Before shifting our attention to everything to be released in 2025, we must look back at the year that was. 2024 was a very yin-and-yang affair for the film and gaming industry. As some of the greatest stories in the last year–dare I say some of the best of the decade–the game industry faced mass layoffs as the film industry faced low box office turnout all year. Much of what’s affecting both industries is tied to the after-effects of the pandemic, as fewer and fewer people are spending their weekdays at home. Game companies, amidst mass mergers and purchases, haven’t reaped their rewards from their opportunistic endeavors, with many hoping–borderline assuming–that gaming would continue the upward trend the pandemic started. Naturally, those trends were not feasible, and now the employees, not the companies themselves, are paying the price. The film industry faced a similar cycle in 2023 and throughout 2024, as guilds went on strike to earn better wages and benefits from their employers.
It hasn’t been an easy few years, to say the least. However, attention returns to those who thrive despite those challenges, with genre-defining games, movies, and TV shows that had time in the spotlight throughout 2024. This even includes stories from years past, providing a never-ending circulation of beloved and under-the-radar classics to view and reminisce. Stories are always told, and that’s exactly what makes them and the industries that tell them regularly so beautiful.
It should come as no surprise that one of the greatest shows ever made returned with as much grandeur and prowess that it strolled up to the scene with. The action, characters, and worldbuilding remained top-notch as the struggles between socioeconomic classes clashed in Piltover one last time. However, while it arrived with such a large precedent, the pivot to a greater narrative was a little worse for wear, harshly colliding with the tight-knit grounded narrative people were familiar with. Don’t get me wrong, Arcane’s second and final season has all the high moments of the first alluded to (hence the 9 out of 10). However, the limitation of having only one season left to bring the story to a fitting conclusion was simply too much for an already bloated narrative to bear–a crying shame when it remains so well-executed. Arcane is available to stream on Netflix.
“Arcane's second season is not the first. It has its setbacks but it tried its hardest to rival the first season through sheer ambition and artistry. Those risks ultimately pay dividends, and help the series go out with the bang it deserves.”
Growing up in a generation where transparency and nostalgia are the predominant ways we escape the world’s doom and gloom, Dìdi is a succinct and ample representation of what we once loved about it. There was a time when the internet wasn’t a constant cesspool of information and banter, but instead filled with chatty and respectful teenagers who just wanted to connect with others. In the mid-2000s, the internet was also an incredibly inspiring and exploratory platform for creatives and delinquents to share their ideas, giving rise to the media giants who try to control our everyday feeds. Sean Wang’s directorial debut is a nostalgia trip to the past–his past, to be more specific–and a love letter to the internet and familial connection. It’s incredibly heartfelt and childish, but what it says about the state of the world now and way back when is enough to make you reminisce about the good days you’ve had. Dìdi is available to stream on Prime Video.
“Whenever you get to see an independent film in theaters, you take pride in experiencing something experimental or unconventional. Dìdi is exactly that and then some, making Sean Wang a director to look out for in the coming years.”
After a very dry and uninteresting couple of months, Dune: Part Two arrived as the event of the season. It captivated audiences and the internet in ways very few movies could, especially in an era where IPs and sequels are all people can talk about. Granted, Part Two is both of those things, but it differentiates itself by sheer passion and craft. Dune is a behemoth of a story–one that David Lynch couldn’t even amply cover in one movie–so director Denis Villeneuve split it in two. He needed someone to give a space epic its due justice, so they hired cinematographer Greig Fraser. The point is that this second half rocks, arguably more than the first did, and does the novel justice by making it captivating and entertaining in an entirely different medium. It has its moments that draw out for too long, but the film makes sure to reel you back in before everything goes down. Dune: Part One and Part Two are available to stream on HBO Max.
“Aside from occasional divots due to how extensive and three-dimensional the narrative becomes, Dune: Part One and Part Two provide a masterclass in visual filmmaking, splitting the novel it’s adapting in two for a more cohesive end product for audiences to engross themselves in. Villeneuve’s duology is well worth seeing on the big screen to discover what movies are capable of when combining the best the industry offers in one package–a prospect well worth cherishing regardless of whether there’s more to offer in the future.”
I paired these two films because I have held them in similar regard. Both cover the ins and outs of love and all its problems and compromises, which makes them incredibly relatable and gripping to watch. With Hit Man, Glen Powell’s Gary encapsulates what it is like for someone who wishes they were more than they are chalked up to be. Gary uses his job as a fake hitman to try out different personas, ultimately becoming a more confident and attractive man after his first encounter with Adria Arjona’s Madison. The sexual tension and subjectivity is by all means intentional, and speaks in a manner that I deeply connected with. Hitman is available to stream on Netflix.
On the flip side, there’s Tobias and Almut–played by Andrew Garfield and Florence Pugh, respectively–who encapsulate what it is like to love and be loved by someone. The leads show the audience the highs and lows life brings, and how those who we stick around and help us enjoy life make it all worth our while. Movies like these won’t be everyone’s cup of tea, but for someone who always finds introspection in the right kinds of love and romance stories, these two ascertained my subconscious thoughts and feelings about my life and the world around me. We Live in Time is available to stream on HBO Max.
“Linklater’s Hit Man rests on the good side of romance stories–better yet, romance comedies–to create a narrative people could believe and admire the faults in the core characters and how they resolve them.”
“At a time when many look within and reflect on what has and could be, We Live In Time and its stellar leads offer a retrospection through love and connection, soothing the heart and soul in the best of ways.”
I was skeptical of Shogun’s upon its announcement. Hollywood has tried and failed many times to accurately depict Eastern history…because only those who are versed in their heritage and culture could bring it up to standard. Then, reviews rolled out, and I gave the series a shot. Boy, what a great decision that was.
Much like my review, the series is incredibly poignant about what it wants to accomplish. It compromises its Western-based production by exploring 1600s Japan through the eyes of an Englishman and the Portuguese who arrived in Japan, their self-proclaimed territory, to spread the knowledge and practice of Catholicism. The series also starred Hiroyuki Sanada as lead actor and producer, which provides the series its much-needed attention to detail to Edo-era politics and culture. There is a civil and religious war at play, with Lord Toranaga being the perfect mediator between the conflict and the political tactics to make it happen. Couple that with an incredible supporting cast and the grippingly troubled narrative surrounding Mariko, and FX helped create the recipe for yet another TV spectacle. Although there are talks of a second season, the series has already come to a fantastic and soundly conclusion. My take: don’t ruin it. Shōgun is available to stream on Hulu.
“The scale and grandeur of the narrative and its setpieces invoke moments of pure awe and captivation, which very few series in the modern era capture from start to finish. Very few shows achieve or finish what Shōgun has in one season, and that is an accolade more than worthy of applause in an era in filmmaking that needs it now more than ever.”
As someone who champions animated storytelling, who could’ve thought my favorite 2024 release would have been an animated film? It does everything I love about the medium–colorful and scenic landscapes, smooth-as-butter animation, and a story best suited for it–and injects it with immersive cinematography, a fantastic score, and gut-wrenching plot and character developments. It’s been a while since I’ve left a theater (or couch) amazed at what I had just witnessed. The Wild Robot is that special to me. It was one of two films from this year I will remember seeing in a movie theater for a long time (and we’ll get to the other in due course). I hope the Oscars (or an equivalent awards ceremony) does the film justice because the masses should not ignore or overlook something as spectacular as this. Ever. The Wild Robot is available to stream on Netflix.
“Despite marking itself as Dreamworks' last in-house production, The Wild Robot is a fantastic send-off for the occasion and must be seen to experience the everlasting magic of animated storytelling.”
My parents have a well-established history with Indiana Jones. Both love the franchise, and I still have my dad’s Temple of Doom poster hung at home. Yet it wasn’t until 2024 that I gave it a crack and was incredibly impressed by what I witnessed. So much of Spielberg’s early filmography stands tall all these years later, with Jaws and Close Encounters of the Third Kind being a couple of prime examples, Raiders aside, of his skills and prowess as a director and storyteller.
Case in point: Raiders features one of the best-performed stunt sequences in film history, and cements Indiana Jones as an iconic character and intellectual property. Watching Indy crawl his way under a moving vehicle to reclaim it from the Nazis had my jaw on the floor, being one of many moments in the film where I wondered “How did they do that?” Raiders is a perfect artifice for old-era Hollywood and the techniques that came with it. They may not make them like they used to, but Raiders helped lay the groundwork for where narrative filmmaking and storytelling are now…for better and worse. Raiders of the Lost Ark is available to stream on Disney+.
I have a self-imposed history of watching movies out of spite for new releases or iterations of the material. I’ve done it with The Little Mermaid, plan on doing it for How to Train Your Dragon, and have (unintentionally) done the same with Gladiator. What’s most fascinating about this movie is its portrayal of the Holy Roman Empire–a piece of global history rarely touched by American history classes (among other historical periods). Naturally, my eyes were glued to the screen with excitement and anticipation as Maximus was stripped of his military ranking before fighting back to the top of the food chain to avenge his wife and child. It’s obvious director Ridley Scott is an incredible filmmaker. But his recent run of form is a shallow piece of the puzzle that made him a household name in late-twentieth-century Hollywood. Napoleon was a miss narratively despite its spectacular setpieces, and Gladiator II seems to fall victim to the same. That said, his recent releases give newcomers a chance to visit his previous works, showcasing the talent he once had.
With Gladiator, Scott and Crowe also had a knack for improvisation, adding and removing details as needed to further refine the film’s narrative. If you want to know how that came to be, check out CinemaStix’s video on the matter. It may or may not have compelled me to see the picture for myself (thereby making the aforementioned connection to its sequel’s release, indeed, irrelevant). Gladiator is available to stream on Paramount+.
Disney may have mishandled Nimona, halting production after closing Blue Sky Studios and criticizing the film for allegedly overstaying its welcome with its predominant gay couple. However, their greatest travesty was giving it to Netflix as one of 2023’s best (animated) films. It’s a fantastic ode to love, friendship, trust, and mental health, with the ladder being the film’s most profound and everlasting message.
Often, stories reflect aspects of the world that are not always prevalent in people’s minds. But Nimona tackles them concisely and understandably. People fear what they don’t know or understand, so having a shapeshifting protagonist embodies those who feel ousted and excluded by society. Better yet, the film does it so boldly, unafraid to make its audience uncomfortable with its subject matter to better illustrate its characters and messaging. Nimona is available to stream on Netflix.
“Despite a slowly paced first act, the outstanding themes of mental health, suicide, racism, classism, homosexuality, loneliness, and society’s fear of the unknown brought its source material to a new level–a bar many might find hard to match in years to come.”
I often respect and admire two things about artists: how they get creative with their work and the story behind it. Style Wars documents the graffiti littering early-1980s New York City and the people and culture that surround it. It alludes to larger establishments cracking down on one’s creative vision and ambition to tell a story, with graffiti artists openly rebelling against those who wish to stop their antics. Society often condemns creativity without ever realizing it, especially as it is a medium that’s difficult to make a living from in modern times. Yet that same society never gives creativity a place to call home, with street art and graffiti perfectly encapsulating the dilemma. Everyone wants to tell a story for themselves or the culture they represent, and if we allow it to be condemned and removed, our culture will grow shallow and our world’s heritage will fade. That’s what’s at stake in modern times and what Style Wars makes a case for. If you are in any way a creative individual and admire art, this documentary is for you. Style Wars is available to stream on Tubi.
Brad Bird’s filmography has always perplexed me. The Iron Giant, The Incredibles, and Ratatouille are his trifecta–three films impeccably articulating the state of the world and how people perceive it. However, he would never create a universally acclaimed film, animated or otherwise, after the fact…which is astonishing when his work is so heartfelt. And while I feel The Incredibles is not the best of his filmography, it plays an impeccable counterpart to The Iron Giant’s post-war introspection. Both films look at how the world is and what people expect of each other differently, but the subtext is turned up to eleven amidst sequences that younger audiences can enjoy. In The Incredibles, Bird discusses masculinity, purpose, and alleged love affairs in ways that no other film could, let alone one intended for all audiences. So it may not be my favorite, but it remains a legendary centerpiece to Brad Bird’s filmography in comedy, drama, tension, and subtext. The Incredibles is available to stream on Disney+.
Christopher and Jonathan Nolan are two of the best writers and directors working in modern-day Hollywood. The two have already had an amazing 2023 and 2024, with Chris hot off his awards season run with Oppenheimer and John receiving praise and acclaim for Fallout. Yet, on the 10th anniversary of their last collaborative effort, and its proceeding IMAX re-release, Interstellar stuns in a way no other film in their filmography could. The pure spectacle of it all, especially on an IMAX screen, is jaw-dropping. Space is a vast frontier that has been fantasized about the world over, but the Nolans’ fascination with time and space doubles down on what we all see written among the stars. It culminates in a father-daughter story quite literally played across the Cosmos that dings every bell and pushes every button it needs to for the audience to laugh and cry about what transpires.
A friend once told me there is life before watching Interstellar, then life after the fact. I wholeheartedly agree with him. I can’t wait to see how it holds up on a re-watch (especially considering I saw it for the first time at a packed IMAX screening), and I am still intrigued by the lack of best screenplay or best picture nods during its awards season when it aged like fine wine since its release. Interstellar is available to stream on Paramount+.
(Honorable mentions go to Oppenheimer, Tomorrow and Tomorrow and Tomorrow, Balatro, and Tears of the Kingdom for fantastic experiences that had to be left on the cutting floor because one was featured in last year’s list, and the other three were not completed before the year exited but are all fantastic at what they do.)
© Creative Insight 2024
