Unfortunately, for various reasons I was not able to see anywhere near as many films as I would have liked to justify (in my view) a full review of the year, but I saw enough (including most of the films to frequent many of the ‘best of the year’ lists) to justify (I think) still posting my personal top 10 of the films I did see, just to serve as a recommendation for anyone not to see any of those that get a mention. Yes, I probably have officially missed the ‘window’ to post a top 10 of 2024, but for what it is worth, here it is:

Firstly, noteworthy mentions of films I did see and would recommend that did not quite make the top 10: La Chimera, My Favourite Cake, Dune 2, Kidnapped, Crossing, Evil Does Not Exist, Ama Gloria, Transformers One, Kinds of Kindness, The Settlers, Robot Dreams, The Fall Guy, Inside Out 2, Longlegs, Hoard

A few dishonourable mentions of a few films I had the misfortune to see and for anyone yet to see them I would advise to well and truly avoid: Borderlands, Madame Web, The Crow, Bermondsey Tales: Fall of the Roman Empire, Winnie-the-Pooh: Blood and Honey II, Attack of the Meth Gator

10. Red Rooms

This stunning Canadian psychological thriller may rely on a few narrative contrivances, but it is a strikingly original film that is not afraid to go to some extremely dark and disturbing places. Juliette Gariépy has a perfect cold eyed and fixated stare as fashion model Kelly-Anne, who becomes increasingly involved and obsessed with a high-profile trial of an accused serial killer. The tension and levels of discomfort become almost unbearable at times as Kelly-Anne’s increasing obsession threatens to destroy her entire life and career, but like the protagonist, we the viewer cannot turn back, and it produces an extremely satisfying (but tonally perfect) conclusion in another example of a story that only the visual medium of film can depict in such a unique way.

9. Late Night with the Devil

I am always very cynical about the horror genre and tend to find it funny and entertaining, but cannot take the films seriously, but yet Late Night with the Devil may well sit somewhere in that genre, but thanks to an exceptional leading performance from David Dastalmachian, a genuinely enthralling plot and well executed concept, it is a film that grips tightly and refuses to let go until the very end, with plenty of surprises along the way. Dastalmachion is note-perfect as the host of a 1970s TV chat show trying to regain plummeting ratings and viewing figures with a Halloween special live broadcast that produces horrific results for all involved.

8. Sometimes I think About Dying

Less is so often more in a visual medium like film, and while its title is perhaps less than subtle, the extremely subtle and understated tone of how Sometimes I Think About Dying tells its story of a highly socially awkward office worker called Fran (Daisy Ridley) who happens to often think about different ways of dying to escape the mundanity of real life actually produces an unforgettably powerful film that genuinely haunts our subconscious long after it has finished. Whether it is capturing the farcically mundane conversations of her office co-workers or Fran’s complete social awkwardness that verges on defensive and antagonistic aggression, when asked personal questions, it is a painfully relatable and unforgettable film. It is all summed perfectly in the film’s final scene this. Like the rest of the film, slightly surreal, but yet still understated in almost emotionally devastating way.

7. The Beast

It is certainly one of the more unconventional sci-fi films of recent years, and while The Beast is undoubtedly a challenge to watch, but provides great rewards as it explores a plethora of themes. Set in a future where artificial intelligence is in control and the notion of human emotions are perceived as a threat, we follow the love story of a couple (Léa Seydoux and George MacKay) set across various time periods. The narrative approach by director Bertrand Bonello is certainly audacious and uncompromising, but those willing to go with The Beast for its lengthy running time will be infinitely rewarded not only by its rich visuals, but also a unique experience that is surreal, unsettling and thought provoking.

6. Monster

Japanese master filmmaker Hirokazu Kore-eda is always at his best when telling stories from the point of view of young characters, and while Monster takes on some big emotional themse, it skillfully keeps everything understated and grounded in reality. Monster is a deeply complex and emotionally rewarding story that examines the very differing perspectives of single events that have serious knock-on effects to all characters involved. After a young mother notices dramatic changes in her son’s behaviour, she accuses his teacher of physically abusing him, however by telling us the same story from three perspectives, Kore-eda skilfully shows us that these seemingly simple, but potentially life changing moments can be extremely complex and it is very easy to draw inaccurate conclusions that lead to potentially life-changing consequences. Life is always delicately balanced, and it takes very little to upset that equilibrium, and once again Kor-eda explores these ideas with aplomb, and Monster is captivating until its emotionally satisfying conclusion.

5. Poor Things

A return to form for Yorgo Linthamos that is brilliant and of course, completely bonkers, but also has enough heart and soul to keep it all together; the story of a young woman (Emma Stone) brought back to life by an unorthodox scientist (Willem Dafoe) but with the brain of a foetus is never anything less than completely enthralling due to the inventive visuals, stunning performances and the surprisingly serious themes that can be found within the narrative as our mentally immature (but physically mature) protagonist learns about the world. There is certainly a current accusation that so many films lack any real genuine sense of originality or creativity (and many do), but Poor Things is proof that there is plenty of originality and creativity about – and it is an unforgettable journey that we share with its main character!

4. About Dry Grasses

Turkish master auteur Nuri Bilge Ceylan’s latest examination of the deep complications of the human condition may very well be his most complex yet; the running time of 3 hours and 17 minutes may well put many off, but it is necessary for us to truly understand and empathise with the film’s protagonist and some of the often-infuriating decisions he makes. The protagonist, Samet (Denis Celiloglu) is a disillusioned teacher living an unfulfilling life in a remote Turkish village, whose hopes of finally being transferred to a school in Istanbul are put in jeopardy when he is accused of inappropriate behaviour to a student. Samet lives with a fellow teacher (Musab Ekici), and he also strikes a friendship with the new teacher at the school (Merve Dizdar), both younger and more idealistic than Samet. However, instead of doing something about his own situation, Samet seems to spend all of his efforts dragging those around him down to his level of unhappiness. Unfortunately, his desperate need for attention and appreciation leads to him making some extremely questionable decisions at work. However, in isolation we can easily label such decisions, but that is where Ceylan’s films examine them with such skill; due to the time we spend with our protagonist, we understand the reasons for these decisions, even if we are completely against them. About Dry Grasses is at times extremely infuriating due to the some of the things the protagonist does, but we do understand why, as it is a film that is not frightened to confront us with the complexities, inconsistencies and often infuriating traits that we all have.

3. The Holdovers

Though it was released and marketed (perhaps very cynically) with the sole intention of awards season in mind, hopefully in time Alexander Payne’s stunning bittersweet comedy will be thought of as one of the great Christmas films – as it simply is! The story of a small group left behind at a school over the festive period is a real return to form for Alexander Payne; not only is The Holdovers visually stunning due to being filmed in a suitably grainy style that perfectly suits its melancholic and bittersweet tone, but it manages to flawlessly depict with a particular rawness so many of the dominating emotions of the festive period that most films set around this time seem to shy away from. It is certainly melancholic and bittersweet, but also contains very definable and relatable characters, and manages to be emotionally satisfying, yet tonally consistent – unlike most Christmas films!

2. The Zone of Interest

Jonathan Glazer’s unnerving masterpiece forces us to keep watching even though we really do not want to; the story of the commandant of Auschwitz and his family living a ‘normal’ family life in their grand house right next to the camp while the screams can be heard, and the bellowing smoke can be sign just over the fence from the ‘tranquil’ gardens is of course horrific. While the family members go about their lives with seeming normality, even the family pets or the plants in the garden seem to be aware of the horrors that are merely feet away. This is uncompromising and confrontational filmmaking at its very best.

1. All of Us Strangers

Once seen, never forgotten; Andrew Haigh’s often heartbreaking story of a lonely screenwriter (Andrew Scott) who starts a relationship with his neighbour (Paul Mescal) and is able to visit his long-dead parents at his family home skilfully manages to cover the entire spectrum of human emotion without ever being excessively schmaltzy. The unique and unconventional way Haigh depicts and explores these themes makes for a film that is certainly at times very heavy viewing, but infinitely rewarding that weighs heavy in the mind for a very long time after it has finished – this is cinema at its most raw and powerful, and I have no doubt that  All of Us Strangers will prove to be regarded as a timeless masterpiece.