The Top Ten Films of 2024

It's time once again for HMC's annual round up of the films of the year. As usual the rules stay the same - to qualify for inclusion, each film had to have been shown in the UK for the first time during 2024, either at a festival, or as a cinema, disc or streaming release. Big budget studio successes don't get a look in, but big budget studio flops are fare game because those flops might be undeserved. Also as usual, while I didn't get to see everything this year, hopefully there will be enough amongst these recommendations that even the most seasoned of film enthusiasts will find something they didn't have the chance to catch up with.

Bubbling Under

First, let's have the films that didn't quite make the top ten but which I thought were highly worthy of mention anyway:

Boy Kills World

"Do you know how hard it is to get a cereal company to sponsor mass murder?" There are parts of BOY KILLS WORLD that reach near-ROBOCOP levels of satirical violent SF perfection, and I found myself hard pushed to think of another film I've enjoyed as much on the big screen in the same way since the Verhoeven classic. The script is witty, the camerawork is kinetic while never resorting to shakicam confusion, and the choreography of some of the fight scenes is something else, with the highpoint being a set piece of utter carnage at a television studio.

Monkey Man

A bloody excellent action revenge thriller, with the emphasis on the bloody. And the excellent. It's Dev Patel's first film as a director (he also stars) but everything is executed so perfectly you'd be forgiven for thinking he's been doing this kind of thing for years. In a nice bit of 'reverse inspiration' the villains are right out of Hindi/Bollywood cinema (and splendidly portrayed), while the action scenes are excellent. The best thing about it, however, is that whereas a comparable film like JOHN WICK feels like a movie directed by a stuntman (and I don't mean that disparagingly - WICK is a classic), MONKEY MAN is a film made by a storyteller with an effortless feel for narrative. No info dumps, no awkward exposition, just a good story told really well. In fact it gets everything right. Patel's character even has a dog. Does it die? Didn't I just say this film does everything right? And well done to (producer) Jordan Peele for rescuing this from its planned streaming release and getting it into cinemas.

Longlegs

Oz Perkins' first film to get a proper multiplex UK cinema release is a superbly creepy serial killer thriller. Nicolas Cage is (arguably) at his most terrifying as the titular character whom FBI agent Maika Monroe is on the trail of. It's not quite as gorgeous or weird or visually arresting as his previous GRETEL AND HANSEL, but as a bid for the mainstream while maintaining integrity as an auteur this is satisfyingly unique and uniquely terrifying in places. The only people who might be disappointed will be those unfamiliar with Perkins' oeuvre and if that's you, start with 2015's THE BLACKCOAT'S DAUGHTER (aka FEBRUARY) and work from there.

Civil War

There's something rather brilliantly British about Alex Garland's CIVIL WAR. The trailers promise an almost Marvel-style action picture whereas in fact this is much more informed by things like Terry Nation's Survivors, the second half of HG Wells' War of the Worlds and (yes) THREADS. As the film went on a part of me wished there was no dialogue at all, just a dispassionate voice-over narration like that employed by Peter Watkins in his classic (and somehow similar in feel) THE WAR GAME. The film takes no sides because it doesn't need to. It's a journey through madness and death where there are no winners. Scenes of utter horror are played out in jolting juxtaposition against the beauty of the American landscape and some of the imagery is by turns starkly cold and emotionally wrenching. Ignore the negative reviews, this is a future classic and a remarkable piece of speculative cinema about the world we're living in right now. Quite possibly Garland's best.

Ok those were the runners up. Here we go with my top ten list of films from 2024 that I think are highly deserving of attention. 

10 Lord of Misrule

An engrossing, well made folk horror picture that gets so much right it's a joy to watch. The production design and set dressing are wall to wall creepy and there are fine performances from the leads, with Ralph Ineson playing the leader of the Pagans and a bunch of British character actors who look born to play weird villagers. The literate script that deals with the Christian versus Pagan religion is by Tom DeVille, best known to readers here for his 2000 TV anthology series URBAN GOTHIC.

Guiding everything with a sure and steady hand is director William Brent Bell. I've previously likened Bell's style to some of the better British B horrors of the 1960s like Don Sharp's WITCHCRAFT and LORD OF MISRULE may well be his best film yet. It's assured, creepy and doesn't miss an opportunity for a well-orchestrated scare or a chance to build creeping unease.

9 Schlitter - Evil in the Woods

When he was a boy, Lucas was witness to his brutal lumberjack father accidentally running over Lucas' best friend Matthieu. Years later he is summoned back to the family home after a fire has destroyed it and two charred corpses have been found within. Matthieu's father never found out how the boy died and he seems overly willing to help Lucas and his friends. Is he as friendly as he seems? Is he actually wheelchair-bound? And doesn't he seem to have an unnatural penchant for designing complex animal traps?

A highly entertaining, gory, revenge-driven horror thriller from France, the title smacks of comedy but schlitting apparently refers to the lumberjack practice of shifting logs using a sledge. That said, while SCHLITTER is played dead serious, if you're the kind of person who can chuckle at the cheekily outrageous excesses of a SAW film this is going to be right up your alley. In fact while SAW has Jigsaw, Schlitter's villain could perhaps be nicknamed Bandsaw.

8 Immaculate

A great, gory, EuroShocker in which a nun travels to a remote convent and finds herself pregnant by supernatural means. The film cranks up the crazy about 30 minutes in, and the final act is just barnstorming, with all kinds of stuff that it would be too spoilery to mention here. If you're a nunsploitation fan you'll probably enjoy the fight in the bath, and the film even manages to inject some politics into all the mayhem and get away with it. Sydney Sweeney is excellent in the lead (she'd not really registered with me until this) and seeing as this was apparently a passion project for her she now has my full attention. Will Bates provides an effective music score that is half Lost Hearts hurdy gurdy and half James Horner's NAME OF THE ROSE, and we even get the theme from Bruno Nicolai's score to THE RED QUEEN KILLS SEVEN TIMES while the nuns are hanging out the washing. Marvellous. 

7 Love Lies Bleeding

A fantastic noirish thriller that's arguably even better than director Rose Glass's excellent SAINT MAUD, thanks to a great cast of familiar faces (Kristen Stewart, Jena Malone, Dave Franco and Ed Harris with his Fried Barry hairstyle) and at least one new one (Katy O'Brian), an intriguing plot and some really great directorial touches that embrace the weird, the psychedelic and especially (for me anyway) the gothic. There are touches of Cronenberg, Lynch and Refn in here but Glass is too good a director for any of that to feel derivative. 

6 The Coffee Table

A film that displays some of the broadest swings between humour and horror ever put on screen. Many, of course, will not find the film funny at all and it likely takes a very special kind of black sense of humour to appreciate it. I'm not going to say what happens but suffice to say Caya Casas' THE COFFEE TABLE is likely to make as many 'Best Of' lists as 'Most Hated' lists purely because of how skilful it is at achieving what it sets out to do. I thought it was brilliant in its excruciating execution and I'll leave it at that, I think.  

5 A Different Man

I was a big fan of writer-director Aaron Schimberg's 2018 CHAINED FOR LIFE and his new film, A DIFFERENT MAN, is even better. Sebastian Stan plays a man with severe neurofibromatosis who is given a cure. Assuming a new identity he then tries to get a starring role in a play that, unbeknown to everyone else involved, is all about him, but finds that at every turn both in the play and in life he is upstaged by the constantly upbeat Oswald (real-life neurofibromatosis sufferer Adam Pearson from UNDER THE SKIN and CHAINED FOR LIFE). Stan and Pearson both deliver Oscar-worthy turns while some of the subject matter (and especially the 'strong sex' bit) will probably ensure A DIFFERENT MAN won't get anywhere near that particular awards list. By the final shot I was thinking 'this is so excruciating it's just like a Ramsey Campbell comedy' as it cut abruptly to black.

4 Joker: Folie à Deux

Is this the most misunderstood and inappropriately maligned movie of the year? I liked JOKER but JOKER FOLIE A DEUX takes things to a whole other level, or rather levels because this is a film that needs a few viewings to take everything in. It's like they kept offering Todd Phillips more money to make a sequel until he said 'Ok, but you're not going to like it'. I half expected him to appear at the end saying 'Well what did you expect this was going to be like?' Of course it wasn't going to make a profit. It's a $200 million deadly serious art house project, and a glorious one at that. Years from now there will be essays unpicking every scene, every nuance, every thing it has to say about comic book movies (and the fans thereof) and likely provoked exactly the reaction amongst many that it was intended to. The reaction to it this year has felt much like the reaction to John Carpenter's THE THING in 1982, and I wouldn't be surprised if it takes 20 years for it to start getting the recognition it deserves. Marvellous.

3 The Substance

There's the flavour of fairytale to Coralie Fargeat's THE SUBSTANCE, the story of an older woman who wishes she was younger and believes she is willing to pay the terrible price to achieve that wish. It's a great, complex, visceral piece of work, one so skilfully told that its runtime doesn't feel anything like its actual 141 minutes, and, as alluded to by many, it does indeed go completely insane in the final act. It's also extremely funny, with frequent moments of grotesquely gleeful hilarity comparable to the very best of South Park, especially the climax (I couldn't stop chuckling). As such it definitely won't be for everyone but if you love body horror, Peter Jackson's early gorefests, and the concept of large numbers of people being hosed down with blood you'll have a very good time with this.

2 Dead Talents Society

A frenetic, next level WHAT WE DO IN THE SHADOWS from Taiwan about ghosts and the highly competitive lifestyle many of them seem to end up 'enjoying' in the afterlife, filmed with the manic energy of Joseph Khan's DETENTION and easily as funny as both. No idea if a UK release has been secured yet but if you enjoyed either of those films (and especially if you loved both) this one's a must see.

1 Blink Twice

Regular readers will think I might be biased in awarding the number one spot to the film with the strongest Jess Franco vibe of the year (and there were others), but there's  so much to love and appreciate about Zoe Kravitz's directorial debut that if you haven't seen any of the films on this list this is the one you should start with. If you do love EuroHorrors of the 1970s you'll find plenty of touchstones in this, from the posh island location run by blokes you just know are rich perverts, to the two girls dropped into that very situation where they realise something is just wrong, to the fact that BLINK TWICE isn't even the film's original title - distributor Amazon apparently forced director Zoe Kravitz to change it from her preferred title of PUSSY ISLAND very late in the day (now there's a Franco - or even a Joe D'Amato - title for you). It's the film DON'T WORRY DARLING could and should have been, but it's actually much more than that, with a fine cast of familiar faces amongst the support (Christian Slater, Haley Joel Osmont, Kyle MacLachlan, Geena Davis) and best of all some truly inspired direction from Kravitz leading to moments of soul-squirming weirdness and dread.

And that's it! As always, many thanks to the festival organisers, the companies who send me films to review, everyone involved with running the cinemas we are lucky enough to have in this area, and most of all everyone who reads, and is hopefully entertained by, these reviews. Once again my desk is piled high with discs awaiting review for next year, but until then this is me signing off. Be nice to each other & House of Mortal Cinema will be back in 2025.