X-Press Magazine’s Top Films of 2024

Despite the gloominess of the real world surrounding cinema, with the aftermath of last year’s Hollywood strikes and the uncertainty of AI’s impact on this art form, the films themselves actually seemed to present a slightly sunnier outlook on our world. Even in a few of the dark and violent films on this list, there was still a hopeful beacon of love, a sign of glowing optimism in the darkness of the pessimism. And even if the films didn’t exactly have this outlook, they were at least designed to be as purely fun and relentlessly enjoyable as possible. 

X-Press Magazine film reviewers DAVID O’CONNELL and DAVID MORGAN-BROWN take you through eight of the best films 2024 had to offer. We’ve got the second part of a sci-fi extravaganza for the ages, a sexy, cool crime flick, a dizzyingly brilliant drama-comedy about young love gone wrong, and we’ve got one film that’s bound to be a controversial choice. 

Break open the popcorn once again for X-Press Magazine’s Best Films of the Year.

Dune: Part Two

Villeneuve’s continuation of Herbert’s magnum opus space opera brings the themes of imperialism and religious control to the forefront. Perfectly realised science fiction that is as reliant on character development and political machinations as it is on special effects to grip its audience.

DAVID O’CONNELL

Love Lies Bleeding

A riotous and devilishly stylish crime film, anchored by an admittedly only okay performance from Kristen Stewart, but a star-making performance from co-star and lesbian lover Katy O’Brian, who gives the film most of its deeply emotional and yearning open-heartedness. This is a cool film with many fun ingredients, though it curiously feels simultaneously more human and more misanthropic as it gets to its conclusion. Following up from Saint Maud, Rose Glass is emerging as one of the more promising new filmmakers today.

DAVID MORGAN-BROWN

Late Night With the Devil 

A clever idea, well executed, Late Night With the Devil plunges us into the world of ‘70s live talk shows and gives us a horror twist. This faux retro gem gives us plenty of behind-the-scenes drama and slowly ratcheted tension before unleashing its demonic guest star. Also, special kudos goes to Ingrid Torelli for showing us what a Brady would be like if she was possessed by Satan.

DAVID O’CONNELL

The Sweet East

Very likely the kookiest film of the year, this very underrated indie gem is fairly surreal in how it presents its Alice in Wonderland-like tale. Each vignette is as interesting as the last, not to mention so culturally observant in such unique ways. But by the film’s baffling conclusion that can only make sense to itself, there’s really plenty to be admired about how cheeky, experimental, and fun this film can be.

DAVID MORGAN-BROWN

The Wild Robot

Stunningly rendered with a painterly eye, The Wild Robot might actually mark the point where DreamWorks surpasses Pixar. Bewitchingly beautiful, wryly comedic, and emotionally resonant, this is truly an animated work of art.

DAVID O’CONNELL

Joker: Folie À Deux

That’s right, here’s the much maligned box office failure that was panned by fans and critics alike on this list, though it had its admirers in Quentin Tarantino, John Waters, Hideo Kojima, and this critic. This sequel is bold for taking a chance with how different it is from its predecessor, with its introduction of musical sequences that present the fantasy these two lovers retreat into. It’s a worthy continuation of the immense character that was set up in the first film, but it doesn’t dress him up as a grandiose and cunning criminal mastermind but instead as a desperate and pained man who tries to find solace in love.

DAVID MORGAN-BROWN

Anora

The new film from Sean Baker is a wild ride. It sets up its story of ‘love’ in a mannered enough way, before becoming more unruly in its depiction of this seemingly never-ending argument between a young stripper and the workers of her very wealthy boyfriend. The performances from all are stupendous, making these arguments feel like they’re truly occurring in front of us, and we don’t know whether to be terrified of their intensity or laugh at it.

DAVID MORGAN-BROWN

The Substance 

A crazy body horror with a jet-black sense of humour and a razor-sharp satire on body image, The Substance is a wild ride from beginning to end. Anchored by a career-topping performance by Demi Moore, director Coralie Fargeat makes Cronenbergian horror look gorgeous in this unforgettable film.

DAVID O’CONNELL