Entertaining, engrossing, and educational, it’s hard not to leave James Mangold’s (3:10 to Yuma, Ford v Ferrari) A Complete Unknown disappointed. While many will call it a paint-by-numbers musical biopic (which is completely justified), it does three things that recent films, such as Bob Marley: One Love, Rocketman (Elton John), Back to Black (Amy Winehouse), Whitney Houston: I Wanna Dance with Somebody, and Elvis couldn’t do. It held my interest throughout its 140-minute runtime. It implored me to read Bob Dylan’s Wikipedia page. It led to an interest in looking up the songs performed in the film that I had not heard before. The musical biopic genre has been bad for nearly 20 years (Bohemian Rhapsody and Straight Outta Compton are outliers). A Complete Unknown feels like a companion piece to two fabulous turn-of-the-century musical biopics with terrific lead performances in 2004’s Ray (Jaime Foxx as Ray Charles) and Walk the Line (Joaquin Phoenix as Johnny Cash). Each film landed the lead performer an Oscar nomination, including a win for Foxx.
Category Archives: Top 10 Movie of 2024
Juror #2 (2024)
While viewing Clint Eastwood’s (Sully, American Sniper) thrilling court drama Juror #2, my mind kept wandering back to an unnerving thought. There was a good chance that many would go without ever knowing about this film, let alone watching it. Juror #2 had a minimal theatrical run before going straight to streaming. The reason for having a theatrical run at all was so that it could be eligible for any end-of-year awards. Eastwood is one of the greatest directors of all time. There is something about a critically and audience-acclaimed film such an esteemed director not receiving a wide release that doesn’t sit right.
The Substance (2024)
Stimulating, combustible, nauseating, and repulsive are all perfect adjectives to describe director, writer, co-producer, and co-editor Coralie Fargeat’s (Revenge) explorative and provocative The Substance. This film doesn’t just knock on the door of critiques of the societal obsession with youth and beauty but blows off its shutters. The Substance offers no subtlety in its themes. This film is designed to make its audiences feel as squeamish as the entertainment industry’s treatment of women, particularly older women. The impossible beauty standards and society’s preoccupation with youth (particularly young, attractive women) are nothing new. Fargeat meticulously brings this to the forefront and apologizes for nothing. Nor should she.
Challengers (2024)
I have a spot in my heart for intense sports movies. I also enjoy films that effectively incorporate flashbacks to flesh out the story and its characters. Luca Guadagnino’s (Bones and All, Call Me by Your Name) Challengers incorporated both themes into his sexual, taught, tension-filled drama, using professional tennis as its backdrop.
Civil War (2024)
Tell me you’re making a political movie without telling me you’re making a political war movie without telling me you’re making a political war movie. Civil War, Alex Garland’s (Annihilation, Ex Machina) newest film in which The United States has become even more divided and intense than at the time of its 2024 release, serves as an ominous narrative about the potential future of our country. While it’s sure to be divisive, Garland is purposeful in not picking a side while being vague about the two sides. Outside of Dune 2, Civil War is the film that received the most buzz after the first four months of the year. Rightfully so.