MY FAVOURITE MOVIES OF 2024

As we bid adieu to 2024, it’s time to reflect on the cinematic gems that graced our screens this year. Compiling my top ten favourite movies was no easy feat, as this year gifted us with an impressive array of films, many of which were blockbuster sequels that defied the notion that follow-ups can’t match their predecessors.
I made a conscious effort to diversify my viewing habits, embracing more non-English language films. This broadened my horizons and introduced me to cultural narratives and perspectives beyond the usual offerings from Hollywood and the UK. As a result, several non-English films have earned their place in my top ten list.
Here are my favourite movies of 2024, ranked in order of preference. Leading the pack is Denis Villeneuve’s “DUNE: PART TWO,” which encapsulates the grandeur and artistry of great cinema and stands as a testament to the power of visionary filmmaking.
- DUNE: PART TWO
- ALIEN: ROMULUS
- GLADIATOR II
- EMILIA PEREZ (Spanish)
- A QUIET PLACE: DAY 1
- ALL OF US STRANGERS
- SOCIETY OF THE SNOW (Spanish)
- CHALLENGERS
- GODZILLA MINUS ONE (Japanese)
- CABRINI

Some other movies that did not make the list above but are worthy of mention are NEFARIOUS, PERFECT DAY (Japanese), THE SUBSTANCE, CONCLAVE, and more recently, ANORA. To be honest, the year also had its fair share of duds. Among the major disappointments were movies with high-profile personalities that just failed to meet expectations. These included Francis Ford Coppola’s extravagant flop, MEGALOPOLIS, the woke-ness overload of IT ENDS WITH US, Timothee Chalamet’s miserable attempt at singing and chocolate-making in WONKA, and Ti West’s disappointing final chapter in his horror trilogy, MAXXINE.
But the pièce de résistance of the worst movies of the year for me, goes to ace director Yorgos Lanthimos’s follow-up to the equally baffling Poor Things, KINDS OF KINDNESS. If Poor Things made you question your sanity, Kinds of Kindness will make you want to send your brain on a long vacation. It’s a hot mess of nonsense, and watching it feels like staring into an artistic black hole. The bigger crime here is how Lanthimos manages to get top-tier actors to play roles that would make any self-respecting thespian cringe. If this is what arthouse cinema has come to, I’d rather stick to popcorn flicks, thank you very much.