Friday, February 7, 2025

NBP Top 10 Best Films Of 2024 – Ryan C. Showers

If you don’t know me, I used to be on staff here at Next Best Picture. Looking back, I have some of my happiest memories here at this website, with the formidable Matt Neglia and team. In 2021, after four years here at NBP, I started my own podcast about the “Scream” films called SCREAM with Ryan C. Showers. While I’m no longer as entrenched in the Oscar world as I used to be, I appreciate the opportunity to present my top ten films of 2024.

10. The Room Next Door

Pedro Almodovar has been a dominant force in filmmaking for more than two decades. He has carved out a distinguishable lane for himself. In “The Room Next Door,” Almodovar applies his signature flair to a different canvas in his first entirely English-speaking film. As a fan of his filmography, I find the film fascinating in traditional Almodovar ways but also in how it challenges a formalist perspective. “The Room Next Door” features a terrific duo of acting from Julianne Moore, my personal MVP of the film, and Tilda Swinton. In addition, Almodovar explores a tug-of-war battle between the characters’ clinical vs. emotional approach to the end of life. This aspect should haunt viewers of “The Room Next Door” long after the film is over.

9. Nightbitch

It is no secret that I am an Amy Adams fan. It’s also no secret that her career has not been the same since pre-pandemic. Thankfully, “Nightbitch” is the best work she’s done since “Sharp Objects.” This film is a handsomely constructed product by Marielle Heller as both writer and director. Heller translates abstract feminist philosophy from the novel’s source material to the screen in a relatable, intelligent package. The most provocative aspect of “Nightbitch” from the outside is the flirtation with the horror/fantasy genre, but for me, this is the least interesting part of the movie. Rather, what makes “Nightbitch” a wonderful movie is its fully felt characters, novel ideas, and internal dialogue about womanhood and motherhood.

8. MaXXXine

The expectations for the third chapter in Ti West’s “X” trilogy were as high as they could have been, in particular for horror fans. And what goes up must come down. “MaXXXine” is oddly a divisive movie, and the final hurrah disappointed many. But for me, I was on board the Mia Goth train. The slasher, Hollywood, and 1980s vibe and aesthetic create an environment in “MaXXXine” that captivated me like no other film this year. The underrated cinematography and costume design feel tangible even six months after seeing the film for the first time. Additionally, “MaXXXine” takes advantage of the groundwork laid in the previous entries to form a complete narrative trilogy arc and reckoning based on what came before. I loved “MaXXXine” as a psychological Hollywood thriller with an intoxicating style and a great cast strangely overflowing with A-list talent.

​7. Conclave

Edward Berger constructs maybe the most classical type of old-school Hollywood film of the year in “Conclave,” a movie with an impeccable script, meticulous direction, and a cast ensemble complete with industry moguls. “Conclave” is as well crafted as it is entertaining. This is a movie whose success is defined by scrupulously written dialogue and the central story about the alignment of interests and lobbying to win the day for the greater good. Ralph Fiennes is superb in what feels like a crowning moment for his career. Meanwhile, my favorite member of the cast is Stanley Tucci as the most gregarious character in the congregation. “Conclave” excels in immersive filmmaking.

6. Longlegs

Longlegs” is a rare horror movie that truly disturbed me to the core. It is so easy to draw a comparison to “The Silence of Lambs” based on the general premise of the plot and the profession of the heroine, but “Longlegs” is a movie worthy of such a comparison. The film contains excellent performances – in particular from Nicolas Cage and Alicia Witt, the latter of whom has not received her flowers for her stunning work here. The real magic of “Longlegs” comes from Osgood Perkins’s artful composition and the unique third-act twist that recontextualizes everything that came before.

5. The Brutalist

Watching “The Brutalist” was like taking a step back in time. As someone who is generally dissatisfied with the way most motion pictures are made in artificial, superficial ways of today’s industry, “The Brutalist” reminded me that filmmaking is meant to be epic, scrappy, and challenging. On its surface, “The Brutalist” is objectively beautiful in its production and crafts. One layer down, the plot of the movie involving Adrien Brody, in the best performance of his career, as an immigrant is genuinely moving and emotionally satisfying. And underneath it all lies the majestic ideas and themes of “The Brutalist.” Brady Corbet probes the ideas of the American Dream, capitalism, and sacrifices made by the artists in pursuit of opportunity. “The Brutalist” is a towering achievement.

4. The Substance

Coralie Fargeat’s “The Substance” is the best horror film of the year. “The Substance” fulfills every opportunity as a horror movie, a feminist movie, a technical achievement movie, and a movie with a message. Fargeat’s dynamite accomplishment with “The Substance” is what I believe is the strongest direction of the year. She ambitiously and diligently unites every element of the cinematic process with her vision, between the fantastic writing, acting, editing, sound design, makeup, production, costumes, and cinematography. Additionally, “The Substance” has an unwavering approach to an analysis of beauty standards and aging for women, defining each progression of the plot and character from this feminist point of view. The cherry on top of “The Substance,” of course, is the leading lady: Demi Moore delivers the performance she knew she always had in her.

​3. Babygirl

A facet of my taste as a lover of cinema is adult dramas such as “Babygirl” – one that combines layered characters with a larger exploration of society, morality, and American culture. “Babygirl” is a movie that exceeds as a densely scripted adult character-drama that allows for endless analysis. Halina Reijn is the unsung hero of 2024. Her intricate screenwriting and impeccable direction have made me a fan of her for life. Reijn’s daring and intimate approach of intentionally making audiences sit uncomfortably through her film deserves our unyielding respect. While I dislike when people use “some of the best work of her career” when discussing Nicole Kidman every time she releases a new film, it is warranted and earned here. Kidman’s masterclass performance anchors and feeds “Babygirl.” Additionally, the original music by Cristobal Tapia De Veer is my favorite original score of the year.

2. Emilia Pérez

As a pure observer of society, no film has intrigued me more this year than “Emilia Pérez.” The Netflix spectacle has been seen as “too progressive” by some and “problematic and regressive” by others. But the way I see “Emilia Pérez” is similar to how I believe many Academy members perhaps experience it: Jacques Audiard’s movie is unlike any film that has ever been produced before. “Emilia Pérez” is a peculiar musical-opera crime story, and tragedy is something at which to marvel. The chemistry of Zoe Saldana, Karla Sofia Gascon, Selina Gomez, and Adriana Paz creates an unbreakable bond between them as actresses with the material. The result for me has been a lingering desire to return to the wildly original “Emilia Pérez” for multiple viewings. Saldana’s committed, energetic, and empathetic perspective in the film is the driving force that keeps me coming back. No other film has grown in my top 10 more than “Emilia Pérez.” Had I published this list in November, it likely would not have been included. Now, it challenges the forthcoming film for my top prize of the year.

1. Wicked

Wicked” is the film people will associate with the year 2024, regardless of its fleeting chances to actually win Best Picture. Adapting the beloved stage musical into film was not a small feat; the years of struggle around the production prove this. As they so often do, things happen at the right time. The reason “Wicked” delivered for fans of the Broadway musical, delivered for general audiences, and delivered after the massive marketing campaign set expectations so high is because every player feels as though they were meant to be creating this movie at this time. Cynthia Erivo honored the legacy of the Wicked Witch and Elphaba while defining the role in this film on her own terms. Ariana Grande delivers a breakout performance as a legitimate actress, giving a downright perfect performance as Glinda. But the aspect of “Wicked” that made me fall in love and deeply respect it as a piece of cinema: the incredible sense of emotion this movie evokes and the approach by director Jon M. Chu to soak up every moment of the nuance from the story and characters in a way that was impossible to do on stage. Deploying the adaptation in such a thorough manner redefines the source material and allows the film to succeed even more than the show does.

What do you think of my list? Please let us know in the comments section below or on our X account. Check out Matt Neglia’s top 10 list here, Josh Parham’s top 10 list here, Dan Bayer’s top 10 list here and Cody Dericks’s top 10 list here. Be on the lookout for more of our Top 10’s for 2024 as we say goodbye to the year. Our annual NBP Film Awards and the NBP Film Community Awards will come in a few days to allow you all some time to see those final 2024 awards season contenders and vote on what you thought was the best 2024 had to offer.

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