The Fall Guy (Directed by David Leitch)

I was as surprised as anyone to find my old and tired cynical cinema shoulders enjoying this incredibly fun, and silly, adventure romp inspired by the 80s TV show. Ryan Gosling steps into Lee Majors’ shoes as a stuntman who gets drawn into a crime world and uses his on-set fighting experience to tackle bad guys both on, and off, a movie set. Emily Blunt as a film director and Gosling’s ex provides a romantic but strong and hilarious foil for our lead and as summer Hollywood hits go, it may just be the witty tonic needed right now. Never trying to be what it's not - it simply gives us Gosling and Blunt (and an over-the-top turn as a Cruise-style-actor from Aaron Taylor-Johnson) playing excellently off each other in a throwback to the unpretentious rom-com-action blockbusting of the past.

Oddity (Directed by Damian McCarthy)

Off the back of one of my favourite recent horrors Caveat (our review) comes McCarthy’s second feature which again sees the director take horror staples and add unique new twists. Here, a blind medium who grieves for her sister visits the home where the death occurred, bringing with her a wooden mannequin to help uncover the truth. It’s a raw and different take on the typical couple-in-a-country-house fright flick, with Carolyn Bracke as the standout by playing both sisters and adding depth to the film’s intense atmosphere. With jump scares sitting nicely with a consistently grim tone, it’s only 98 minutes long but each one more unsettling than the last.

Love Lies Bleeding (Directed by Rose Glass)

Kristen Stewart as a shy gym manager and Katy O'Brian as a bodybuilder centre this follow-up feature from Rose Glass as we see a passionate lesbian relationship develop before they get drawn into a world of crime. With the use of steroids increasing, the anger and tension rises as violence begets violence owing to a history of family abuse and retribution. With two leads at the top of their game and Ed Harris delivering his best villain in years, its fascinating tale of love and hate delivers pulse-racing visuals. A polarising ending turned off as many as it turned on but as a metaphor of delivering ‘big’ justice, totally works in context. It’s a sweaty and forceful film full of body-altering brawn, yet at its heart focuses on women’s strengths in all their forms.

Conclave (Directed by Edward Berger)

A phenomenal performance from Ralph Fiennes is the main draw in a film that focuses on the internal machinations of a Vatican vote for a new Pope. Despite a downside being its similarity to Ron Howards’ Angels & Demons, this film’s solemn examination of faith and duty is in fact a (hidden) world away from that surface-level blockbuster. And as Cardinals jostle to find support, Fiennes’ stoic leadership of the papal conclave is set against the seedy underbelly of the Catholic church game-playing. The lush cinematography supports its stupendous ensemble cast yet it's always Fiennes’ show. His furrowed brow and brilliantly subtle glances personalise a film where the conflict between ambition and secrecy leads to a hugely satisfying watch.

Snack Shack (Directed by Adam Rehmeier)

Amongst the horrors, killings and dark dramas of 2024, a film came along that was joyous teenage fun and felt like a balm to our contemporary stresses. Snack Shack is a 90s-set coming-of-age comedy starring Conor Sherry and Gabriel LaBelle as friends who run a food stall at a local pool over summer. Refreshingly, we see these youngsters toiling hard to achieve their goals - even with their sometimes shameless shady practices - and despite their differences realise they achieve much more working together. Great support comes from Nick Robinson as an haunted older brother figure and Mika Abdalla as a girl-next-door who the boys want to, but often fail, to impress. Friend fights, upset parents and fleeting summer love are all done in a warm and engaging style without ever getting too sentimental or rose-tinted. It explores the foibles of growing up and by showing constructive young men having fun running a successful business it stands unique against many modern teen films with its enterprising outlook and go-getting message.

The Greatest Night in Pop (Directed by Bao Nguyen)

After the UK Band Aid single helped raise money for famine-affected Africa, American artists were inspired to create their own charity song and it was 80s pop musician Lionel Richie who held the reigns to pull off this awe-inspiring undertaking. Richie’s ingenious pre-internet planning used the coming together of artists at the American Music Awards - where he also hosted (!) - to get the big name singers in town over to a studio to record vocals after the show. With Quincy Jones’ sad passing this year, it’s great to be reminded of his genius where we see him in his element shepherding the group to produce, record & mix the song in one special night. A difficult task but boy does he deliver. Richie is humble, hardworking and hugely important to get the record complete and the behind-the-scenes footage is fascinating as we witness everything from Springsteen’s raw voice, Cyndi Lauper’s noisy earrings, Michael Jackson when he was still half-normal and Diana Ross not wanting things to end even at 6am. And Stevie Wonder’s lighthearted moments - a self-depreciating blind joke and his spot-on impression of Bob Dylan - is a candid and wonderful symbol of a night that pushed superstar egos aside to help others less fortunate.

The Bikeriders (Directed by Jeff Nichols)

Starring two of the hottest male leads - Tom Hardy and Austin Butler - The Bikeriders is a crime drama filled with machismo and violence, but is actually centred by a fantastic performance by Jodie Cromer. She plays the put-upon wife of Butler’s biker and has to face the conflicting loyalties of her hot-headed husband and fellow gang-members as well as their ferocious rivals. Butler channels even more Elvis-leather cool whilst Hardy’s weathered face and stocky build add appropriate old school menace. Yet it’s Cromer who provides the emotional core as a straightforward but no-nonsense spouse who details their vice-filled history to a journalist. With great actors doing great work, it’s less of a road movie than it is a study of charismatic characters, but it’s this unique angle that makes it all the better.

American Fiction (Directed by Cord Jefferson)

An appropriate (and deserved) winner of the Best Adapted Screenplay Oscar in 2024, American Fiction is a brilliant debut that sees an intellectual African-American novelist pen a “stereotypical” black novel under a pseudonym only for it to become a surprise breakthrough bestseller. A first-rate Jeffrey Wright is the author fed up with his work being overlooked yet his plans to expose the community with a “dumbed-down” book leads to internal conflict owing to its unexpected success. A deserved Oscar nomination came Wright’s way as it did also for Sterling K. Brown who provides excellent support as his recently out brother. Wickedly satirical but soulful at heart, the movie explores important themes of race and divisions in the literary sphere - as well as the world at large - but does so with a witty script, a great cast and plenty of laugh-out-loud moments.

The Coffee Table (Directed by Caye Casas)

Touching, and perhaps exceeding, the boundaries of extreme fright flicks, this Spanish horror-drama takes the strongest of stomachs to persevere with. A banal sitcom set-up of domestic familiarity sees a couple eventually purchase an ornate coffee table but once back at their flat, a missing screw leads to an horrific off-screen accident involving their child. Hiding the incident from his wife, the stomach-churning set up is full of tension and terror as audiences are aware of the terrible circumstances but other characters none the wiser. Biblical metaphors explore guilt, righteousness and spirituality and its mix of tones and a host of narrative puzzle pieces are crammed into 90 minutes without it overstaying its welcome. The Coffee Table is as macabre as they come and its brilliance lies in showing almost nothing but hinting at everything. It’s certainly “not for everyone”, but if you’re willing to go down a gruesome journey, you may be (un)pleasantly surprised to find out how good this allegorical indie truly is. Full review here

Late Night with the Devil (Directed by Colin Cairnes & Cameron Cairnes) 

Set up as never-aired tapes from an episode of a 70s TV chat show, this found footage frightener sees David Dastmalchian’s host try to compete for ratings by staging a special Halloween show to win viewers back. A psychic guest trades insults with a guest skeptic before a parapsychologist and her allegedly possessed subject try to help the ailing presenter bring his show back from the dead. The era-accurate style and gaudy fashion compliments the filmmaker's use of a 4:3 TV-screen ratio which keeps us immersed in the whole chaotic affair as events spiral out of control. A dark and often funny film, it owes a debt to similar ghostly mockumentaries and adds vintage vibes and an excellent turn from Dastmalchian who barely holds it together as events collapse around his ego and guilt. Thankfully its big swing hits a horror home run and combines chat-show presenters like Partridge and Parkinson with the paranormal. Full review here

COMING  SOON - PART 2 OF OUR TOP 20 FILMS OF 2024 (10 - 1)