We’re halfway through 2024 and the movies have seen a variety of highs. Everything from intergalactic epics to DIY satire has found an audience and proven that cinema is more vital than ever before. If you need to catch-up on the big hits and hidden gems you might’ve missed, InBetweenDrafts has you covered. We asked our writers and editors to give their picks for the best movies of 2024 so far, check out their picks below!
Brogan Luke Bouwhuis – Hundreds of Beavers
An independent film concluding its festival run with a multi-city Q&A tour and VOD release is nothing out of the ordinary. But for Hundreds of Beavers, that’s where the ordinary ends. Co-writer/director Mike Cheslik and co-writer/star Ryland Brickson Cole Tews have assembled an arcade-inspired black-and-white silent slapstick comedy about fur trapping that somehow manages to be even more offbeat and original than that lengthy string of adjectives would imply. The filmmakers’ self-distribution strategy is equally unique, with live shows offering “beaver wrestling” and most of the film’s marketing consisting of parodies of classic film posters.
More than a few people have compared the film to a “live-action Looney Tunes” but that doesn’t quite do it justice. The rejection of mainstream sensibilities offered by Hundreds of Beavers rivals that found in the works of John Waters and Georges Méliès. It’s dizzyingly funny, yes. But in a world where so much independent film is created with the goal of entering the studio system, it also manages to be an extremely innovative piece of cinema not only in regards to visuals and storytelling but the business of filmmaking itself. Not only is it exciting to watch, but also to look back on it in ten or twenty years when we’ve gotten to see some of what it will go on to inspire.
Honorable Mention – The People’s Joker
Pedro Graterol – Civil War
Whether you think the underlying political tensions in Alex Garland’s Civil War are grounded in reality or not, it’s impossible to deny that this film is a beautiful and unforgettable exploration of contemporary journalism and its challenges. It not only shows us the immense toil that constant exposure to violence can bring, but it also questions the virtue of neutrality and the violent dehumanization that often masquerades behind it. Moreover, by invoking some of the classic hallmarks of war films set in foreign countries (such as the lack of context and the disregard for historical nuances), Civil War also serves as a meta-commentary on our relationship with political conflicts and their deployment in entertainment. It forces us to meditate on whether we are, like many of the characters, chasing the perfect shot while disregarding the bigger picture.
Honorable Mention – Furiosa: A Mad Max Saga
Sarah G. Vincent – Janet Planet
Janet Planet is the directorial debut of Pulitzer Prize-winning playwright Annie Baker. Eleven-year-old Lacy (Zoe Ziegler in her first film acting role) spends the summer of 1991 in rural Western Massachusetts with her acupuncturist mother, Janet (Julianne Nicholson), and acts as her unofficial guard since she and Janet question her mother’s judgment. Janet’s associations determine the tone of the mother-daughter’s time together while Lacy yearns to become closer to her mother. Janet only has room for one intense adult relationship at a time as she goes through revolving door of company. There’s Wayne (Will Patton), a taciturn, troubled man who prefers to keep his distance from Lacy. Janet’s old friend, Regina (Sophie Okonedo), hits it off with Lacy but has to turn a blind eye to the mother and daughter’s privilege and entitlement. Then there’s Regina’s ex, Avi (Elias Koteas), unsure of how he can help the situation.
Baker avoids the pitfalls of a lot of playwrights with a dialogue sparse script and relying heavily on visuals to communicate the nature of relationship dynamics. Baker composes each shot in a way that encapsulates and summarizes the entire narrative. Without being melodramatic, Baker makes the perfect independent film by creating characters who are sympathetic, flawed, three-dimensional people who do not exist to define the protagonist, but are stars of their own films, thus lives. The acting is so seamless that it is easy for a moviegoer to forget that they are not watching a documentary.
Honorable Mention – Problemista
Will Ashton – I Saw the TV Glow
At the risk of being premature and brazen, Jane Schoenbrun’s supernaturally mesmerizing coming-of-age horror-drama, I Saw the TV Glow, is among the most essential and revolutionary films of 2024.
It’s eerie, evocative, enigmatic examination of disquieting suburban life. More distinctly, it’s a harrowing, heartfelt allegory of trans identity, social alienation, and how pop culture fixtures can enlighten the parts of ourselves that we might not be able to see, or willing to process. This A24 genre-bender approaches unplaceable feelings that are both universal and ultra-specific, revealing and also bewildering. Aided by the aid of producer Dave McCary (Brigsby Bear, which similarly explored the ways in which childhood media can allow us to distinguish and develop ourselves), Schoenbrun’s sophomore feature might appear beguiling and inscrutable to some. But if you’re connected to its wavelength, I Saw the TV Glow‘s influence will resonate with you long after the program ends. And, hopefully, it’ll also serve as the type of film that allows a whole new generation of viewers to discover themselves — both on the illuminating screen and away from it.
Honorable Mention – Do Not Expect Too Much from the End of the World
Jon Winkler – Thelma
You know that meme of the old guy yelling, “Call an ambulance…but not for me!” as he pulls a gun on a robber? Academy Award-nominee June Squibb does that in this movie…and it’s only the third funniest joke in the picture!
Writer/director Josh Margolin’s debut feature sees 94-year-old Squibb as the titular California grandmother trying to uncover the mystery of a phone scam that robbed her of $10,000. What could’ve been a barrage of lowbrow old lady jokes is actually a heartfelt adventure about people trying to reclaim their independence and find their place in the world beyond assisted living. Margolin has so much respect for his elder characters that all of their sincerity and simple pleasures (whether it be melons or Tom Cruise movies) make getting older look pleasant, even if they’re staring mortality right in the face.
All that well-written character aside, Thelma is also the funniest movie of the year. You’ll get a scooter chase with ridiculousness worthy of the Fury Road, heart-racing tension just from Squibb trying to climb stairs, and the technical innovation of hearing aids. Squibb is great in the lead, but the movie actually belongs to the late great Richard Roundtree who makes describing melons sound cooler than anything while also showing the weight on the shoulders of an aging widow.
Honorable Mention – Humanist Vampire Seeking Consenting Suicidal Person
Yasmin Kleinbert – Challengers
Josh O’Connor and Mike Faist have been everywhere lately—and for good reason. Besides being the poster boys for the “hot rodent boyfriend” trend, they are also part of the stunning ensemble in Luca Guadagnino’s Challengers. Challengers brings together the talents of Zendaya, O’Connor, and Faist in a story about ambition and control that is part thrilling, part funny, and homoerotic as hell.
O’Connor and Faist play Patrick and Art, two best friends and aspiring tennis players. They both have the hots for Tashi (Zendaya), a child prodigy in the sport who has her whole future laid out for her. After an injury prematurely ends Tashi’s career, their friendship turns into a bitter rivalry. Years later, Patrick and Art face each other again in a tournament finals match with similar goals: to be respected by the tennis world and Tashi.
From the cinematography to the camerawork, Challengers is a work of art through and through. O’Connor and Faist’s chemistry crackles with eroticism, and Guadagnino makes sure that the horniness is as subtle as a freight train with phallic imagery and lots and lots of sweat. By the end of the film, we don’t care who wins at this point. Like Tashi, we’re just here for a good game of tennis, and oh boy, do we get it.
Honorable Mention – Love Lies Bleeding
Alyshia Kelly – Dune: Part Two
In Dune: Part Two, director Denis Villeneuve continues his visionary adaptation of Frank Herbert’s epic saga with breathtaking ambition. Building upon the foundation set in its predecessor, the film immerses audiences deeper into a universe of political intrigue, sweeping landscapes, and significant philosophical undercurrents.
Villeneuve’s masterful direction, coupled with Hans Zimmer’s evocative score, transports viewers into the heart of Arrakis once more, where the struggle for control over the most valuable substance in the universe, spice, intensifies. Timothée Chalamet’s portrayal of Paul Atreides evolves with captivating nuance, blending vulnerability and a burgeoning sense of destiny. Rebecca Ferguson’s Lady Jessica commands the screen with grace and strength, embodying the complexities of loyalty and maternal instinct in a volatile world. Plus, Zendaya’s continued excellence across diverse roles, from this film to Challengers, underscores her exceptional year in cinema.
Visually stunning and meticulously crafted, Dune: Part Two expands the narrative canvas, delving deeper into the intricate web of alliances and betrayals that define House Atreides’ fate. The film’s cinematography by Greig Fraser captures the stark beauty of desert landscapes and the grandeur of futuristic cities with awe-inspiring detail. Beyond its technical prowess, Dune: Part Two delves deeply into profound themes, exploring concepts of power, destiny, and the ramifications of choices made in the quest for survival. Villeneuve’s ability to balance spectacle with emotional depth ensures that every scene resonates long after the credits roll. As the midpoint of 2024 approaches, Dune: Part Two stands as a testament to the power of innovative filmmaking, poised to be remembered as one of the defining cinematic achievements of the year.
Honorable Mention – Inside Out 2
Ally Johnson – The Monk and the Gun
Pawo Choyning Dorji directs one of the most biting films of the year so far with The Monk and the Gun. Set in Bhutan, the film marries farce with political commentary, and it is an exercise in building tension. This satirical look at the potential devastation of Western influence plays with fable-like narratives and anchors itself with a rich playfulness in its tone. The direction and cinematography combine to create something vibrantly intoxicating as we sit and wonder if the worst version of events will play out or if it’s just another trick of the story. There’s quiet grandeur in the setting that comes together with the scathing indictment of its narrative.
Honorable Mention – Evil Does Not Exist
Claire Di Maio – Sometimes I Think About Dying
Ever wonder if a movie about intrusive thoughts of death could be funny, romantic, and charming? Look no further than Rachel Lambert’s Sometimes I Think About Dying. Painfully shy Fran (Daisy Ridley) wears unremarkable clothes, quietly listens to her colleagues’ conversations, and sometimes, she thinks about dying. Fran’s imaginings of death are frank and lush, taking place on beaches or forests. She’s not eager to die, but death seems like a place where everything makes sense—no navigating awkward workplace banter or forced icebreakers at company events. When a new colleague (Dave Merheje) takes a shine to Fran, she considers what life looks like outside her cubicle. Ridley turns in a masterful performance, restrained yet full of heart, teasing an exciting future in indies. Sometimes I Think About Dying is a quiet (and quietly funny) meditation about expanding past your comfort zone. Fran hardly speaks in the film, and when she does, you lean in to hear.
Honorable Mention – Wicked Little Letters
