10 Thought Provoking Movies I Watched in 2024
Written by Renaissance Alexandre
If I get one more “Yearly Wrap Up” notification in my email I will scream. What started out as a fun gimmick for engagement farming created by an uncredited Spotify intern has progressively become mimicked to death! Spotify’s wrap up this year was far from their best work. It was aesthetically undercooked and the glaringly obvious usage of AI ruined the magic of this yearly tradition, which has historically involved the appreciation of the creativity of the real people who worked for Spotify. However, this yearly wrap up and its many copies, remind me to look back on the media that I have consumed this year, specifically movies.
Movies are so special. In an upcoming Youtube video on my personal channel, I will go over my Letterboxd Top 4. In summary, I share my metrics and expound on my personal taste when it comes to judging and critiquing film. Film at its best can be a transformative experience and at its worst can feel like you are watching a product that did nothing but waste everyone’s time; cast, crew, and audience included. I have put together a list of movies that I watched for the first time in 2024 which stuck with me for varying reasons. Some good, some bad, some that I didn’t necessarily love but have remained in my consciousness since watching.
I am listing these movies by decade, starting from earliest to latest release decades:
1960s
Sweet Charity (1969) directed by Bob Fosse
Sweet Charity is a movie musical about love! Simple as that. It is a classic stage to screen production and iconic choreographer Bob Fosse’s debut film. This movie has stuck with me over the course of the year because Sweet Charity (1969) is an emblem of what a movie musical can be (and I argue should be). Sweet Charity (1969) is a Motion Picture (a term I harp in my Youtube video). Fosse is a master at capturing motion on screen and making gorgeous images that heighten the unfolding narrative. Instead of seeing Charity’s world as spectators ourselves, we see the world artistically and whimsically through Shirley MacLaine as Charity’s eyes. Bob Fosse’s hunger to be a great director is palpable through the screen which leads this movie to be chock full of stunning frames and the most endearing characters. A marker of Fosse’s directing from the get is that filmmaking is all choreography. The movement of the camera, the angles, the cuts, and the text on screen are all aspects to be perfectly in sync and work together to make one dance. The screen is treated like a stage and what is a movie if not captured theater? If you have yet to find a movie musical that resonates with you, I recommend watching this red-head led romp as soon as possible.
Cléo de 5 à 7 (1963) directed by Agnès Varda
Cléo de 5 à 7 is a movie that follows a day in the life of Cléo in 1960s Paris, France and the burgeoning “independent women” figure in French culture. This movie is very personal to me in that, I love having a full day as a result of never making plans. Cléo is so fabulous and so at the whim of her own pleasures. She is guided by her love of life and joie de vivre. Important to note that not every aspect of life is necessarily joyous as we are shown with her tarot reading in the beginning of the film. We see her cry and be sad as a way to emphasize the texture of life and humanity. An aspect of Cléo de 5 à 7 that I find so delectable is the quality of language in the script. Yes, it is a French movie but it is also a French movie in its simplistic peppering of philosophies and stunning observations that stay with you months after viewing.
1970s
Liza with a Z (1972) directed by Bob Fosse
This 53 minute concert hosted and performed by the one and only Liza Minnelli (not Lisa Manulli) is a theatrical and artistic feat. Choreographed to the brim by the brilliant Bob Fosse and full of personality, this musical concert so perfectly captures the essence of theater and musicals. It is no secret that I love movie musicals and Bob Fosse. His ability to tell a narrative and create evocative images through dance is stunningly impressive. Liza with a Z (1972) is an exemplary piece of American theater. Liza, a nepotism baby with real merit, and the glamorous Americanisms of the 20th century film aesthetic are perfectly captured in this once in a lifetime piece. It is an hour of non-stop pizzazz and I believe we could all use a reminder of what that feels like.
Two Bob Fosse recommendations off the bat might seem like a bit much but in a year when Wicked (2024)- which I’ll get to later- was considered a “hit” I think these recommendations could not come out at a better time.
1990s
Goodfellas (1990) directed by Martin Scorsese
I will admit that I am very late watching this. In the wake of the social downfall of Francis Ford Coppala, worry not about enjoying a great cinematic epic about the Italian-American mob of the 20th century. Martin Scorsese is a master at making movies feel like novels. He is an artist at keeping the literary integrity of the books he adapts. This is one of his greatest strengths in his directing and it is apparent in this classic film. Ray Liotta and Robert De Niro give powerhouse performances but in classic style, Joe Pesci cannot help stealing every scene with his pitch perfect delivery and striking on screen chemistry. I always worry when watching movies of this genre that it will be over-wrought with misogyny, and sure it is, but not in a way that feels exploitative or fetishistic of women’s abuse in this community. The voice over narration shared between Ray Liotta as Henry Hill and the iconic Lorraine Bracco as Karen helps bring the wives’ perspectives to the foreground in this patriarchal environment. The womens’ roles, as beneficiaries of the money made from the mob and as the homemakers for the mobsters, are seen as valuable by the film even if this is not recognized by the characters themselves. The death of subcultures in America does not exclude the fall of the mob and this film is thorough in its depiction of this chute. Also it inspired my header for Twitter and tumblr so I had to include it.
The Celluloid Closet (1995) directed by Rob Epstein and Jeffrey Friedman
When I originally wrote this essay and watched this movie it was available for free on Tubi but since then it has been taken off the catalog. Regardless, I highly recommend finding a way to watch this easy-going documentary or renting it on one of the various streaming services that host it and then emailing me at TheLavenderMenacePodcast@gmail.com with your thoughts. For a 2024 audience and for gays born in the early 21st century whose first dalliances with lesbian/queer films were projects such as Bend it Like Beckham (2002), Mean Girls (2004), and She’s the Man (2006), I think it is important to understand the century of queer film that we inherit. Additionally, it is important to hear anecdotes from the mouths of gay people who saw themselves in these closeted films. A frequent complaint by some gays on the internet is that there are so few explicitly gay movies. While I understand this sentiment to a degree, it fails to recognize how much of past gay lives were lived in the closet and thus so were the narratives and “gay” (but actually gay) characters. I love hearing the testimonies of gay cinephiles espouse their love for the sissies and lesbians of their favorite movies. We are so lucky that these real life stories were captured before the boom of “gay films” that followed But I’m A Cheerleader (1999) and the likes. If you’re gay and love movies, this is definitely worth watching if not just for additions to your watchlist from all the great movies they talk about within the documentary.
2010s
Dykes, Camera, Action (2018) directed by Caroline Berler
Jumping from 90s queer documentary into a 2010s lesbian documentary, we have a brilliant piece on the evolution and language of lesbian cinema and lesbian moviemakers. Lesbians cannot help but be against the grain, feminist, and awesome. The experimental and boundless frontier of cinema appealed to lesbians and this documentary does a great job capturing a slice of that history. Like several lesbian creative productions, it was not long until the “suits” caught wind and wanted to tap into the profit aspect of producing “lesbian movies” rather than lesbians making movies for themselves and by themselves. The documentary itself is fairly low budget, incredibly personal, and non-intimidating. Yet it is full of delectable passion and utterly inspiring. If you’re sick of the squeaky clean, hyper produced, too bright movies and shows that are nearly inescapable, and experimental feminist film sounds like a nice reprieve, I recommend treating yourself to this documentary.
2020s
I Used to Be Funny (2023) directed by Ally Pankiw
I, a long time Rachel Sennott supporter who believes that she is paving the way for a new 21st century movie star diva, saw this movie in a special screening in Santa Monica in a theater full of Californian geriatrics who just love to support the arts. The movie is incredibly well directed and Pankiw has definitely curated a visual signature. Especially with regards to her attention to lighting that is fully formed in this film and in her Netflix’s Black Mirror episode “Joan is Awful” that came out the same year. While watching I was reminded of Mae Martin’s Feel Good and, to my delight, later found out it was partially directed by Pankiw. If you are like me, a Rachel stan, this movie is a must see. Where Rachel is often cast for her sarcastic delivery and morally ambiguous motivated characters, here she hits it out of the park delivering a sensitive performance that is truly emotionally evocative. Rachel proves that she absolutely has the legs to lead a film and deliver interiority to her characters that allow us to forget “Rachel” and fully drop into the film. Another stand out performance was Caleb Heron as Philip. I watched this movie in May then stayed a Caleb content enjoyer for the remainder of the year. He provides the necessary laugh out loud moments in this movie and is a genius at cutting tension at just the right time. I absolutely need to see him in more roles in the new year.
The Substance (2024) directed by Carolie Fargeat
Now… I had to stop myself from pulling multiple all-nighters to write a 10,000 word essay on everything that I loved about this movie and who knows? I might still write that essay. The Substance is easily one of the best major movies that came out in 2024. The fact that it was so quickly overshadowed in the culture by Wicked (2024) is a shame and shows me that it was woefully misunderstood by the audience. This movie is less about feminism and more about the violence of misogyny and these things are not the same. The violence depicted and the undisguised hatred in the brilliant performances by Demi Moore and Margaret Qualley all stem from patriarchy however there is not an opposing force to this misogyny within the movie and I agree with Carolie Fargeat that there should not be one. Any sympathy or opposition is felt within the watcher and any call to action is concluded by the audience, not imposed by the film. However these realities will continue to exist without opposition despite the fact that this movie was made. The Substance (2024) is so visually striking and a directorial feat that truly deserved its 11 minute standing ovation at Cannes. Where people over-focused to the point of reductionism on the body horror and feminism of the film (something I take slight umbrage with), I invite you to focus on the use of food, set design, and simplistic dialogue. Like my earlier recommendation, Cléo de 5 à 7, this is a French film. That is, the dialogue does not spoon feed you every inch of the plot and the effect of the film is not necessarily what happens to the character but rather the individuals in the audience. Fargeat’s decision to set the movie in Los Angeles and cast American actors is the price of entry on the global stage and a commentary on “Hollywood” however this is spiritually French film and I love it. Please watch this movie and then DM me so we can queen out about it.
Hater’s Corner
Dear reader, the following movies in this list are movies that stayed with me for all the wrong reasons and I did not like this year… womp womp.
Drive Away Dolls / Drive Away Dykes (2024) directed by Ethan Coen
Somehow this year Margaret Qualley managed to be in my favorite and least favorite release from this year. I watched this movie twice to make sure I was giving it a fair shake and to make sure I really didn’t like it. The plot is almost nonsensical and what are the stakes? The order that they give information and when they reveal what creates more of a sense of confusion and disorientation than it does a mystery. What were the pressing consequences of the dildos? It seemed like no one even knew they existed so why was the senator so stressed about it at this very moment? And if he was, that should have been the b-plot. This movie suffers from a lack of less than one minute scenes that add to the world building and overall narrative. The scene where they get a flat tire, Qualley and Geraldine Viswanathan deliver “Are you okay?!” as if they just 360° flipped over an unfinished bridge when in reality it was a popped tired. I barely believe the friendship chemistry between Jamie and Marian, let alone the romantic chemistry. This leaves that plot feeling contrived rather than the natural evolution of their dynamic. I really struggle with Qualley’s performance in this movie and I take particular issue with her accent work. It is specifically jarring that her faux southern accent is so poorly situated in her mouth considering that her mother is the iconic southern belle Andie MacDowell! This movie is possibly the least 1999 looking movie set in 1999 ever. Stylistically, technologically, vibe-wise. Generally all over the place. I do think there is room in the culture for a fun dyke buddy comedy and I think the 90s is a great decade to set this movie in but this is not it. A positive note on the movie is that casting Beanie Feldstein was a great decision but this movie overall did not land for me. Right energy but wrong direction, I fear.
The long awaited review of Wicked (2024)...
Wicked (2024) directed by Jon M. Chu
I really hope that me recommending Sweet Charity (1969), Liza with a Z (1972), and the fact that Chicago (2002) and Mamma Mia! (2008) are two of my childhood favorite movies, proves enough that I am not a movie-musical hater. I even own a Burlesque (2010) poster that I hang in my home! I do believe Wicked (2024) absolutely had the potential to be a great movie and worth all the praise that it is getting, however I do not think Jon M. Chu was the director to make that vision come to life. A lot of my issues were serendipitously articulated by John Early on the Sloppy Seconds podcast in a clip starting at 43:08, where he aptly notes that “movies now have that sort of Harry Potter look” referencing this sheen and immersive style of directing that is off putting. I do not need a movie to look like a VR roller coaster ride in the mall and that is exactly what 2024’s Wicked gives me. Let me see the dancers on a stage!
When I tell people my thoughts on the movie, I am typically met with mentions of: the music, the costumes, the practical stages, and the compelling narratives. Mamas, it is a stage-to-screen adaptation of one of the most successful Broadway shows of this century. The movie gets zero cookies from me for any of those aspects, especially considering that this movie is nearly three hours long and only part one. Please stop playing in my face. It’s important to consider what capacity and elements the film medium can bring to a show so well known and beloved. Things like lighting, framing, and color palettes, are all places where this movie fails to deliver. The incessant and liberal use of backlighting in this movie is a crime! Why is there a pale blonde white person wearing pale colors against a pale yellow and blue background? No one in the editor’s room clocked that? Chu employs several aspects of filmmaking with little to no clear artistic or directorial intent. These are factors that degrade the movie viewing experience and the quality of the project.
This movie relies on the cultural cache that has been cultivated for over a century starting with the original novel The Wizard of Oz by L. Frank Baum in 1900 without offering anything of substance to the franchise. A franchise that is home to the original The Wizard Oz film from 1939, The Wiz stage musical and film adaptations from 1974 and 1978 respectively, and The Wicked novel and stage musical from 1995 and 2003 respectively. This is not including the countless spoofs and remakes from Todrick Hall’s album “Straight Outta Oz” to the sitcom Victorious episode “April Fools’ Blank” where Ariana Grande as Cat Valentine plays a Dorothy figure. To end this ranty review with another John Early reference, this movie was a perfect chance to do something with “actual style.” Ultimately, the stylistic spin is that of the MCU and if that is your taste then I’m glad you get to enjoy the movie.
This is my round up of reviews/recommendations for my top 10 movies that I watched this year. First watches of a movie can be so special. I love finding movies that then shape and inform every movie that I watch from that point on. Cultivating and fine tuning a sense of taste and preference. Watching movies, like engaging with any art form, is all according to taste and the relationship between the art and the viewer. It is how we articulate our opinions and our ability to discern that creates the culture for future artists and artistic endeavors.
For more casual reviews, follow my Letterboxd account!
List of New Watches of 2024:
Sweet Charity (1969)
Cléo de 5 à 7 (1962)
Liza with a Z (1972)
GoodFellas (1990) directed by Martin Scorcese
The Celluloid Closet (1995) directed by Rob Epstein and Jeffrey Friedman
Dykes, Camera, Action (2018) directed by Caroline Berler
I Used to Be Funny (2023) directed by Ally Pankiw
The Substance (2024) directed by Carolie Fargeat
Drive Away Dolls (2024) directed by Ethan Coen
Wicked (2024) directed by Jon M. Chu