Before we get into the Top 10, I’ll address the obvious. Yes, the picture above is of late great film critics Gene Siskel and Roger Ebert. Let me explain why it’s here. Early in my days of amateur film criticism, someone was so upset at my take on a film he obviously loved that he made a post referring to me as a “Siskel and Ebert a** n***a.” I’m sure it was meant to be an insult, but I didn’t take it that way at all. Why?
Because I never thought the day would come when anybody would read, let alone feel so strongly about, something I do as a hobby. To have that level of response means they read and digested my words.
So why did I feel the need to share this, and what does it have to do with a year-end list? I love doing this “Siskel and Ebert a** n***a” thing, err, talking about film, and truly appreciate every one of you who checked out any of the reviews I’ve posted this year and in past years, regardless of whether you agree or disagree with what’s said. I still have a long way to go and a lot to learn in film, but that’s the thing that keeps me doing it. I’m just here for the love of the game, although it would be cool to impress Oprah’s Book Club with a collection of my reviews, lol.
Seriously, I love doing this and love whatever support I get from y’all. So here’s to me continuing to be your friendly neighborhood “Siskel and Ebert a** n***a” in 2025 and beyond, and now on to the Top 10!
The films I have full reviews for are hyperlinked to said reviews, and the ones I haven’t reviewed have hyperlinks to the films’ trailers. Also, I couldn’t catch two movies I’m sure would be on this list, The Brutalist and Nickel Boys, but I’ll have full reviews for both after I watch them.
Denis Villeneuve added another masterpiece to his filmography with this one. If there was a flawless film in 2024, it was this one.
It wasn’t in the same class as the film it spun from, Mad Max: Fury Road, but it was head and shoulders above most of the big-budget films that dropped this year. Led by one of the year's better visual effects and sound editing jobs, Furiosa’s acting is just as elite with Chris Hemsworth's entertaining villain turn and Anya Taylor-Joy’s spin on the titular action heroine.
By far the most moving film of 2024. If your tear ducts need a workout, this one will give them one. The setting and circumstances, young women living with the incarceration of their fathers, are a downer. Still, co-directors Natalie Rae and Angela Patton mine the ugly to bring forth a story that is equally heartfelt and thought-provoking.
Sing Sing only hit 200 theaters in its initial release in July, but it’s heading back to theaters after a ton of well-deserved buzz this fall. I would trust anybody who didn’t have it in their top 10 list. Sing Sing approaches the issue of incarceration from a unique perspective that educates, entertains, and inspires. I’ll have a full review posted coming closer to the re-release date.
Simply having an in-depth look at the iconic but reclusive Luther Vandross was intriguing. The window Dawn Porter provides makes it endearing. A stark contrast to the journalist-led, gotcha unveilings of other music documentaries, Porter makes Luther a care package for fans and newcomers to Vandross built on warm anecdotes and honest takes on Vandross’s life and career straight from those who lived those moments with him.
The twins earned their movie-picking privileges back with this one. On the visual side, the animation is handpainted and looks like poetry in motion. The voice acting is also top-tier. Lupita Nyong’o makes Roz’s fish-out-of-water arc one of the most affecting in recent memory. Pedro Pascal perfectly compliments her with humor and heart as the crafty yet compassionate Fink. Wild Robot is a rare marvel that epitomizes family entertainment and is truly for all ages.
Flow is basically Wild Robot’s French cousin who went the CGI route instead of traditional animation and removed all human dialogue. That’s right – no single word in any human language exists in this film. So why is Flow special? The animation. The movements of the animated animals give all the cues/context needed to follow Flow’s universal themes of community, diversity, and courage. It’s ambitious, but it works.
The Substance hype has been in full force since its world premiere in May, and with good reason. With a blend of horror and reality-based science fiction, writer-director Coralie Fargeat delivers a timely film exploring the gratuitous use of weight loss drugs and the dilemma of beauty standards. It’s also one of the best shot and edited films of the year due to a style that’s a love letter to Stanley Kubrick.
Even without the extreme marketing blitz, Wicked deserved its spot at the apex of pop culture this fall. Underneath the Target collaborations, sing-a-longs, and must-have merchandise, Wicked stands on its own as a well-made film that is equal parts fun and socially conscious. Cynthia Erivo and Ariana Grande might be the only duo I can think of better than Jayson Tatum and Jaylen Brown.
Thelma flew under the radar during a summer that belonged to Inside Out 2, Bad Boys: Ride or Die, and Kingdom of the Planet of the Apes. Its earnest story centered on the real-life yet under-discussed targeting of our elders by phone scams gets your attention. However, the charisma of stars June Squibb and the late, great Richard Roundtree (in his final role) keeps you locked in.
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