Let’s get this out of the way first, maybe this is just an ounce of bitterness and some jealousy since I don’t live in what one would call a big market, but I hate December platform releases. While I get that many of the “high profile” are released in bigger markets (i.e. New York City, Los Angeles, Toronto, Vancouver, etc.) first in order to qualify for awards, leading up to the Oscars, it’s not fun to have to wait until the end of January (with a few more releasing in February) to watch said films but here we are. Though closing out the previous year takes longer every year, I will keep at it however long it takes!
This will once again be the kind of list post the internet has seen millions of and will see millions more, ranking the best and worst movies over a calendar year is a time honored tradition among cinephiles looking to find out how their own lists match up against others. There will be agreements. There will be disagreements. This is a given. In the end, this is my list, for better or worse. From another impressive directorial debut and feature directorial debut, to a stunning Canadian gothic thriller, a transcendent body horror and Palme d’Or nominee, a few comedies, and an epic commercial disaster just to name a few, this year offered a bit of everything. Putting some big names both in front and behind the camera on the map, this year has given us plenty of names to look out for now and in the future, regardless of what may happen (or not happen) come next month’s Oscars. All that being said, it is time to rejoin the fray and add even more to the discourse with another list of the top 10 best and worst films of 2024.
While I may not have personally reviewed every film on this list, I encourage readers to check out my Letterboxd page here (shameless plug, I know).
Top 10 Best Films of 2024:
10. The Wild Robot
Who would have guessed that an animated film starring a talking robot would pull at the heartstrings as much as The Wild Robot did? Based on the book series by Peter Brown, the film follows ROZZUM Unit 7134 or Roz (Lupita Nyong’o), a robot shipwrecked on an uninhabited island who learns to survive and coexist with its numerous animal residents. That journey proved to be an arduous one where she had to rise above her own programming and learn to find her own humanity. Her arc could be traced through her relationship with a baby gosling whom she would name Brightbill (Kit O’Connor) and raise as hew own, eventually teaching him how to swim and fly. However, that was a task she was not exactly equipped to do alone. A big theme of the film was the power of community and family. The family here may not be one in the biological sense but family is what you make it so Roz, Brightbill, and a fox named Fink (Pedro Pascal) made for a fun dynamic. While the story may be a tad on the predictable side, the film still finds a way to pull out tons of emotion out of all of the story’s key moments. Subverting the kind of clichés one might expect from a film of this ilk, the writing and performances find a way to keep it engaging. Moving as a whole, the story works hand-in-hand with beautiful hand drawn and CGI animation and a powerful, Oscar-nominated, score. Also a nominee for Best Animated Feature, it is my pick to win.
9. Hundreds of Beavers
As a Canadian, one can’t help but be enamored by a film centered around beavers. The little indie film that could, Hundreds of Beavers, after making the rounds at film festivals for nearly two years, has since become a hit. Resonating with audiences is how the film harkens back to the slapstick classics, it feels like watching a cross between old Looney Tunes cartoons and old silent movies. While the film is simple in premise, a period film pinning a lowly applejack salesman named Jean Kayak (Ryland Brickson Cole Tews) against literally hundreds of beavers, it embraces its inspirations wholeheartedly in a way that is so compelling to watch, not to mention hilarious. Similarly, though it may seem simple on the surface, how it makes use of its indie budget and what it pulls off is actually quite impressive. While the film can be silly and ridiculous at times, it is undeniably fun and doesn’t try to be more than what it is. On paper, the premise could have easily gotten repetitive, seeing Jean go head-to-head against what were essentially people dressed in beaver costumes (an endearing choice for sure) for 108-minutes. Fortunately, the film throws in just enough to keep things engaging. The film’s zero-to-hero arc, as Jean came into his own and eventually turned the tables on the beavers that had gotten the best of him for so long, leads the way with Tews’ equally impressive physical performance, doing most of the heavy lifting and showing off so much range in hitting all his marks and being more than game for everything that was asked of him.
8. Saturday Night
Currently in its 50th season, Saturday Night Live continues to be a major pop culture institution, amassing hordes of fans over the course of its run. While the consistency of the later seasons is arguable, those early years, featuring a cast of all-time comedy greats, was revolutionary. Perhaps its inclusion here is another nod to Canada, thanks to the Canadian series creator and producer extraordinaire, Lorne Michaels. For fans of the late night sketch comedy series, Saturday Night may be up their alley, though some purists may object to certain choices it makes. However, this post isn’t theirs, it’s mine. Directed and co-written by Jason Reitman, the film does an excellent job at capturing the chaos behind the lead up to the first broadcast of Saturday Night Live back on October 11th, 1975. Guided by Michaels (Gabriel LaBelle), that journey, as he tried to hold it all together, proved to be anxiety-inducing and peppered with plenty of hilarious moments, which shouldn’t come as a surprise considering the kind of people involved. Impressive camerawork keeps up with that chaos as long tracking shots and well-choreographed one take sequences add to the immersion, keeping audiences on the edge of their seats as they root for that first show to succeed. Despite the fact that the final result is well-known, there was still some tension there. Not a moment is wasted. Featuring the best cast of 2024, the film would definitely not have worked as well if not for its cast who all embody their characters. Besides LaBelle, Cory Michael Smith’s Chevy Chase is another standout, but there’s too many to name.
7. Your Monster
Based on the title alone, one would probably not associate Your Monster with the word charming but against all odds, it is and the film rides that wave all the way to my list. Everyone knows about the Melissa Barrera saga post-Scream VI but the incident had nothing to do with her ability as an actress. Following a solid turn in Abigail, this film marked a real resurgence for the actress as it truly put her many talents on display, resulting in a career-best performance. This horror romcom shouldn’t work, at least on paper, however, it does. A large part of that is of course Barrera, and her spectacular chemistry with a scene-stealing Tommy Dewey (also appearing in Saturday Night). The story follows an up-and-coming actress named Laura Franco (Barrera) as she finds her voice and comes into her own with the help of a monster living in her closet (Dewey). Her arc over the course of the film, as seen through her arc with the monster, is easily the best part as it playing them off of each other in an entertaining way. Though those arcs may be on the predictable side, they brought out the best in one another. Meanwhile, putting a horror spin on the classic romcom made for something different and the impact of having a monster part of the main dynamic made it interesting. Dewey is an absolute delight but, in the end, the film is Barrera’s who not only shows off her range, but proves that she can also sing. Is there anything she can’t do?
6. Didi
It wouldn’t be right unless there was at least one coming-of-age film here and Didi just hits the right spot. Short and sweet, this time capsule of a film is the most economical, packing so much emotion within its 90+ minute running time. As the genre continues to lean into more representation, it keeps finding ways to tell new and more reflective stories that resonate with even more audiences who get to see themselves depicted on screen. Offering a snapshot of a simpler time not often covered in coming-of-age films, the sweet spot in the early 2000s before the advent of the internet and social media as well as much of the technology may are used to using today. At that time, it was all about hanging out with our friends outside of school and chatting with one another over dial-up internet. It is a time that many audiences have surely looked back on fondly. While a coming-of-age story viewed through the lens of an immigrant story, everyone could resonate with impressionable Taiwanese teenage Chris’ (Izaac Wang) story about growing up and finding himself and his place in a world that was seemingly leaving him behind. Meanwhile, some may call it a two-hander as his mother Chungsing (Joan Chen) found herself in a similar position, forced to take care of her kids and household essentially by herself while still trying to pursue her dream and find some higher purpose, in spite of the constant belittlement by her mother-in-law also under her care (Zhang Li Hua). Staying true to itself throughout, where the film ultimately succeeds is its grounded approach, implemented across Sean Wang’s moving script and poignant direction in what was his feature film debut. Wang is phenomenal as Chris but it is Joan Chen’s subtly powerful performance as Chungsing that is the real heartbeat of the film (and one deserving of more awards love).
5. I Saw the TV Glow
I Saw the TV Glow is a difficult film to describe, and rightfully so. Straddling the line between drama and horror (some may argue that it leans more towards one than the other), this coming-of-age story is a trip, to say the least. Setting the tone right away, the atmosphere make it clear that audiences are about to witness something unlike what they have seen before. Gloomy, unsettling, and lovecraftian in a sense this story follows highschooler Owen (Justice Smith) and older highschooler Maddy (Jack Haven), two characters wrestling with their own lives and identities as if something wasn’t quite right. The conduit for their journey is a 1990s YA sci-fi/horror television series called The Pink Opaque. It was weird and it was cheesy but there was something about the series and its characters that resonated with them. The plot of the series centered around Isabel (Helena Howard) and Tara (Lindsay Jordan), two psychically connected girls who weekly fight the evil Mr. Melancholy and his evil monsters. Bonding over the program, the ball starts rolling as it forces them to start asking questions and dig deeper within themselves to find an answer to the emptiness they felt in their own lives. As that exploration continued on a psychological level, and Owen and Maddy’s connection to the series grew stronger, the line between fantasy and reality began to blur as their identities they’ve developed across each began to bleed into one another. It admittedly gets a bit weird from there but as they were faced with all these thoughts and feelings, it proved to be a lot to process. Beautifully shot, written, and acted, the film will leave a mark that will hard to forget.
4. A Real Pain
A Real Pain is anything but (an easy line to write but it’s the truth). Ever since its premiere at this past Sundance Film Festival, the hype around the film has largely revolved around Kieran Culkin’s performance and to his credit, he delivers thus earning his frontrunner status for the Best Supporting Actor Oscar at next month’s awards. The sophomore directorial effort of writer and co-star Jesse Eisenberg (who was nominated for the latter), this dramedy shines off the strength of the best duo of 2024 in Eisenberg and Culkin, each delivering career-best performances. Another economical film, clocking in at 90-minutes, it is short and simple, while also packing a huge emotional punch to the feels. A story about two estranged cousins, David (Eisenberg) and Benji Kaplan (Culkin), taking a trip to Poland to honor their deceased grandmother, their journey also saw the pair rekindle their connection with their Jewish faith as well as bring up some complicated family history back to the surface. Ironing it out in the midst of the Jewish touring group they joined once in Poland. The contrast in experience with their faith made for an interesting tapestry as the dynamic between the cousins and the other members of the group was a delight to watch but they never got in the way of what was David and Benji’s story. As funny as it was heartfelt, the exploration of the dynamic between them was easily the best part of the film. Uncovering that part of the story and the complexities of their relationship, as it relates to their late grandmother, is equal parts endearing and relatable. Because it’s so short, one can’t help but have wanted more from David and Benji. However, I think more would have ruined the story.
3. The Substance
The Substance is a film that literally came out of nowhere and became such a cultural sensation. French writer/director Coralie Fargeat is no stranger to the horror genre but there was just something about this one that managed to strike a chord. Horror, let alone body horror, is a genre not often recognized by the Academy but this film kicked the door down (earning Fargeat a pair of Oscar nominations for Best Director and Best Original Screenplay). This part body horror and part darkly comedic satire certainly won’t be for everyone, however, that edge made it hard to look away. A commentary on the unfair standards women face on a daily basis, where aging is frowned upon as older women who are seen as over-the-hill are seemingly tossed aside in favor of someone younger and “better-looking.” Casting Demi Moore as the lead proved to be a stroke of genius as her trajectory essentially mirrors that commentary. Dismissed as a mere “popcorn actress,” she struggled being taken seriously as a serious actress and just needed a big break and The Substance was definitely it, earning her first Oscar nomination for Best Actress. Playing Elisabeth Sparkle, a fading actress watching her fame and career pass her by as she grew older. In the hopes of holding on, she turned to a drug known as The Substance to temporarily create a younger version of herself. The balance between the copy, named Sue (Margaret Qualley), and Elisabeth quickly found itself disrupted as the two inevitably couldn’t coexist with one another. As one rose, the other fell and those combatting arcs were thrilling to watch but their actions were not without consequences, leading to an absolutely wild yet earned conclusion that will be hard to forget.
2. The King Tide
For the actual Canadian portion of this post, here’s The King Tide. A film that will probably mean more to Canadian audiences, it premiered back at the 2023 Toronto International Film Festival before being given a limited theatrical release in Canada and the United States at the end of April of last year. Shot in the beautiful province of Newfoundland and Labrador, this gothic psychological horror/thriller takes place within a remote island community who had essentially developed into a cult, all worshipping Isla (Alix West Lefler), a young girl with mysterious powers who one day washed up along their shore as a baby. As far as the community was concerned, it was merely the beginning of the end for them. One of Isla’s many powers included healing and that is what drew the townspeople too her. Becoming a fountain of youth, that temptation is one that could easily corrupt and that it did. But she was still a kid after all and with that came its own set of issues. Treated as a means to an end rather than a young girl, Isla’s childhood was defined by the needs of the those around her. Now it’s only inevitable that this system would come under challenge and that moment was when the true horror began as desperate people are willing to go to any length to get what they want or hold on to what they have. Beautifully shot with an effective foreboding atmosphere to boot, it is a thrill ride as audiences will find themselves rooting for her survival. Led by a stellar cast of character actors, led by the underrated Clayne Crawford and Frances Fisher, they are the glue that holds this gem together.
1. Nickel Boys
A thing the films on this side of the list have in common is that they are the kinds of films that audiences haven’t seen before (or haven’t seen in a long time). Nickel Boys, based on the Pulitzer Prize-winning novel by Colson Whitehead, is the feature directorial debut from Oscar-nominated director RaMell Ross (Hale County This Morning, This Evening), delivering one of the most unique adaptations in recent memory (with Ross and co-writer Joslyn Barnes earning nominations at this year’s Oscars for their screenplay). That being said, its unique approach has garnered mixed results among audiences who couldn’t get behind its use of first person perspective. A time capsule of 1962 Jim Crow Florida, the film tells the story of Elwood (Ethan Herisse) and Turner (Brandon Wilson), and their many trials and tribulations while attending the Nickel Academy. Swapping the perspective between Elwood and Turner, its first person approach, told through its beautiful cinematography and score, adds to the level of immersion as audiences get to feel what they feel and experience what they experience, for better or worse. In what feels like a dream, their reality was closer to a nightmare as they were merely more victims of the laundry list of atrocities committed by Nickel Academy against their students of color. Their dynamic and their arc, through the good times and the bad, was easily the best part of the film and one that would become incredibly tense as the film went on. Perfectly cast, thanks to Herisse, Wilson, and Aunjanue Ellis-Taylor as Elwood’s grandmother Hattie, Nickel Boys will strike a chord and offers a gut-punch to the feels.
Top 10 Worst Films of 2024:
10. Tarot
Who in their right mind would think that a film about tarot cards would work? When it comes to the aptly-titled Tarot, the answer is a resounding no. We’ve seen the same formula played out so many times and this time is no different. Take a ridiculous premise and a terrible script and cast some young and marketable actors to distract audiences from its ridiculous premise and terrible script. On the other hand, the common response to that argument is to simply clumped together with what many would consider mindless or so-bad-that-it’s-good watches. However, in order to succeed as either, they must have some redeeming qualities within their intentional or unintentional flaws. Either way, audiences are left to watch unlikeable characters who are defined by their irrelevant characterization and the bad or questionable decisions they make in order to advance the story. Trying to mare a horror film, let alone a 14A/PG-13 horror film, centered around tarot cards was always going to be a challenge, but conflating it with a run-of-the-mill evil spirit tale that was as exciting as it sounds. Usually, the climax of the film is the epitome of the ridiculousness of films like this and this was also the case here, perhaps garnering some unintentional laughs. Overall, not only is it lazy and derivative, the film’s biggest crime is how dull it is. Echoing the sentiment of our review, it is as bottom of the barrel a horror film could get, but it’s enough to just make the list.
9. In a Violent Nature
A slasher film from the perspective of said slasher would seem like an interesting premise, at least on paper. However, a film like that has to have a perspective to offer for it to work. Therein lies the fatal flaw of In a Violent Nature. Beyond that unique perspective, it felt like there was not much thought put beyond its gimmicky premise. Meanwhile, for those who worry about getting their steps in, they can watch this and get their steps in as the film essentially consists of its aforementioned killer (Ry Barrett) walking through a forest as he stalks his prey and kills them in brutal ways. Meanwhile, keeping up with the conventions of bad horror films, they don’t offer up much in the way of competition. Along with awful writing, awful acting, and utterly unimaginative direction, the film is short but it sure is a bore. The story doesn’t matter, the characters don’t matter, nothing matters for that matter. Despite all of this, the film should at least be commended for at least trying to do something different. The problem is that it just didn’t work, however, it will inevitably work for others and that’s okay. Perhaps a future cult classic in the making, that presumed following has led to the greenlighting of a sequel. While its unclear where a possible sequel can go, building off such a thin premise, one can only hope that it will offer more substance to make another journey through a forest (or whatever other terrain) more worthwhile.
8. This Is Me… Now
More of a companion visual album to Jennifer Lopez’s latest album of the same name, This Is Me… Now is not getting by me that easily. I have never been much of a music fan so I’m just going to leave the music itself out of it but the film itself has to be one of the most ridiculous things I’ve seen all year. Meant to be a showcase for the album, it technically succeeds at that but it is packaged within an absolutely nonsensical story that connects a string of decent musical set pieces. Set against such a nonsensical story, those musical set pieces do stand out, for better or worse. With decent production value behind them (and the rest of the film for that matter), they do make for a distraction from everything else in between. Yet another case of the parts outweighing their sum, horrendous writing and directing (outside of the performances for which the director is more accustomed to), there is no point to even try to make it through truly awful dialog among bouts of cheesy melodrama. Leading to plenty of cringe-worthy moments, the cast who all phone it in (presumably appearing as favors to Lopez), including the revolving door of cameos over the course of its 60+ minute running time. Not a film in the traditional sense, it is meant to be experienced alongside the accompanying album. While it has its fair share of flaws, for Lopez’s fans, it won’t matter, but this a journey that I will never be taking again.
7. Night Swim
Ever since the first promotional material released for Night Swim, it was clear that the film never had a chance. A film about a malevolent swimming pool released on the first weekend of 2024, in the heart of winter (at least in Canada), was not exactly a sign of confidence and that instinct seemingly paid off. Films based on short films or short stories can be hit or miss at times as hordes of ambitious filmmakers looking to adapt either into features are faced with the realization that certain subject matter is not suitable to be anything more than what they originally were. Let’s just face it, when the starting point is an evil pool, there’s not much else to go from there. Where films ultimately falter is when they try to force more story in order to fill out a feature length adaptation. Based on a short film of the same name, the film essentially plays out the way one would expect. Advanced by questionable character decisions, it is merely a bland and derivative trope fest that simply runs on autopilot for 100-minutes, not ever interested in doing anything original or exciting. As it goes through the paces, the final product gives off the energy of a paycheck movie involving little to no effort whatsoever. Meant to be a product and nothing more, if those behind it didn’t care, why should we? Bringing it back to the surface for the purpose of this list, once readers move on from this entry, it will just return to obscurity where it once was and will forever be.
6. The Fabulous Four
The greatest atrocity committed by The Fabulous Four is wasting the time of Susan Sarandon, Bette Midler, Megan Mullally, and Sheryl Lee Ralph, and as a result, us audiences with a terrible script and terrible direction which fail to utilize the talents we all know they all have. Perhaps this buddy comedy snagged its talented cast so they had an excuse to work together, they could have done so much better. Though, in reality, it is unfortunately a commentary on the lack of meaningful roles for women of a certain age. While the novelty of watching these four talented ladies on screen, in any other case, would be enough to warrant a watch at least one paper but in reality, they have all been better across countless other films and television series. If anything, it is just sad and hard to watch Sarandon, Midler, Mullaly, and Ralph saddled with such atrocious material that they are forced to trudge through. To their credit, these ladies do the best they can to try to elevate the material but at the end of the day, there is only so much they can do. What could have easily been a slam dunk is furthest thing from one. This derivative, contrived, and clichéd play on friendship and female empowerment is an absolute slog that is not only not endearing and not empowering, it is also not funny whatsoever. All my objections aside, for those who happen to be fans of the aforementioned Fabulous Four, there may be enough to redeem it. However, those fans are better served just watching literally anything else they’ve ever appeared in.
5. Afraid
Trying to cash in on the evil AI horror movie craze, following the success of M3GAN, Afraid (or AfrAID, just in case we couldn’t already tell that it was a film involving AI), epically crashes and burns but only running at an inexplicable 84-minutes, how much could it have really done? While a not so subtle ploy to put AI in the title, afraid is the last thing audiences will be watching this one. Though the film may be short, it certainly will not feel like that in the moment. Incredibly derivative and predictable to a tee, the story goes exactly the way anyone would expect as a family of paper thin characters who don’t matter only exist in order to make the necessary steps required to move it forward. Faced with an AI armed whose contrived powers are too silly to ever take seriously, the lack of any kind of development whatsoever only makes the whole experience utterly laughable. The point the film tries to make, as is every other film in this subgenre, can be seen from a mile away but has literally nothing to contribute to the conversation other than what we all already know. Yet another paycheck movie for those involved on both sides of the cameras, they simply go through the motions on their way to another payday. However, that argument could not be made for leads John Cho and Katherine Waterston who stand out thanks to their noticeable show of effort.
4. Unfrosted
It’s easy to forget that Unfrosted was a film that was released in 2024, because I sure did. The feature directorial debut of legendary comedian Jerry Seinfeld (who also co-wrote it), it is yet another epic disaster in a year that has unfortunately seen more than a few. Bringing quite a few of his famous friends along, either as part of the main cast or as cameos, it is definitely not lacking in comedy heavyweights. However, in spite of the talent assembled here, the film just isn’t funny and if the film isn’t funny, then what is the point? A disappointment on so many levels, this satirical story about the creation of what would be known as a ‘Pop Tart’ is essentially a waste of time, for lack of a better word. Starring Seinfeld stars as the head of development at Kellogg’s, a company at war with their rival Post, led by Amy Schumer. Wholeheartedly leaning into the silliness of it all, that strategy just doesn’t work as it snowballs into something increasingly unbearable, until it borders on unwatchable come a not so subtle commentary on the storming of the US Capitol on January 6th. It becomes clear that the premise is not suited for a feature film, as it plays out like one long comedy sketch. Presumably hoping that the big names cast would draw audiences towards the film, the biggest crime Unfrosted commits is wasting those names who seemingly appear as favors for Seinfeld more than anything else.
3. Darkness of Man
Jean-Claude Van Damme is one of the biggest action stars of the late 1980s and 1990s but nowadays, he spends most of his time working overseas and on straight-to-video action fare. Darkness of Man is just more of that same fare, for better or worse. Now 64-years-old, the man known as JCVD isn’t quite the action star he used to be, therefore this film decides to tone it back. More of a crime noire than a straight up action film, it sees JCVD delivering cheesy and lifeless lines that are meant to be broody while wandering across a city as an Interpole agent with his own ‘special set of skills.’ The story is essentially irrelevant and incredibly unremarkable as it throws every trope and cliché at the wall, which is par for the course when it comes to these kinds of films. In the end, all that matters to most audiences is getting to watch JCVD do JCVD things. Unfortunately, the film is not only too long, approaching 2-hours when it should have been closer to the 90-minute mark, it is also very very dull. Once that JCVD switch is flipped, there is something endearing about how silly it all becomes and the moments its low budget creates, intentional or not. However, it is too little too late. While the writing, acting, and directing are bad, an epic cameo by Eric Roberts is the most memorable thing about this mess.
2. Red One
Speaking of epic failures of 2024, Red One tops that list. Somehow with a budget of $250 million USD, it sure doesn’t look like it. Presumably using most of it to pay its stars, Dwayne Johnson and Chris Evans, upfront for being a primarily streaming feature with a limited theatrical run, the rest of the film comes off as remarkably cheap. The title of this Christmas-themed action comedy of course refers to Santa Claus (J.K. Simmons) who was somehow kidnapped from the North Pole. However, it is merely a pretense so the two stars could riff off of one another for just over 2-hours. The problem is that their exchanges are more irritating than funny, as the dialog feels like it was written by AI, and their predictable hijinks were nowhere near as fun as the films wants audiences to think they are. Despite the many flaws within the material, they could have just have easily been smoothed out had Johnson and Evans had any chemistry. Based on its position on this list, this was not the case. Employing the derivative comedy strategy of playing opposites for laughs, the film kept tapping that well to no avail. Seemingly going out of its way to address the plot and uninterested in creating characters with any dimension whatsoever, the story simply doubles down on its unnecessary plot choices as the film snowballs into something much bigger than it needed to be. What easily could have been a layup is just one big nothingburger that very few audiences will care or think about come next Christmas, assuming they haven’t already done so.
1. Harold and the Purple Crayon
If Harold and the Purple Crayon could be described with an emoji, it would the facepalm because that is what most audiences will be doing while watching this one, except for the younger ones of course. That being said, there are so many better options for younger audiences out there that also won’t drive adults crazy. A live action adaptation of the popular book series by Crockett Johnson, it is yet another paint-by-numbers adaptation that seemingly is only interested in checking the same boxes with as little effort as humanly possible. The sheer level in which the film does not try is honestly astounding. An effort that will undoubtedly still score with the younger audiences it is clearly targeting, the obnoxious way which it goes about executing this lazily slapped together product is very irritating to say the least. Doing nothing that hasn’t already been done countless times before, the film is a parade of generic tropes and bad dialog tied together by an incoherent story is a painful watch that will make its 90-minute running time feel much longer than that. Both unfunny and unendearing, it possesses no redeeming qualities and basically amounts to a waste of time. Let this serve a lesson that not every children’s book can (or should) be adapted into live action. The term ‘paycheck movie’ has been thrown around a lot here to describe films displaying noticeable signs of lack of effort, but arguably the biggest culprit of 2024 is this one. On a downward spiral ever since the poorly received Shazam: Fury of the Gods, perhaps Zachary Levi should sit out for a while.
And with that, 2024 is finally over and the world can now hope for some normalcy (but that is relative considering the other events currently going on in the world). So far, there is a lot to look forward to in terms of films in 2025. Audiences can expect the latest from Bong Joon-ho (Mickey 17), Barry Levinson (The Alto Knights), Alex Garland (Warfare), Ryan Coogler (Sinners), Ethan Hunt (Mission: Impossible – The Final Reckoning), and Paddington Bear (the large gap between the UK and North American release dates for Paddington in Peru has been frustrating to say the least), are just some of the titles they can expect come the first half of the year. However, that is only the beginning as the film festival circuit will once again shake things up. This year’s Marvel movies, Wicked: For Good, and the Mission: Impossible finale will certainly do fine at the box office but it will be interesting to see what else emerges over the coming year. Ultimately, we will all be fine as the year will have something to offer for everyone.
See you all at….
still courtesy of Orion Pictures
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The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.
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