19. QUEER

Full disclosure: I have been coming to the realization that I’m just not a fan of director Luca Guadagnino. With Queer, that notion is solidified because I have almost nothing positive to say about the film. There are some terrific needle drops, and I’ll give Daniel Craig credit for a daring performance (I didn’t say a “great” performance. I truly don’t get the hype.). Otherwise, this is a 135-minute slog with nothing to say despite insisting on saying it in increasingly hallucinatory ways. With its lack of character development, unfocused and incoherent story, sleep-inducing pacing, and fake-looking production design, Queer is pretentious and self-indulgent trash.

18. BIRD

Bird is the type of meandering coming-of-age movie that is more focused on eliciting heavy emotion and delivering sensitive realism than telling an A-to-B story. Movies like Aftersun come to mind, which just aren’t really my cup of tea. On top of that, hopeful messages of “everything is going to be okay” and “no one’s no one” don’t really resonate with this cynic. So, double whammy for me. That said, I recognize the film’s beauty, as well as the strong performances (Barry Keoghan, especially), but predict that others, particularly women, are likely to be more moved by this picture than I was.

This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

17. WILLIAM TELL

It seems like forever since we’ve received an old-school, historical epic in the vein of Braveheart, and although William Tell boasts all the hallmarks one would expect, it lacks a certain spark to truly rouse the viewer. Even in the film’s best and most intense sequence — the famed apple moment — something is lost since we already know how it ends. I understand such is the way with true stories, but this feeling of meh permeates the entire 135-minute runtime. On the plus side, the entire film is gorgeously shot, featuring tremendous cinematography and some of the most beautiful landscapes I’ve seen in a minute.

16. LEE

Despite a committed performance from Kate Winslet and a solid against-type showing from Andy Samberg, Lee doesn’t offer much to engage the viewer. The beats of Lee Miller’s (Winslet) life feel cherry-picked and rushed, as if perhaps more interesting tidbits were left on the editing room floor simply to make for a shorter runtime, and while it certainly shows some atrocities of war, it’s nothing we haven’t seen before. Plus, the awkward framing device of a story being told in flashback is wholly unnecessary (especially the “reveal”). This all results in a film that fails to make the viewer truly invested. It’s beautifully shot, though.

15. ON BECOMING A GUINEA FOWL

Have you ever watched a movie that you respect immensely even if you didn’t really enjoy the experience? On Becoming a Guinea Fowl is that type of movie. The messaging that abusers should be held accountable and that continuing to speak up even after being ignored is incredibly important. Plus, the representation of Zambian culture, tribal, and family dynamics is super enlightening. That said, this is not a movie I’d ever watch again, and I didn’t find my viewing experience to be personally rewarding. I did love the final shot, though.

This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

14. THE UNHOLY TRINITY

The Unholy Trinity doesn’t do anything particularly amazing or particularly terrible, resulting in the kind of movie that could easily play as a weekend cable rerun for years to come. The story, direction, and Western vibe are workmanlike and serviceable, while Pierce Brosnan and Samuel L. Jackson do their typical thing with expected success. Brandon Lessard, on the other hand, feels out of place. He often comes across as too modern, and he simply doesn’t have the acting chops to hold his own with his costars. Overall, he brings down the whole affair to a watchable but forgettable western.

13. BABYGIRL

Perhaps this is more an issue of expectation management, but based on the trailers, I expected Babygirl to be…I don’t know…hot? Sure, nominally, it’s an erotic thriller, but it’s blandly clinical, lacking in overall sexiness and horny delights (many of which are reduced to montage form). That said, the performances are great, especially Nicole Kidman, who seemingly thrives playing the rich white woman with the imperfect perfect life, and writer-director Halina Reijn confidently explores sexual desires, repression, liberation, and power dynamics. It’s certainly not a bad movie, but it’s being marketed as titillating and lurid eroticism; since that’s not what Babygirl is, I walked away wanting.

12. THE LAST SHOWGIRL

As cliché as the story is, recalling The Wrestler and Crazy Heart, The Last Showgirl is generally effective because of the ensemble cast and fresh take of seeing this familiar tale told from a woman’s perspective. Pamela Anderson, though a bit uneven, still gives the best performance of her career as a character that perhaps she understands better than anyone else could, and she’s elevated by terrific supporting turns from Dave Bautista and Jamie Lee Curtis. Sure, some plot points could have been fleshed out much more, and I didn’t care for the multitude of literally out-of-focus camera shots, but Showgirl is more successful than not.

11. CONCLAVE

Conclave is amongst my most overhyped movies of the year (I blame Nick). That’s not to say it’s bad, but at no point did I find the story gripping or thrilling, which is kind of the point of a “conspiracy thriller,” no? Granted, it boasts terrific performances and is handsomely made, but the characters are so underdeveloped that the twists and turns (including a silly final reveal) never hit as hard as seemingly intended. I genuinely didn’t care who became Pope, and a movie like this requires the audience to take a side to work effectively. Conclave is decent, I suppose, but a disappointment, nonetheless.

10. JOKER: FOLIE À DEUX

In Folie à Deux, Joaquin Phoenix seamlessly slides back into the character for which he won an Oscar, and Lady Gaga’s songbird talents are perfectly cast as the relative light to his darkness. That alone would make it worth your time. However, unlike Joker, this sequel actually has something to say, using a subtle meta touch to explore themes of celebrity, obsession, reality v. fantasy, and scandal as entertainment. It’s not flawless, admittedly, as the musical numbers contribute to disjointed pacing issues, but we’re still left with a sequel that, although not quite as good as its predecessor, is more ambitious, which makes it more worthy of respect.

9. GOOD ONE

Good One is a tremendous feature directorial debut from India Donaldson, and a showcase for young star Lily Collias. Funny and insightful, understated yet complex, it explores Sam’s (Collias) transition from dependent teenager to empowered adult as she deals with two, generally harmless but not quite enlightened, middle-aged dads struggling to navigate the line between “daughter figure” and “fully realized woman.” Donaldson does a great job of putting us in Sam’s shoes as she observes their bickering, regrets, selfishness, and sexism, which creates a low-simmering tension throughout as we’re left wondering when enough might be enough. It’s simple and spare, but never slight, and always compelling.

This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

8. THE ASSESSMENT

On its surface, The Assessment is a tense and claustrophobic exploration into the difficulties of parenthood. On top of that, it has style to burn, as well as three tremendous performances, none more excellent than Alicia Vikander in one of the best showings of her career. However, as the story widens its aperture into broader world-building and deeper commentaries on bureaucracy and “this could really happen” stakes, it loses the thread a bit. There is still a lot to like in The Assessment, including some self-validation that being a parent isn’t for me, but it just barely misses sticking the landing.

7. THE KINGDOM (aka LE ROYAUME)

Although generally a coming-of-age tale, The Kingdom takes a darker and grittier approach than most genre offerings by focusing on the daughter of a Corsican mob leader in the middle of a gang war. It’s like watching Narcos from the perspective of Pablo Escobar’s daughter, which delivers two captivating aspects we don’t often see: 1. The effects gang life has on unaffiliated family members; 2. the dichotomy of a ruthless crime lord that is, first and foremost, a loving father. It makes for a taut, moving, and gripping experience. Even more impressive? This is director/writer Julien Colonna’s and star Ghjuvanna Benedetti’s feature debuts.

This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

6. THE ORDER

Simply put, The Order is good, old-fashioned filmmaking for grown-ups, with no gimmicks, no frills, and no egregious attempts to overdo it. At its core is a compellingly intense true story that plays like a mix of Hell or High Water and BlacKkKlansman, all of which is driven by terrific (but not necessarily awards-worthy) performances from Jude Law and Nicholas Hoult. That said, while I could nitpick a few undercooked narrative choices, when the end result is something this riveting (not to mention beautiful to look at because the cinematography and landscapes are top shelf), it’s easier to just give yourself over to it.

5. THE APPRENTICE

Much like Oliver Stone’s W., The Apprentice offers a surprisingly sympathetic origin story to Donald Trump (Sebastian Stan), showing the evolution from Trump the Man to Trump the Brand. However, with Trump being such a divisive individual, it’s hard to pinpoint how much one’s politics will influence their opinion of the movie because, although it’s not exactly assaultive, it’s definitely not flattering. All that aside, though, the soundtrack, production design, and performances…especially Stan, who nails Trump’s mannerisms without ever falling into an SNL-style impression…are all on point. The quality certainly is there to make it worth your time if you can get past any political blockers.

This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

4. HERETIC

In Heretic, the villain, played by a disarmingly deranged and against-type Hugh Grant, poses questions and tests of faith to two Mormon missionaries (Sophie Thatcher and Chloe East, both excellent). On premise alone, I had extremely high hopes because I love anything that deconstructs religion. Thankfully, the film delivers. While it isn’t “scary” in the traditional sense, it is a powder keg of tension and palpable suspense, featuring deceptively menacing dialogue and thought-provoking questions. In what has been a strong year for horror, Heretic proves to be one of 2024’s best. I’m not sure it works with anyone else but Grant, though.

3. ANORA

Director Simon Baker’s Anora is easily his most accessible, commercial, and polished film to date. It’s also his best, electric with chaotic energy that rarely abates as it sprints through a sex- and laugh-filled comedy of errors. At the center of the whirlwind is Mikey Madison, who gives a star-making performance that is funny, fierce, empowering, and ultimately heartbreaking. If you can imagine Pretty Woman mixed with Uncut Gems, then you’ve got a pretty good idea of what’s in store. It’s worthy of any and all awards consideration it’s surely to garner.

This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

2. SEPTEMBER 5

Seemingly out of nowhere (it didn’t play at Sundance, Toronto, Cannes, or Venice), September 5 is a dark horse contender for Best Picture. Admittedly, I’m a sucker for journalism movies, but this one is driven by the narrative’s “as-it-unfolds” propulsiveness, which creates an electric, suspenseful, and thrilling look at news media doing live coverage of a terrorist attack for the first time. On top of that, with what is currently happening with Israel and Gaza, it’s as timely and relevant now as the real-life events were in 1972. Add in terrific performances from the entire ensemble, and you’ve got one of the year’s very best.

1. FLOW

I surely didn’t expect one of the best films out of fest season to be a dialogue-free animated movie about a cat and other animals fighting for survival during a flood, yet here we are. With beautiful animation and surprisingly deep characterizations that should embarrass lots of other movies (again, zero dialogue), Flow is a tense, spellbinding, and emotional treatise on the importance of working together. It’s equal parts cute and poignant, appealing to both children and adults alike, especially those who played Stray or enjoy cat videos on YouTube. It’s already one of my favorite animated movies of all time.

This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).