Best movies of 2024: ‘Anora’, ‘Smile 2’, ‘Dune: Part Two’

I’m not scared to stick up for this horror sequel as a perfectly executed delight. Don’t hold back if you’ve yet to see the first “Smile,” released in 2022. Filmmaker Parker Finn’s essentially standalone entry takes off at warp speed with an athletic tracking shot of a bloodbath. Immediately, we know we’re at the mercy of a new genre whiz. The technicals are outstanding, but the film’s masterstroke is that its victim, Skye Riley (Naomi Scott), is a self-destructive, micromanaged pop star with several futures hinging on her high-pressure comeback tour. She’d be compelling even if she wasn’t possessed by a contagious demon. From the choreography to the costumes and subversive jump scares, there’s so much moxie in every scene you just have to, well, grin.

(“Smile 2” is available on multiple platforms.)

Of course, there’s too much great stuff to be contained in a mere top 10. Behold! Nine honorable mentions for your viewing delight.

“The Brutalist”
An American epic from an underdog artist’s perspective. I suspect more than a few filmmakers will see themselves in this showdown between creative genius and cold, hard cash.

“The People’s Joker”
An intensely personal vision with crowd-sourced special effects. Director Vera Drew claims Gotham City for herself and leaves it to us (and WB’s lawyers) to decide if she’s a villain or an underground hero.

“Janet Planet”
Watching Annie Baker’s mesmerizing debut, I could have sworn she’d crawled into my brain to smear my own memories on screen. The magic of the film is that so many others felt the same.

“Kill”
A train-bound thriller hurtling from India, this revenge flick lives up to its title and then some.

“Conclave”
Not to shortchange Ralph Fiennes’ tormented performance, but I’m ecstatic that director Edward Berger thought to include shots of him ripping into the papal dormitory’s pre-packaged toiletries.

“Red Rooms”
This one’s for the freaks who want a fresh French Canadian spin on Brian DePalma-style trash. A model-slash-hacker (yes, really) is fixated on a crime so horrible it can’t be shown on screen, but it’s her conspiratorial sidekick, played with bug-eyed zeal by Laurie Babin, whom you just have to see.

“Flow”
A cat, a dog and a capybara walk into a boat and are forced to make do as a society. It’s a wordless wonder about uncertainty and devastation.

“Música”
Howard Hawks claimed a great movie is three good scenes and no bad ones. Well, Rudy Mancuso’s innovative debut has three of the best scenes of the year (and puppets — can’t forget the puppets).

“Caligula: The Ultimate Cut”
The original 1979 porno was a blot on the careers of Malcolm McDowell and Helen Mirren. This drastic recutting strips away the skin flick and uncovers a masterpiece.

I’m not scared to stick up for this horror sequel as a perfectly executed delight. Don’t hold back if you’ve yet to see the first “Smile,” released in 2022. Filmmaker Parker Finn’s essentially standalone entry takes off at warp speed with an athletic tracking shot of a bloodbath. Immediately, we know we’re at the mercy of a new genre whiz. The technicals are outstanding, but the film’s masterstroke is that its victim, Skye Riley (Naomi Scott), is a self-destructive, micromanaged pop star with several futures hinging on her high-pressure comeback tour. She’d be compelling even if she wasn’t possessed by a contagious demon. From the choreography to the costumes and subversive jump scares, there’s so much moxie in every scene you just have to, well, grin.

(“Smile 2” is available on multiple platforms.)

Of course, there’s too much great stuff to be contained in a mere top 10. Behold! Nine honorable mentions for your viewing delight.

“The Brutalist”
An American epic from an underdog artist’s perspective. I suspect more than a few filmmakers will see themselves in this showdown between creative genius and cold, hard cash.

“The People’s Joker”
An intensely personal vision with crowd-sourced special effects. Director Vera Drew claims Gotham City for herself and leaves it to us (and WB’s lawyers) to decide if she’s a villain or an underground hero.

“Janet Planet”
Watching Annie Baker’s mesmerizing debut, I could have sworn she’d crawled into my brain to smear my own memories on screen. The magic of the film is that so many others felt the same.

“Kill”
A train-bound thriller hurtling from India, this revenge flick lives up to its title and then some.

“Conclave”
Not to shortchange Ralph Fiennes’ tormented performance, but I’m ecstatic that director Edward Berger thought to include shots of him ripping into the papal dormitory’s pre-packaged toiletries.

“Red Rooms”
This one’s for the freaks who want a fresh French Canadian spin on Brian DePalma-style trash. A model-slash-hacker (yes, really) is fixated on a crime so horrible it can’t be shown on screen, but it’s her conspiratorial sidekick, played with bug-eyed zeal by Laurie Babin, whom you just have to see.

“Flow”
A cat, a dog and a capybara walk into a boat and are forced to make do as a society. It’s a wordless wonder about uncertainty and devastation.

“Música”
Howard Hawks claimed a great movie is three good scenes and no bad ones. Well, Rudy Mancuso’s innovative debut has three of the best scenes of the year (and puppets — can’t forget the puppets).

“Caligula: The Ultimate Cut”
The original 1979 porno was a blot on the careers of Malcolm McDowell and Helen Mirren. This drastic recutting strips away the skin flick and uncovers a masterpiece.

I’m not scared to stick up for this horror sequel as a perfectly executed delight. Don’t hold back if you’ve yet to see the first “Smile,” released in 2022. Filmmaker Parker Finn’s essentially standalone entry takes off at warp speed with an athletic tracking shot of a bloodbath. Immediately, we know we’re at the mercy of a new genre whiz. The technicals are outstanding, but the film’s masterstroke is that its victim, Skye Riley (Naomi Scott), is a self-destructive, micromanaged pop star with several futures hinging on her high-pressure comeback tour. She’d be compelling even if she wasn’t possessed by a contagious demon. From the choreography to the costumes and subversive jump scares, there’s so much moxie in every scene you just have to, well, grin.

(“Smile 2” is available on multiple platforms.)

Of course, there’s too much great stuff to be contained in a mere top 10. Behold! Nine honorable mentions for your viewing delight.

“The Brutalist”
An American epic from an underdog artist’s perspective. I suspect more than a few filmmakers will see themselves in this showdown between creative genius and cold, hard cash.

“The People’s Joker”
An intensely personal vision with crowd-sourced special effects. Director Vera Drew claims Gotham City for herself and leaves it to us (and WB’s lawyers) to decide if she’s a villain or an underground hero.

“Janet Planet”
Watching Annie Baker’s mesmerizing debut, I could have sworn she’d crawled into my brain to smear my own memories on screen. The magic of the film is that so many others felt the same.

“Kill”
A train-bound thriller hurtling from India, this revenge flick lives up to its title and then some.

“Conclave”
Not to shortchange Ralph Fiennes’ tormented performance, but I’m ecstatic that director Edward Berger thought to include shots of him ripping into the papal dormitory’s pre-packaged toiletries.

“Red Rooms”
This one’s for the freaks who want a fresh French Canadian spin on Brian DePalma-style trash. A model-slash-hacker (yes, really) is fixated on a crime so horrible it can’t be shown on screen, but it’s her conspiratorial sidekick, played with bug-eyed zeal by Laurie Babin, whom you just have to see.

“Flow”
A cat, a dog and a capybara walk into a boat and are forced to make do as a society. It’s a wordless wonder about uncertainty and devastation.

“Música”
Howard Hawks claimed a great movie is three good scenes and no bad ones. Well, Rudy Mancuso’s innovative debut has three of the best scenes of the year (and puppets — can’t forget the puppets).

“Caligula: The Ultimate Cut”
The original 1979 porno was a blot on the careers of Malcolm McDowell and Helen Mirren. This drastic recutting strips away the skin flick and uncovers a masterpiece.

I’m not scared to stick up for this horror sequel as a perfectly executed delight. Don’t hold back if you’ve yet to see the first “Smile,” released in 2022. Filmmaker Parker Finn’s essentially standalone entry takes off at warp speed with an athletic tracking shot of a bloodbath. Immediately, we know we’re at the mercy of a new genre whiz. The technicals are outstanding, but the film’s masterstroke is that its victim, Skye Riley (Naomi Scott), is a self-destructive, micromanaged pop star with several futures hinging on her high-pressure comeback tour. She’d be compelling even if she wasn’t possessed by a contagious demon. From the choreography to the costumes and subversive jump scares, there’s so much moxie in every scene you just have to, well, grin.

(“Smile 2” is available on multiple platforms.)

Of course, there’s too much great stuff to be contained in a mere top 10. Behold! Nine honorable mentions for your viewing delight.

“The Brutalist”
An American epic from an underdog artist’s perspective. I suspect more than a few filmmakers will see themselves in this showdown between creative genius and cold, hard cash.

“The People’s Joker”
An intensely personal vision with crowd-sourced special effects. Director Vera Drew claims Gotham City for herself and leaves it to us (and WB’s lawyers) to decide if she’s a villain or an underground hero.

“Janet Planet”
Watching Annie Baker’s mesmerizing debut, I could have sworn she’d crawled into my brain to smear my own memories on screen. The magic of the film is that so many others felt the same.

“Kill”
A train-bound thriller hurtling from India, this revenge flick lives up to its title and then some.

“Conclave”
Not to shortchange Ralph Fiennes’ tormented performance, but I’m ecstatic that director Edward Berger thought to include shots of him ripping into the papal dormitory’s pre-packaged toiletries.

“Red Rooms”
This one’s for the freaks who want a fresh French Canadian spin on Brian DePalma-style trash. A model-slash-hacker (yes, really) is fixated on a crime so horrible it can’t be shown on screen, but it’s her conspiratorial sidekick, played with bug-eyed zeal by Laurie Babin, whom you just have to see.

“Flow”
A cat, a dog and a capybara walk into a boat and are forced to make do as a society. It’s a wordless wonder about uncertainty and devastation.

“Música”
Howard Hawks claimed a great movie is three good scenes and no bad ones. Well, Rudy Mancuso’s innovative debut has three of the best scenes of the year (and puppets — can’t forget the puppets).

“Caligula: The Ultimate Cut”
The original 1979 porno was a blot on the careers of Malcolm McDowell and Helen Mirren. This drastic recutting strips away the skin flick and uncovers a masterpiece.

I’m not scared to stick up for this horror sequel as a perfectly executed delight. Don’t hold back if you’ve yet to see the first “Smile,” released in 2022. Filmmaker Parker Finn’s essentially standalone entry takes off at warp speed with an athletic tracking shot of a bloodbath. Immediately, we know we’re at the mercy of a new genre whiz. The technicals are outstanding, but the film’s masterstroke is that its victim, Skye Riley (Naomi Scott), is a self-destructive, micromanaged pop star with several futures hinging on her high-pressure comeback tour. She’d be compelling even if she wasn’t possessed by a contagious demon. From the choreography to the costumes and subversive jump scares, there’s so much moxie in every scene you just have to, well, grin.

(“Smile 2” is available on multiple platforms.)

Of course, there’s too much great stuff to be contained in a mere top 10. Behold! Nine honorable mentions for your viewing delight.

“The Brutalist”
An American epic from an underdog artist’s perspective. I suspect more than a few filmmakers will see themselves in this showdown between creative genius and cold, hard cash.

“The People’s Joker”
An intensely personal vision with crowd-sourced special effects. Director Vera Drew claims Gotham City for herself and leaves it to us (and WB’s lawyers) to decide if she’s a villain or an underground hero.

“Janet Planet”
Watching Annie Baker’s mesmerizing debut, I could have sworn she’d crawled into my brain to smear my own memories on screen. The magic of the film is that so many others felt the same.

“Kill”
A train-bound thriller hurtling from India, this revenge flick lives up to its title and then some.

“Conclave”
Not to shortchange Ralph Fiennes’ tormented performance, but I’m ecstatic that director Edward Berger thought to include shots of him ripping into the papal dormitory’s pre-packaged toiletries.

“Red Rooms”
This one’s for the freaks who want a fresh French Canadian spin on Brian DePalma-style trash. A model-slash-hacker (yes, really) is fixated on a crime so horrible it can’t be shown on screen, but it’s her conspiratorial sidekick, played with bug-eyed zeal by Laurie Babin, whom you just have to see.

“Flow”
A cat, a dog and a capybara walk into a boat and are forced to make do as a society. It’s a wordless wonder about uncertainty and devastation.

“Música”
Howard Hawks claimed a great movie is three good scenes and no bad ones. Well, Rudy Mancuso’s innovative debut has three of the best scenes of the year (and puppets — can’t forget the puppets).

“Caligula: The Ultimate Cut”
The original 1979 porno was a blot on the careers of Malcolm McDowell and Helen Mirren. This drastic recutting strips away the skin flick and uncovers a masterpiece.

I’m not scared to stick up for this horror sequel as a perfectly executed delight. Don’t hold back if you’ve yet to see the first “Smile,” released in 2022. Filmmaker Parker Finn’s essentially standalone entry takes off at warp speed with an athletic tracking shot of a bloodbath. Immediately, we know we’re at the mercy of a new genre whiz. The technicals are outstanding, but the film’s masterstroke is that its victim, Skye Riley (Naomi Scott), is a self-destructive, micromanaged pop star with several futures hinging on her high-pressure comeback tour. She’d be compelling even if she wasn’t possessed by a contagious demon. From the choreography to the costumes and subversive jump scares, there’s so much moxie in every scene you just have to, well, grin.

(“Smile 2” is available on multiple platforms.)

Of course, there’s too much great stuff to be contained in a mere top 10. Behold! Nine honorable mentions for your viewing delight.

“The Brutalist”
An American epic from an underdog artist’s perspective. I suspect more than a few filmmakers will see themselves in this showdown between creative genius and cold, hard cash.

“The People’s Joker”
An intensely personal vision with crowd-sourced special effects. Director Vera Drew claims Gotham City for herself and leaves it to us (and WB’s lawyers) to decide if she’s a villain or an underground hero.

“Janet Planet”
Watching Annie Baker’s mesmerizing debut, I could have sworn she’d crawled into my brain to smear my own memories on screen. The magic of the film is that so many others felt the same.

“Kill”
A train-bound thriller hurtling from India, this revenge flick lives up to its title and then some.

“Conclave”
Not to shortchange Ralph Fiennes’ tormented performance, but I’m ecstatic that director Edward Berger thought to include shots of him ripping into the papal dormitory’s pre-packaged toiletries.

“Red Rooms”
This one’s for the freaks who want a fresh French Canadian spin on Brian DePalma-style trash. A model-slash-hacker (yes, really) is fixated on a crime so horrible it can’t be shown on screen, but it’s her conspiratorial sidekick, played with bug-eyed zeal by Laurie Babin, whom you just have to see.

“Flow”
A cat, a dog and a capybara walk into a boat and are forced to make do as a society. It’s a wordless wonder about uncertainty and devastation.

“Música”
Howard Hawks claimed a great movie is three good scenes and no bad ones. Well, Rudy Mancuso’s innovative debut has three of the best scenes of the year (and puppets — can’t forget the puppets).

“Caligula: The Ultimate Cut”
The original 1979 porno was a blot on the careers of Malcolm McDowell and Helen Mirren. This drastic recutting strips away the skin flick and uncovers a masterpiece.

I’m not scared to stick up for this horror sequel as a perfectly executed delight. Don’t hold back if you’ve yet to see the first “Smile,” released in 2022. Filmmaker Parker Finn’s essentially standalone entry takes off at warp speed with an athletic tracking shot of a bloodbath. Immediately, we know we’re at the mercy of a new genre whiz. The technicals are outstanding, but the film’s masterstroke is that its victim, Skye Riley (Naomi Scott), is a self-destructive, micromanaged pop star with several futures hinging on her high-pressure comeback tour. She’d be compelling even if she wasn’t possessed by a contagious demon. From the choreography to the costumes and subversive jump scares, there’s so much moxie in every scene you just have to, well, grin.

(“Smile 2” is available on multiple platforms.)

Of course, there’s too much great stuff to be contained in a mere top 10. Behold! Nine honorable mentions for your viewing delight.

“The Brutalist”
An American epic from an underdog artist’s perspective. I suspect more than a few filmmakers will see themselves in this showdown between creative genius and cold, hard cash.

“The People’s Joker”
An intensely personal vision with crowd-sourced special effects. Director Vera Drew claims Gotham City for herself and leaves it to us (and WB’s lawyers) to decide if she’s a villain or an underground hero.

“Janet Planet”
Watching Annie Baker’s mesmerizing debut, I could have sworn she’d crawled into my brain to smear my own memories on screen. The magic of the film is that so many others felt the same.

“Kill”
A train-bound thriller hurtling from India, this revenge flick lives up to its title and then some.

“Conclave”
Not to shortchange Ralph Fiennes’ tormented performance, but I’m ecstatic that director Edward Berger thought to include shots of him ripping into the papal dormitory’s pre-packaged toiletries.

“Red Rooms”
This one’s for the freaks who want a fresh French Canadian spin on Brian DePalma-style trash. A model-slash-hacker (yes, really) is fixated on a crime so horrible it can’t be shown on screen, but it’s her conspiratorial sidekick, played with bug-eyed zeal by Laurie Babin, whom you just have to see.

“Flow”
A cat, a dog and a capybara walk into a boat and are forced to make do as a society. It’s a wordless wonder about uncertainty and devastation.

“Música”
Howard Hawks claimed a great movie is three good scenes and no bad ones. Well, Rudy Mancuso’s innovative debut has three of the best scenes of the year (and puppets — can’t forget the puppets).

“Caligula: The Ultimate Cut”
The original 1979 porno was a blot on the careers of Malcolm McDowell and Helen Mirren. This drastic recutting strips away the skin flick and uncovers a masterpiece.

I’m not scared to stick up for this horror sequel as a perfectly executed delight. Don’t hold back if you’ve yet to see the first “Smile,” released in 2022. Filmmaker Parker Finn’s essentially standalone entry takes off at warp speed with an athletic tracking shot of a bloodbath. Immediately, we know we’re at the mercy of a new genre whiz. The technicals are outstanding, but the film’s masterstroke is that its victim, Skye Riley (Naomi Scott), is a self-destructive, micromanaged pop star with several futures hinging on her high-pressure comeback tour. She’d be compelling even if she wasn’t possessed by a contagious demon. From the choreography to the costumes and subversive jump scares, there’s so much moxie in every scene you just have to, well, grin.

(“Smile 2” is available on multiple platforms.)

Of course, there’s too much great stuff to be contained in a mere top 10. Behold! Nine honorable mentions for your viewing delight.

“The Brutalist”
An American epic from an underdog artist’s perspective. I suspect more than a few filmmakers will see themselves in this showdown between creative genius and cold, hard cash.

“The People’s Joker”
An intensely personal vision with crowd-sourced special effects. Director Vera Drew claims Gotham City for herself and leaves it to us (and WB’s lawyers) to decide if she’s a villain or an underground hero.

“Janet Planet”
Watching Annie Baker’s mesmerizing debut, I could have sworn she’d crawled into my brain to smear my own memories on screen. The magic of the film is that so many others felt the same.

“Kill”
A train-bound thriller hurtling from India, this revenge flick lives up to its title and then some.

“Conclave”
Not to shortchange Ralph Fiennes’ tormented performance, but I’m ecstatic that director Edward Berger thought to include shots of him ripping into the papal dormitory’s pre-packaged toiletries.

“Red Rooms”
This one’s for the freaks who want a fresh French Canadian spin on Brian DePalma-style trash. A model-slash-hacker (yes, really) is fixated on a crime so horrible it can’t be shown on screen, but it’s her conspiratorial sidekick, played with bug-eyed zeal by Laurie Babin, whom you just have to see.

“Flow”
A cat, a dog and a capybara walk into a boat and are forced to make do as a society. It’s a wordless wonder about uncertainty and devastation.

“Música”
Howard Hawks claimed a great movie is three good scenes and no bad ones. Well, Rudy Mancuso’s innovative debut has three of the best scenes of the year (and puppets — can’t forget the puppets).

“Caligula: The Ultimate Cut”
The original 1979 porno was a blot on the careers of Malcolm McDowell and Helen Mirren. This drastic recutting strips away the skin flick and uncovers a masterpiece.