricism and sound of Bryan’s music, one that I find myself craving more and more. I don’t really have anything against the more produced stuff of nowadays, but I think the cracks in Bryan’s voice and the emotion that bleeds through this album are what make it successful. You can tell there’s a real person behind the microphone, and even if you can’t relate to his life, even if you disagree with it, you can at least understand it. Bryan actually released a new album this year (The Great American Bar Scene), and while I did enjoy it quite a bit, this one has a special place in my heart.
Challengers [MIXED] — Trent Reznor and Atticus Ross, Boys Noize
Film scores regularly circle through my Spotify rotation, but it’s no secret that the techno soundtrack of Luca Guadagnino’s Challengers is infectious. I can’t listen to this remix album too much, lest I give myself heart palpitations, but it is perfect to work out to, or as I once did, whisk egg whites to. It’s energetic and invigorating, and Boys Noize does a stellar job at elevating an already lovely score to its fullest potential as pure techno music. And, this album has the added bonus of a lack of an Apple alarm jumpscare at the end of the “Challengers” track, like the original song has.
Television
I always say that I watch more films than television, but someone was recommending me shows over the summer and I found that I’d seen them all. I still do stand by that I’m a bit more illiterate in the television world than the film world, but I am, as they say, working on it.
Baby Reindeer (Netflix)
It’s no exaggeration to say I’ve been waiting for Baby Reindeer for four years now. My friend saw it in London in 2020, and called me right after to tell me how incredible the production was. This story is harrowing to witness, and probably even more so for Richard Gadd, the writer and actor behind the series (play, first) — and the subject of the story itself. I can’t even imagine what it must have been like to experience the plot of this mini-series in real life, let alone then write about it and perform it repeatedly on stages and in front of cameras for other people’s consumption.
Nobody Wants This (Netflix)
I stared this show on a whim, and ended up speeding through it in a weekend. It’s your classic relationship-podcaster-falls-for-a-rabbi story. Kristen Bell is so effortlessly funny, true and believable in her role, and Adam Brody oozes equal parts charm and endearing awkwardness. I alluded to it already, but I really did not expect to love Nobody Wants This as much as I did. I just think it’s been a long time since I saw a contemporary romcom (in any format) that feels real and of its time, but not cringe-y in its references to the present. Despite the specificity of time period in the dialogue and plot points surrounding getting the ick, this show took me by surprise, and had me frequently smiling at my screen.
Movies
My favorite part of this list, back and better than ever. As always, this is not a ranking — but it is the order I saw the films over the course of the year.
Dune: Part Two (2024) — dir. by Denis Villeneuve
An absolute spectacle of a theatrical experience. For whatever reason, the first Dune took two watches for me to really love it. I could appreciate its artistry on my first watch, but it took seeing it a second time, two weeks before the sequel’s release, for me to actually buy into this world and vision. It took no such experience for me to immediately become obsessed with Dune: Part Two. Maybe it was just the fact that I saw it in a prime seat at the largest IMAX screen in North America, but this film — both visually and as a story — wormed its way into my head. Not unlike Shai Hulud…
Polite Society (2023) — dir. by Nida Manzoor
It is so, so rare for me to choose a movie to watch with my family and it to actually be enjoyed. But Polite Society was an all-around hit, perhaps finally making up for the many missteps I’ve made in the past, from What We Do In The Shadows to Pacific Rim (their lack of interest in those films, I might add — not my own). This film is, to put it mildly, insane. It hits points where it feels like it can’t possibly escalate, and then it magically does. It’s touching and relatable and my own chaotic Desi family found so much joy in watching this fictional Desi family wreak havoc on screen.
Scrapper (2023) — dir. by Charlotte Regan
Scrapper is 2023’s Aftersun, if we feel like being reductive to both films. A tale of a young absent father who suddenly returns to his daughter’s life after her mother passes away, this film is tender, heartwarming, and can instantly put a smile on your face. The specificity of the situation and regional context in which this story exists is just lovely, and both Lola Campbell and Harris Dickinson deliver in their roles. And as much as I love Aftersun (and that’s quite a lot), this film won’t make you bawl your eyes out for two hours at the end.
Monkey Man (2024) — dir. by Dev Patel
It’s Dev Patel’s world, and we’re just living in it. I didn’t have terribly high expectations going into this film — not in a bad way, but I just wanted to go in as open as possible. But whatever hidden expectations I did have, were blown out of the water. Ultimately, Monkey Man is a masala-bombastic action flick. But I thought the way the heart of the story is integrated is incredibly well done, I found it politically and sociopolitically relevant, and for a directorial debut from Patel, I thought this was fantastically put together.
Challengers (2024) — dir. by Luca Guadagnino
Oh, Challengers. What a summer it was. Between this film and Queer, Guadagnino’s had a huge year — not just by releasing two powerhouse films, but in releasing two films that feel stylistically different from his previous works. I loved every second of Challengers. It’s melodramatic and sexy and a bit heartbreaking; its success depends on Josh O’Connor, Mike Faist and Zendaya’s performances, and all three of them shine in this film, playing three sides of the same coin.
Everybody Wants Some!! (2016) — dir. by Richard Linklater
I’m gonna be honest: I watched this film for Glen Powell (and ended up pleasantly surprised by Ryan Guzman and Tyler Hoechlin’s presence). But I really shouldn’t be surprised that I ended up loving this movie, which perhaps exemplifies Richard Linklater’s classic “do nothing” film style. It’s the 1980s and characters are horrible but also very sweet, there are parties and high-waisted pants and baseball. What’s not to love?
La Chimera (2023) — dir. by Alice Rohrwacher
I feel so lucky to have caught this film in theatres, at IFC in New York. It’s a beautiful film and story, but getting to be immersed in that sensory-deprived room, in a theatre with just two other people in it, by myself on a Sunday morning? There isn’t a more perfect way to watch this movie. A tale of love and loss and yearning and grave-digging, La Chimera creeps up on you in a profound way, making its final sequences all the more impactful. It’s silly, but the whole time I was watching I kept thinking this film reminds me of Happy as Lazzaro — it was a bit of a “doy” moment looking up Alice Rohrwacher later, and seeing that she directed both films.
Hit Man (2024) — dir. by Richard Linklater
I think I could speak endlessly about Hit Man. It often feels like there’s a drought of Real Movies Made for Adults, but the existence of this film alone is perhaps enough to give me hope that the tides are changing. Hit Man isn’t trying to be more serious than it is (and it’s often quite silly), and it benefits tenfold because of this. It’s dramatic and chock-full of great performances (Glen Powell especially, but really, not a single person phoned it in), but also funny and absurd, and somehow based on a true story. I can’t recommend it enough.
Tangerine (2015) — dir. by Sean Baker
My first week in Los Angeles, I saw a double feature of this film and The Florida Project at the New Beverly. I was expecting to be affected by The Florida Project, but Tangerine really caught me by surprise. Often referred to as “that one movie they shot on an iPhone,” this film follows the adventures of a group of trans sex workers in Hollywood on Christmas Eve. It’s piercing but also so funny, and really best watched with a crowd.
Blow Out (1981) — dir. by Brian De Palma
Frankly I can’t even remember why I sat down to watch this film on a random Sunday in July, but I’m so glad I did. The story follows a film sound recordist who accidentally records the sound of a murder whilst trying to get effects for a slasher film he’s working on — and the subsequent journey he goes on trying to put together the puzzle pieces that emerge before him. Blow Out is gorgeously shot, so immersive, and perhaps naturally, it has some incredible sound design.
Sing Sing (2024) — dir. by Greg Kwedar
Sing Sing is a beautiful, quiet, triumph of a film. Obviously a certain degree of care is put into every film out there, but the tenderness with which this story and these characters are handled reveals a level of empathy that’s astounding, in the best way. Every element, from the acting (Coleman Domingo shines), cinematography, years of research and parallels to theatre, not only sing, they harmonize. Sing Sing was woefully under-marketed when it first came out, but it is so worth the watch.
Dìdi (弟弟) (2024) — dir. by Sean Wang
This film got me, and I think it’s because I got it. Everything from the time period (2008) to the location (Bay Area) ground this story in realities that many people can relate to, casting a wide net but still reeling in the people who can watch this movie and see a character in it who feels like a mirror back unto themselves. It’s one of those stories where you can see so clearly the ways in which different characters, for lack of a better word, just suck. But you love them anyways. And ain’t that always the kicker?
First Man (2018) — dir. by Damien Chazelle
Slowly but surely I am catching up on Damien Chazelle’s filmography (somehow only Whiplash is left — don’t ask me how I’ve neglected to watch that). Listen, it’s well-known that I love La La Land, I went through the effort to hunt down Guy and Madeline on a Park Bench, and I’m a frequent Babylon defender, but First Man is just on a different plane. It is so, so simultaneously painful and beautiful throughout. It’s anxiety-inducing and tear-jerking — and at the end of the day, if you show me a film about the beauty and terror and hope of space exploration, you can’t expect me to be anything but obsessed.
Koyaanisqatsi (1982) — dir. by Godfrey Reggio
I had been meaning to watch this film since 2019, when I was first showed a 20-minute clip from it in one of my intro film classes. I finally pressed play on this wordless, symphony of a documentary on a random Thursday this year, and it didn’t leave my head for over a week that followed. Cut to an entrancing score by Philip Glass, this film just sucks you into its rhythm and message. Through music and juxtaposition of images alone, it tells an entire story of industrialization and capitalism, and their impact on humanity, nature, and the harmony of the world. I think this might be the hardest sell of all the films on my list this year, but I truly do think everyone should see this film at least once.
A Different Man (2024) — dir. by Aaron Schimberg
I don’t know what it was about the marketing for this film (perhaps the lack thereof), but it completely took me by surprise. I hesitate to really describe it, because it truly is best seen with no prior knowledge. But I will say this: whatever you think this film is based on the description, whatever you even think it is from the first half, it isn’t. Every time you think you understand something, the film flips you — and its characters — on your head. It questions itself, questions its characters, and questions you. And even more than that, it asks you to question it. It’s a story that exists in grey areas and discomfort, but one that flourishes when you accept that living in those spaces can allow you to thrive.
Universal Language (Une langue universelle) (2024) — dir. by Matthew Rankin
I won’t say too much about this film, since I already wrote a whole review, so you get an anecdote instead. I was not looking forward to seeing this movie. It was the last of the three I saw at New York Film Festival, and the one I knew the least about. As a relatively green critic, I was still getting used to furiously taking notes in a dark theatre, and the idea of having to do so in a film where I didn’t understand the language, was daunting. But every bit of apprehension I felt beforehand absolutely melted away once the film began. Universal Language is silly and heartwarming and unexpected. It’s nothing I was prepared for, and everything I needed.
Hundreds of Beavers (2024) — dir. by Mike Cheslik
I try to avoid making sweeping generalizations, especially in regards to art, but Hundreds of Beavers is perhaps the most creative film I saw last year. Pure, unadulterated creativity is what it takes to make a silent, black-and-white, slapstick comedy in 2024. I was sad to have missed this film in its very limited theatrical run, but when I saw it on Tubi (a severely underrated (free!) streaming service) I found myself laughing out loud, despite watching it alone. I can’t say this film will be a hit with everyone, or that it’s the easiest sell on this list, but I implore you to give it a chance.
Velvet Goldmine (1998) — dir. by Todd Haynes
Christian Bale wears sparkly eyeshadow, and what more could you want from a film? I’m slowly becoming a huge fan of Todd Haynes, and Velvet Goldmine really solidified that fact. This film is an homage to the glam rock era of the 20th century, specifically focusing on the scene in the UK. And it’s also technically a journalism movie, which is always great, in my opinion. Simultaneously riveting, a load of fun, and full of yearning, this was a random Monday night watch for me that was so, so worth it.
Kneecap (2024) — dir. by Rich Peppiatt
Kneecap is a hoot and a half, and so is the real life band who plays themselves in this film. Half fact half myth, this film really highlights the importance of the preservation of indigenous languages, but through the lens of a boisterous rap group. I was really blown away by the real-life Kneecap’s performances — as three non-actors, they manage to portray the humor, heart, and complexity of their fictionalized selves and their stories. A hard recommend on this one.
A Complete Unknown (2024) — dir. by James Mangold
For the second year in a row now, I’ve gone to the movies on New Year’s Eve (last year was Anyone But You), and I’m so glad this year it was this film. I didn’t really know what to expect with this one — I believe in Timothée Chalamet’s acting abilities, yet I knew nothing of Bob Dylan’s life or personality (I’d just heard his music here and there, but with no great depth on my behalf) — but I was blown away. There were moments I wished for more depth of character, but at the same time get that the lack of it is kind of the point. Chalamet is great, but every supporting performance (Boyd Holbrook as Johnny Cash, in particular) is phenomenal as well.
Additional films
These movies didn’t make the cut for the official list, but I did see them this past year and would highly recommend them.
Anatomy of a Fall (2023)
Miami Vice (2006)
Twisters (2024)
Queer (2024)
Megalopolis (2024)
Anora (2024)
The Thing (1982)
A Real Pain (2024)
Blindspotting (2018)
Conclave (2024)
That’s all, folks!
I don’t have much to leave you with, other than that I cannot wait to watch the new Wallace and Gromit movie, and that I really need to read more books.