Hello Readers!
As another transformative year in cinema draws to a close, I find myself reflecting on what an extraordinary journey 2024 has been. From the snow-covered streets of Park City during my first Sundance experience to returning to the vibrant energy of Toronto, from celebrating our fantastic Minneapolis-St. Paul International Film Festival to soaking in the cinematic atmosphere at the Chicago Critics Film Festival – this year has been a whirlwind of memorable moments and outstanding films.
Your continued support and engagement have made this website more than just a collection of reviews – it’s become a community where we can freely discuss, debate, and celebrate the art of filmmaking. I’ve already implemented some exciting changes to the website and social media presence, but stay tuned – there’s much more fun on the horizon!
Speaking of celebrations, what a remarkable year for film 2024 has been! As we move into the final months of awards season, I’m genuinely thrilled by the diverse range of films that could receive nominations (and yes, I’m particularly excited about Demi Moore’s powerful performance!).
A quick word about “Best” and “Worst” lists – I actually take pride in the fact that several films in my top 10 didn’t appear on other critics’ lists. After all, consensus can be boring, and our differences in taste are what make film discourse fascinating. The moment any critic with a website or podcast starts positioning themselves as society’s definitive tastemaker, we’re in trouble. Remember: no critic should speak in absolutes. If someone declares “this movie is bad and that’s a fact” or worse, admits “I didn’t see it, but I heard it was terrible” – that’s your cue to question the source and maybe even see it for yourself. Sometimes our favorite films are the ones others despise!
2025 certainly has its work cut out for it movie-wise, but I’ll continue giving you front row seats to honest movie reviews. As always, I look forward to another year of film festivals, discoveries, and sharing these experiences with all of you.
Thank you for your loyalty and for making this community what it is. Here’s to another year of passionate discussions about the movies we love, hate, and everything in between! Continue to tell your friends about The MN Movie Man – where stars are earned, not just counted, and every movie has a story – even the bad ones.
BEST of 2024
#10 ~ Young Woman and the Sea
Some of my earliest movie memories are of Disney’s live-action films—wholesome, handsomely crafted stories about real-life heroism and achievement. By the mid-’90s, these were replaced with gag-filled comedies, but Disney returned to its roots with Young Woman and the Sea, a beautifully told tale of Gertrude Ederle, the first woman to swim the English Channel. Directed by Norwegian Joachim Rønning and starring Brit Daisy Ridley, the film is as American as apple pie, delivering a universally inspiring story. Amelia Warner’s lush score is among the year’s best, and while much of the action takes place in the freezing waters of the Atlantic, the warm glow of nostalgia is ever-present. While 2024 surprisingly offered two other English Channel swimming biopics (Vindication Swim and The Swedish Torpedo), Disney’s effort stood out as the clear winner, a triumphant return to form.
#9 Conclave
This fair-weather Lutheran may not know much about Catholic protocols or the rules of electing a Pope (though I have been to the Vatican!), but I do know a great thriller when I see one. Edward Berger’s adaptation of Robert Harris’s Conclave is a masterclass in restrained tension, turning dialogue-heavy scenes into edge-of-your-seat drama. I caught its International Premiere at TIFF in September, and the sold-out crowd hung on every line, breath, and glance. Ralph Fiennes delivers an impeccable performance, supported by an engaging Isabella Rossellini, whose brief but memorable role adds a welcome spark. The pulse-pounding score by Volker Bertelmann and Berger’s precise direction elevate this PG-rated awards contender, proving that compelling cinema doesn’t need explosions—it just needs excellent storytelling. Seeing Berger, Rossellini, and Bertelmann at the premiere made an already stellar experience unforgettable.
#8 ~ Emilia Pérez & Wicked
2024 gave us two standout musicals that share more than just Oscar buzz—they’ve also impressed audiences and critics alike. Jacques Audiard’s Emilia Pérez tells a powerful story of identity and redemption, overcoming societal hurdles with bold performances from Zoe Saldaña and Karla Sofia Gascón. The Cannes-debuted film has rightfully earned praise, and Gascón’s fearless work as the titular character is unforgettable. On the flip side, Wicked, the long-awaited big-screen adaptation of Broadway’s blockbuster, exceeded sky-high expectations. Director Jon M. Chu’s Part One of the two-part epic is an immersive spectacle that smashed box office records. Cynthia Erivo’s magical vocals were expectedly sublime, but it’s Ariana Grande’s delightfully nuanced turn as Glinda that surprised and delighted. Both Saldaña and Grande are frontrunners for the Supporting Actress Oscar, and while I have my personal favorite, there’s no denying either would be a deserving winner.
#7 Challengers
I’ll never forget the moment I first heard Trent Reznor and Atticus Ross’s electrifying score for Challengers. It was a game-changer, elevating Luca Guadagnino’s steamy love-triangle drama to another level entirely. Set against the high-stakes world of competitive tennis, the film boasts a trio of captivating performances from Mike Faist, Josh O’Connor, and a magnetic Zendaya, each of whom rises to the challenge of Guadagnino’s layered storytelling. While the narrative frequently jumps through time, it never loses the audience, keeping the tension razor-sharp and the stakes impossibly high. These characters are brilliantly flawed—charming, ruthless, and complex—and Guadagnino ensures their every move keeps your pulse racing. From the performances to the score to the visual precision, this film serves an ace every time.
#6 Sing Sing & Daughters
Two of the year’s most important films tackle the broken U.S. penal system but do so with a focus on humanity and hope. Greg Kwedar’s Sing Sing is a narrative feature about the Rehabilitation Through the Arts program at Sing Sing Maximum Security Prison, where incarcerated men stage live theater productions. Featuring Oscar nominees Colman Domingo and Paul Raci alongside former program participants, the film’s authenticity and heart make it unforgettable. I was lucky enough to see it twice with several cast members present, making the experience even more meaningful. Angela Patton and Natalie Rae’s documentary Daughters follows four girls preparing for a special Daddy-Daughter Dance with their incarcerated fathers in Washington, D.C., exploring a fatherhood program aimed at bridging the emotional and physical gaps caused by incarceration. Both films are stunning, empathetic works that emphasize growth and connection over punishment. Must-watches, without question.
#5 Oddity
A midnight horror screening always sounds great in theory, but by 11:45 pm, after a full day of festival films, the temptation to head to bed is real. Thankfully, Oddity rewarded my late-night commitment at the Chicago Critics Film Festival, delivering one of the most bone-chilling experiences of the year. Fresh off its buzz-worthy SXSW debut and Audience Award win, Damian McCarthy’s sophomore feature solidified his place as a modern horror maestro. Oddity excels at crafting a slow-burn terror that lingers in your bones, punctuated by jump scares so genuinely freaky they’ll have you clawing at your armrests. Carolyn Bracken is astonishing as twin sisters, so seamless in her dual performance you may not realize she’s playing both. When one twin dies tragically, the other—a blind medium—uncovers a sinister mystery using a life-sized wooden mannequin at a remote country estate. Spine-tingling, deeply atmospheric, and leagues ahead of its peers (cough Longlegs), Oddity is the midnight movie you’ll never forget
#4 Babes
I haven’t seen a comedy pack a theater like this since before COVID and at the sold-out Chicago Critics Film Festival screening of Babes at the Music Box Theatre, the 750-person audience howled with laughter for two hours straight. Pamela Adlon’s feature directorial debut is a comedic gem, exploring pregnancy, motherhood, and evolving friendships with razor-sharp wit. Starring Michelle Buteau and Ilana Glazer (who co-wrote the script), the film resonates universally while delving into the bittersweet transitions relationships undergo as life moves forward. Glazer’s writing balances specificity and inclusivity, creating moments that are hilariously relatable yet deeply poignant. The chemistry between the leads and Adlon's assured direction elevates this beyond simple comedy into something genuinely special. Babes ranks as one of the all-time great comedies—an instant classic I’ll revisit for years to come.
#3 The Substance
If you haven’t heard of The Substance, I’d love to know what rock you’ve been hiding under. Coralie Fargeat’s scathing body horror masterpiece lit up Cannes and became an unmissable event film that had TIFF’s Midnight Madness audience climbing the walls before it even began. The film is a savage, visceral takedown of societal pressures on women, particularly regarding body image and aging. Margaret Qualley continues her ascent to the A-list, but it’s Demi Moore who delivers the performance of her career – a fearless, physically and emotionally demanding tour de force that makes her the year’s only real Oscar frontrunner. Moore, long undervalued by Hollywood, embraces this role with such brave conviction that it goes far beyond a mere comeback narrative to become something truly extraordinary. Fargeat’s film is grotesque and provocative and isn’t afraid to have a one-sided critical discourse with an industry that rarely plays nice. It’s a bold work of art that grabs you by the solar plexus and doesn’t let go.
#2 Ghostlight
Sad stories and Sundance are a familiar pairing, but nothing could have prepared me for the personal resonance of Ghostlight—a film that immediately cemented itself as the standout of my year. As an actor in a previous life, I’ve experienced firsthand the unique way theater can become a safe space for processing grief and rediscovering connection, and Ghostlight captures that beautifully. Directed by Kelly O’Sullivan and Alex Thompson, this profoundly affecting drama follows a grieving blue-collar worker (Keith Kupferer) who finds solace within a community theater troupe. O’Sullivan’s screenplay masterfully delves into themes of loss and healing, showing how shared creativity can forge new paths forward. Kupferer, joined by his real-life wife and daughter, delivers a performance that feels unshakably genuine, while Dolly DeLeon is unforgettable as a troupe member who gently helps him open up. Watching this film brought me back to the catharsis of those shared creative spaces, making Ghostlight a remarkable cinematic experience and a deeply personal one.
#1 The Brutalist
Experiencing Brady Corbet’s masterwork during an early morning screening in Canada felt like discovering what it must have been like for audiences seeing Lawrence of Arabia or The Godfather for the first time – that rare moment when you know you’re witnessing something truly monumental. This 3.5-hour epic about the cost of chasing the American dream somehow makes its runtime feel insufficient to contain its richness. Adrien Brody, Felicity Jones, and Guy Pearce deliver career-defining performances in a story that examines how we attempt to build new lives while trying to outrun the shadows of our past. Created on a modest budget but achieving something priceless, The Brutalist represents everything that makes cinema essential: ambitious storytelling, visual poetry, and emotional depths that reveal new layers with each viewing. It’s not just the best film of 2024 by a considerable margin – it’s the kind of achievement that reminds us why we need movies in the first place.
Honorable Mentions
WORST of 2024
#10 The Merry Gentlemen
Netflix went 2-for-3 this year with their high(er)-profile holiday films. Hot Frosty was silly fun, and Our Little Secret reminded us why Lindsay Lohan charmed her way to the top of the A-list as a teen. The magic stopped cold, however, with The Merry Gentlemen, proving that not all holiday magic works at the streaming service. This Magic Mike meets let’s save the old theater mess stumbles from start to finish. Chad Michael Murray’s dated haircut isn’t the only thing that’s seen better days in this tale about a struggling bar in the middle of nowhere. Britt Robertson seems lost in her own movie, creating awkward chemistry with everyone she encounters. Even Grease 2 dreamboat Maxwell Caulfield can’t dance his way out of this one. The film’s regressive message to young women – that they can chase their dreams, but only if they don’t overshadow their man’s – is about as merry as a lump of coal.
#9 ~ Kraven the Hunter
Sony’s Marvel Universe went out with a whimper in 2024, unleashing a trifecta of mediocrity. Madame Web started the year as a monster bomb, followed by an easily forgotten Venom 3: The Last Dance in October, before Kraven the Hunter delivered the final death rattle. The latter, delayed and tinkered with more than a box of LEGOs in a pediatrician’s waiting room, proves that no amount of digital lip-syncing and re-editing can salvage hot garbage. Even with Oscar-winning talent on board, it’s impossible to tell if the performances are bad or if they’ve been edited into incomprehensibility. One thing is certain: It’s baffling why studios pump money into “fixing” junk instead of funding original stories for 1/10 of the budget.
#8 ~ Didi
Sean Wang’s coming-of-age film about a Bay Area teenager in 2008 might be collecting accolades, but this Sundance darling is just another tired exploration of teenage boy angst, a greatest hits reel of adolescent immaturity we’ve seen done better elsewhere. While Wang was simultaneously earning an Oscar nomination for his grandmother documentary Nǎi Nai & Wài Pó, his feature debut Didi gives us Chris Wang, a 13-year-old who disrespects women, drops homophobic slurs, and exhibits every cliché of unlearned adolescence. Only Joan Chen’s powerful performance as the long-suffering matriarch provides any redemption. Sometimes audience awards at Sundance say more about the audience than the film.
#7 ~ The 2024 remakes of Road House & Presumed Innocent
Jake Gyllenhaal’s 2024 was a masterclass in how to tarnish your reputation with remakes. His Road House reimagining went straight to Amazon Prime, proving that some Patrick Swayze classics should remain untouched. Director Doug Liman’s uninspired update pairs Jake with disgraced UFC star Conor McGregor in a fight that nobody asked for. Even worse was Apple TV’s Presumed Innocent, which stretched a tight 1990 thriller into an eight-episode slog where great actors compete to see who can deliver the worst performance. Harrison Ford’s original remains untarnished (and no one can beat the ending of the film). It was remarkable to hear people praising the series and subsequently asking them if they had seen the original film or read the book and finding out they didn’t know either existed — which says a lot about how quickly quality work is set aside for regurgitated rehashes.
#6 ~ Don’t Turn Out the Lights
Don’t Turn Out the Lights (formerly Blue Light) might be the year’s most aptly named film – you’ll wish someone had killed the power before shooting began. Director Andy Fickman’s 109-minute exercise in abject boredom follows interchangeable actors investigating mysterious noises outside their broken-down RV. Shot with all the production value of a Target parking lot at midnight, the film’s biggest crime isn’t its nonexistent plot but forcing viewers to endure its worst actors the longest. The performances are so interchangeable it’s hard to root for—or even identify—anyone. Fickman might’ve tried renaming the film to boost its appeal, but a title swap can’t salvage a project this lifeless.
#5 ~ Furiosa: A Mad Max Saga
Furiosa: A Mad Max Saga proves lightning doesn’t always strike twice. George Miller’s prequel to the magnificent Mad Max: Fury Road takes several steps backward by removing both Tom Hardy’s and Charlize Theron’s commanding presence. Chris Hemsworth gives it his all despite wearing a prosthetic nose that looks like a Halloween store afterthought, while his wife inexplicably plays two different roles. The effects disappoint, the energy flags, and the whole enterprise feels like a pale imitation of its predecessor. Not the worst film of the year, but certainly the most disappointing…which is why it’s here.
#4 ~ Back to Black
Back to Black confirms that some stories are better left untold. While Marisa Abela delivers a compelling take on Amy Winehouse, director Sam Taylor-Johnson’s biopic manages to both sanitize and sensationalize the singer’s tragic story. The film’s apparent agenda to absolve Winehouse’s enabling inner circle feels particularly cynical, while the finale’s vague suggestion that her death might not have been accidental borders on character assassination. This 122-minute exploitation piece, a tone-deaf rehash of internet factoids, proves that sometimes the best way to honor an artist’s memory is to let their work speak for itself.
3 ~ Argylle & The Ministry of Ungentlemanly Warfare
Henry Cavill and Oscar-winner Ariana DeBose share the dubious honor of appearing in two of the year’s worst films. Argylle attempts to be a mind-bending spy thriller but ends up as coherent as a ham sandwich in a blender. Apple’s marketing machine couldn’t save this star-studded mess from itself. Their second collaboration, Guy Ritchie’s The Ministry of Ungentlemanly Warfare, turns a fascinating WWII true story into an aggressively dull exercise in style over substance. Even with spies, Nazis, Ian Fleming, and excessive violence, both films manage to be equally unwatchable, squandering their promising concepts and talented actors on lazy, uninspired filmmaking.
#2 ~ The Deliverance
The Deliverance proves that not even Glenn Close can save a bad script. Lee Daniels’ possession horror show casts the legendary actress as a foul-mouthed grandmother in shredded jeans, spouting dialogue that sounds like it was written by a teenager trying to shock their parents. Oscar-nominee Andra Day gets pulled into this mess as Close’s daughter, but no amount of talent (Aunjanue Ellis-Taylor & Mo’Nique also show up briefly) can elevate material this fundamentally broken. Daniels, whose Hollywood goodwill from Precious must surely be depleted by now, clumsily delivers another incomprehensible entry in his growing collection of cringe-worthy misfires. This only place this should have been delivered to was straight to the garbage dump where it belonged.
#1 ~ Lumina
Finally, Lumina. My one-star review from July said it all: this is not just the worst film of 2024 but possibly one of the worst I’ve ever seen. A laughably bad sci-fi thriller with delusions of grandeur, it’s marred by incoherent storytelling, amateurish production values, and an almost comical level of self-importance. The behind-the-scenes drama, including Wikipedia wars and social media attacks on critics, proves more entertaining than anything on screen. If you’re tempted to watch it for the “so-bad-it’s-good” factor, don’t. Offering fewer thrills than driving its namesake Chevy, like the cursed tape in The Ring, once you’ve seen Lumina, you can never unsee it – though you’ll certainly try.
(Dis)Honorable Mentions
SPECIAL MENTIONS
Most Misunderstood
Joker: Folie à Deux
I vividly remember sitting through the uncomfortable finale of 2019’s Joker, surrounded by a preview audience erupting into applause. That chill I felt wasn’t just from the grim conclusion but the realization that people were celebrating it. Despite my reservations about the film, Joaquin Phoenix’s Oscar-winning performance was undeniable. So when a sequel was announced—this time a musical featuring Lady Gaga as Harley Quinn—I was skeptical, to say the least. The much-anticipated Joker: Folie à Deux became a lightning rod for disappointment, baffling fans and flopping at the box office. Yet, I found its bold stylistic risks and introspective tone to be a thoughtful counterpoint to the first film’s divisive message. Sure, it challenged the energy drawn from its predecessor’s discourse, but that’s the point. I likened it to the Grease 2 of sequels: a misunderstood disaster that time will ultimately vindicate
The MN Movie Man’s Humble Pie Award of 2024
(awarded to the film that looked like a dud but turned out to be a winner)
The First Omen
The First Omen had every reason to fail. A prequel to a 1976 horror classic, arriving decades later in an era fatigued by origin stories, seemed destined for the bargain bin. Yet director Arkasha Stevenson's vision went far beyond its franchise roots, crafting a legitimately terrifying period piece set in 1971 Rome. Nell Tiger Free delivers 2024's standout performance as a novice nun whose crisis of faith leads her through a labyrinth of sinister clergy, haunted children, and demonic conspiracies. Rather than merely connecting dots to Richard Donner's original, Stevenson creates a standalone masterpiece of religious horror that earns its place through atmospheric dread and psychological complexity. .
Movie You Probably Haven’t Seen but Should
Scrambled
One of the joys of my job is sifting through a steady stream of films sent for review. Scrambled represents the kind of indie gem that could have easily slipped through the cracks. After multiple nudges, I finally gave writer-director-star Leah McKendrick’s sharp, heartfelt comedy a shot—and I’m so glad I did. What could have been a simple reproductive comedy becomes a nuanced exploration of modern relationships, personal growth, and the complicated emotions surrounding parenthood. McKendrick’s willingness to balance vulnerability with humor creates authentic moments that resonate beyond the laughs, while SNL’s Ego Nwodim delivers scene-stealing supporting work. Featuring a perfectly chosen needle-drop of Chappell Roan’s “Pink Pony Club,” for its pure, euphorically joyful finale, it’s one of the happiest discoveries of 2024 and one I’ve already recommended to everyone I know.
Maria Dizzia was great in…
My Old Ass
The introduction of this category comes from recognizing Maria Dizzia‘s remarkable ability to elevate every project she joins. While 2024 saw her bring characteristic authenticity to several roles, including a brief but memorable turn in Christmas Eve in Miller’s Point, her standout arrives in Megan Park’s My Old Ass. This surreal coming-of-age story about a teen encountering her future self initially positions Dizzia’s mother character on the periphery. However, Park’s clever storytelling reveals why Dizzia was the perfect choice – her ability to appear deceptively straightforward before unveiling emotional complexity becomes crucial to the film’s affecting final act. As we await her inevitable excellent work in 2025, this performance perfectly demonstrates why it’s time we started keeping score of Dizzia’s contributions to contemporary cinema.
Also Worth Checking Out
Peak Season
While it may double as a promotional video for Wyoming tourism with its breathtaking vistas of the Tetons and idyllic summer setting, the indie gem Peak Season is an even better showcase for how to handle a potentially tired premise with grace. The story of a drifting couple shaken by a chance encounter that offers one partner the adventure they’re missing is a tale as old as time. Yet Steven Kanter and Henry Loevner’s tender drama breathes new life into it, avoiding cliched conflicts and offering a satisfying, emotionally grounded resolution. Drawing on the rare magic of classics like Before Sunrise and Lost in Translation, the film captures the intricacies of relationships teetering on the edge with themes of doubt and self-discovery. Leads Claudia Restrepo and Derrik DeBlasis deliver beautifully authentic performances, anchoring a film that blends a well-worn formula with fresh emotional resonance. It’s a golden throwback to romantic cinema at its best.
Fly Me to the Moon
I’ll admit it: a romantic comedy starring Channing Tatum and Scarlett Johansson, set during the moon landing, should have been an instant sell for me. And yet, the trailers made Fly Me to the Moon feel like another Apple misfire destined to sputter into obscurity. To my delight, this Greg Berlanti-directed bauble turned out to be a sharp, snappy throwback to the kind of playful romances Rock Hudson and Doris Day perfected but never quite made. Tatum and Johansson share palpable chemistry that balances romance with mutual respect and equality, elevating the material to something special. The supporting cast, led by the hilarious Jim Rash, adds flair without stealing focus from the stars. Though the film’s modest box office suggests wholesome romantic comedies are out of vogue, it stands as a sparkling reminder of how satisfying they can still be when done right.
Infested / Sting
Imagine looking down at your hand and seeing a small, harmless spider. What do you do? If your reaction is anything less than calmly brushing it off, the double feature of Sting and Infested (Vermines) will likely send you straight to the fetal position. Both films, though from different continents, share striking similarities: decrepit apartment settings, excellent practical effects, and an uncanny ability to make your skin crawl. Sting leans into its creature-feature roots, delivering a campy, fun throwback that becomes more enjoyable the sillier it gets. On the other hand, Infested ratchets up the tension with every new wave of arachnid terror, creating sequences so viscerally frightening that even I couldn’t suppress a startled yelp. Whether you prefer camp or high-stakes horror, both films offer nightmare fuel for anyone even slightly arachnophobic. Just keep a can of bug spray handy—you’ll need it.
The World According to Allee Willis
In an era where most documentaries focus on revisiting well-known figures or events, the ones that resonate most with me are those that introduce entirely new subjects. The World According to Allee Willis is one of those rare gems. Before watching this captivating film, I knew the songs, musicians, and TV shows Allee Willis contributed to, but I had no idea about the fascinating artist behind it all. This documentary dives into Willis’s weird and wonderful world, chronicling her triumphs and heartbreaks with humor, insight, and poignancy. Featuring interviews with some of the biggest names in music, the film paints a picture of a beloved, wildly creative figure whose contributions were as groundbreaking as they were eclectic. It’s bittersweet that Willis isn’t here to witness the new acclaim she deserves, but this film is a beautiful reminder to celebrate artists while we still can
GRAND TOTALS
Click HERE for a full list of films seen in 2024
Total Movies Seen in the Theater: 194
Total Movies Seen at Home: 382
Grand Total for 2024 (not counting films seen multiple times): 552