2024's Must-See Films: From Gory Horror to Dystopian Visions

Before we jump in, I’d like to give a shout-out to some honourable mentions that didn’t make the final cut. Poor Things, Anora, Wicked Little Letters and Gladiator 2 were all great and definitely worth a watch. Films I didn’t see that could have potentially made the list: Zone of Interest, Conclave and Super/Man: The Christopher Reeve Story all looked right up my street. Sacrifices had to be made and my Wicker Man gets bigger each year.

10. A Different Man

Aaron Schimberg’s black comedy is a cautious tale of getting what you wish for. Struggling actor, Edward, (Sebastian Stan) suffers from neurofibromatosis with his face disfigured by benign tumours. After undergoing an experimental medical procedure, his tumours heal, revealing the chiselled money maker of the film’s lead. It all goes well at first. However, what follows is a scathing yet comical critique of beauty standards, casting controversies and wish-fulfilment fantasies. A Different Man also stars Adam Pearson as Oswald, the real-life inspiration for the character of Ed. His genuine warmth permeates the screen, forming a beautiful chemistry with Stan with a hilarious naivety of how antagonistic his presence is to Ed. It has been a good year for Stan who has proven he’s more than a pretty face. Meanwhile, Pearson shows that Hollywood looks aren’t required to deliver a compelling and likeable performance.

9. Heretic

Anyone who considers Heretic a comeback for Hugh Grant hasn’t been paying attention. Not only has his career been fairly consistent; he has been killing it in recent years with scene-stealing performances in The Gentlemen and Dungeons & Dragons: Honour Amongst Thieves (which criminally underperformed at the box office). Still, the often loveable goof dials up the creepiness here as Mr. Reed, a psychotic atheist intent on testing the faith of his two Mormon prisoners (Sophie Thatcher and Chloe East). Heretic boasts a small and effective cast with directors Scott Beck and Bryan Woods delivering a masterclass in tension. You constantly scream for the protagonists to run while they slowly wander further and further into Mr. Reed’s trap. The first half of the film is so flawless that one worries the third act will only disappoint. While there is certainly a dip in the suspense as the plot becomes a little convoluted, it doesn’t detract from a great film.

8. The Iron Claw

The tragic story of the Von Erich family is well-known among wrestling fans and, with The Iron Claw, Sean Durkin introduces their harrowing trials and heartbreak to a mainstream audience. Kevin Von Erich (Zac Effron) is the eldest living son of Fritz (Holt McCallany) – a professional wrestler bitter over not winning the NWA Heavyweight Championship. Kevin struggles to appease his father, who is hard on all his sons and lives vicariously through them by pushing them into the ring. The brothers, seemingly cursed, have their own demons to battle as despair continues to hover over the family. The Iron Claw is a grim tale with powerful, yet understated, performances. It wasn’t an Oscar contender, but it will leave a lasting impact.

7. The Substance

Coralie Fargeat wasn’t short of job offers after 2017’s brilliant Revenge. Rejecting offers to direct big studio films, the French filmmaker concentrated on a project that she would have more creative control over. On paper, you wouldn’t blink if The Substance appeared directly on streaming. It was body horror. Demi Moore starred, and Dennis Quaid was in a supporting role. Both are fine actors that have continued to work but they’re stars of yesteryear. Well, Fargeat isn’t stupid. What follows is a gloriously gory horror movie with thematic similarities similar to A Different Man with its Jekyll and Hyde influences. Here, the “Hyde” figure is Margaret Qualley, a younger and more marketable version of Moore, who goes through an agonisingly violent transformation to birth this younger persona. The movie is heavily sexualised through a female gaze creating a deliberately uncomfortable viewing experience for the audience as shots linger in close-ups. Like a man being caught staring at a woman in the gym, here he can’t look away once he’s been caught. With a strong feminist commentary and award-winning performances (most notable by Moore), there is a dark humour to the film which spills over in a gloriously over-the-top climax. If you have misophonia, consider this a trigger warning. Check out our full review here.

6. Speak no Evil

Yes, it’s frustrating when a foreign movie gets the remake treatment before audiences even have time to make a cuppa. Especially in this case as the Danish-produced Speak No Evil was mostly in English and only released in 2022. However, director James Watkins doesn’t disappoint. Speak No Evil follows Ben and Louise as they befriend a couple on holiday (James McAvoy and Aisling Franciosi). Their children also become friends and to save their failing marriage, Ben and Louise take Paddy (McAvoy) to accept Paddy’s (McAvoy) offer to visit his farmhouse. As you’d expect, not all is as it seems with Paddy becoming more and more unhinged with terrifying consequences. You’ll scream at the family to “get out” as they continue to make poor decisions, leading to a brutal showdown for survival. McAvoy is brilliant as the sinister Paddy, charming yet psychotic, he switches between moods with unsettling ease. Fans of the original will still find much to appreciate here even if they prefer the original’s ending or overall tone. This is no mere cash-in as Speak No Evil is a tense nightmare that will leave viewers glued to the screen, wondering when they last exhaled. Check out our full review here.

5. Cuckoo

Speaking of European horror, Tilman Singer’s wonderfully deranged Cuckoo is full of terrifying fun. Set in a holiday resort in the Bavarian Alps, the film has a slow burning intensity that boils over into a macabre madcap third act. Hunter Schafer (Gretchen) appears to be the only sane person in the asylum as spooky goings on permeate the grief of losing her mother. With strong themes of motherhood, Cuckoo packs an emotional punch albeit with a gruesome plot. Dan Stevens is having an absolute blast as Herr König, the mysterious report manager who is clearly up to evil things. Filled with atmospheric dread, Cuckoo didn’t benefit from a strong marketing campaign that other indie horrors utilised which led to it flying under the radar of most. Hopefully, it finds its audience on home release.

4. Terrifier 3

The story of Damien Leone’s Terrifier series is the stuff of fairytales. Art the Clown’s rise from fringe slasher icon to box office superstar has been nothing short of meteoric. While the first movie lacks in plot, it establishes Art (David Howard Thornton) as an imposing presence. Terrifier 2′s critical and commercial success raised expectations for the third entry. The movie continues the world-building set-up in the previous entry. Sienna (Lauren LaVera) is our final girl, destined to eventually destroy the maniacal clown. The film’s third act has a showdown which Halloween Ends can only be envious of. Behind Art is the Little Pale Girl, a satanic puppet master to our black and white demon. Terrifier 3 is the goldilocks of the series. With too little plot in the first, and arguably too much in the second; Leone’s latest flick gets the balance just right. Don’t think that box office success has made him soft. Terrifier 3 is filled with gruesome kills and enough sadism to make Caligula squirm. Oh, and did we mention it is a Christmas film? If you’re desensitised to Kevin McCallister torturing burglars, check what Art has in his sack for you.

3. Late Night with the Devil

It’s almost mandatory to begin any review of a found footage movie with “the found footage genre has been done to death…” And, while this is true, there have also been some brilliant movies post The Blair Witch Project such as Chronicle and [Rec]. Even in 2024, we are being treated to such delights as Late Night With the Devil. The stage this time is a late-night talk show with the host Jack Delroy (David Dastmalchian) looking to boost ratings by having a possessed girl on. As you can imagine, things do not go to plan and hijinks follow. Directors Colin and Cameron Cairnes frame the movie as a documentary investigating the events of the episode. With fast-cut archival footage to start us off, the film wastes little time in building dread as unexplained tragedy plagues the broadcast. It’s great to see Dastmalchian in a lead role and he commands the part with aplomb. The filmmakers craft an intriguing backstory that adds depth to the unfolding events. An exceptional film in a subgenre that is often maligned. Check out our full review here.

2. Abigail

It’s such a shame that the marketing of Abigail spoiled what could have been a brilliant twist. Imagine watching From Dusk Til Dawn not knowing it involved vampires (like my dad did, thinking a different film was taped over the original). What starts as a run-of-the-mill ransom story quickly changes into some of the most fun you’ll have this year. The titular character played by Alisha Weir, will pirouette into your heart before ripping it out for lunch. It boasts a brilliant ensemble cast including Melissa Barrera, Dan Stevens and Giancarlo Esposito. Barrera and Stevens have brilliant chemistry as the latter swans about like he’s the smartest person in the room, only to be terrorised by the small ballerina. Barrera’s empathy grounds the film with a much-needed sense of humanity, giving us a character to root for, even as we find ourselves drawn to Abigail. The result is a blood-soaked spectacle punctuated with witty dialogue.

1. Civil War

While much fun was had in the cinema in 2024, the film that clinched the top spot for me was anything but a laugh riot. Alex Garland’s cautionary tale is an unflinching glimpse into an all too possible future. Told through the lens of war journalist Lee Smith (Kirsten Dunst) as she documents the last days of a devastating American civil war. It’s a cold and unflinching portrayal, focusing less on the combatants themselves and more on the brutal reality of US citizens fighting to reclaim—or defend—their country. We see aspiring young photographer Jessie’s (Cailee Spaeny) empathy erode as she looks to emulate Lee. While Garland isn’t subtle in the messages he is conveying, the parallels to real life aren’t coincidental. Garland doesn’t fly a flag with either side with little emphasis put on the political rights and wrongs. The winners, and losers, are patriotism. Civil War is designed to provoke discomfort. It isn’t a fun date movie, but it is a masterfully dystopian nightmare with a career highlight by Dunst. Despite their differing interpretations, viewers on both sides of the mainstream political spectrum seemed to agree on one thing: the film’s unsettling effect.