Alyanna Batoy on Challengers

I never thought I’d feel so passionately towards a sports drama considering I always used to walk in PE, but Luca Guadagnino’s Challengers had me eyeing up tennis lessons and homoerotic male friendships to ruin. It takes the structure of a love triangle—a real one, where every point touches (and touch they do)—and turns it into a psychosexual battleground where love, ambition, and lust collide with kinetic energy.

Guadagnino dives headfirst into the messy, layered realities of human intimacy, and the result is an ecstatic, unforgettable experience that feels as much like a party as a film. Tashi (Zendaya) is a woman of agency and power, navigating passion and competition with unapologetic force, yet her arc carries a tragic, bitter weight. Side by side with her are Patrick (Josh O’Connor) and Art (Mike Faist), whose dynamic is lived-in, familiar, and utterly convincing. It is impossible not to be captivated by their chemistry and how their relationships unravel with an unrestrained intensity.

The film’s visual and narrative risks elevate it to a cultural touchstone aptly preceding and co-soundtracking brat summer. From being in the POV of the tennis ball to the three-way kiss, Challengers blends theatricality and intimacy in a way only Guadagnino knows how. It proves, once again, that nothing is too far in his pursuit of understanding the intricacies and complexities of human relationships. Its tension and physicality demands to be seen, making it the most compelling cinema experience of the year.

Archie Marks on Late Night with the Devil

This breakthrough feature from Colin & Cameron Cairnes (writers and directors) is one of the finest horror films of the year, marking a star turn from David Dastmalchian, who stars as late-night show host Jack Delroy. Presented in an immersive found-footage format, the film is framed as a documentary about an unexplained event that occurred during Delroy’s show’s Halloween episode. In an attempt to boost ratings on the show, Delroy invites an allegedly possessed girl to appear, and—predictably—havoc wreaks.

Nevertheless, the Cairnes still manage to pull the rug out from under the audience with gruesome body horror and narrative twists that satisfy as much as they complicate. The film has been criticised for its use of AI in a montage sequence; while AI has no place in film, and its use here should therefore not go unnoticed, the film’s sheer originality does somewhat compensate. As well as being a brilliant horror film, Late Night with the Devil, examines the true cost of fame and the lengths to which Delroy has travelled to reach his success. Dastmalchian is stellar in this role, nervous and unstable while putting up a veneer of charm and swagger amidst the chaos.

The film’s dreamlike final sequence breaks the found-footage illusion to deliver something unprecedented and twisted, allowing Matthew Temple’s camerawork (which has been subtly effective throughout) to truly shine. As the curtain closes on the jaw-dropping final shot, the audience is left with more questions than answers. Instead of offering hollow jump scares, the thrill of Late Night with the Devil is in its themes. Mulling over how much you would do, the things you would sacrifice for fame and success—now that’s something to keep you up late at night. 

Leo Slaidina on Dune: Part Two

Director Denis Villeneuve already had a two-part film deal in his pocket when Dune: Part One hit cinemas in 2021—when its sequel was announced just five days later, it was clearly poised for equal success. This March three years of anticipation were finally over, and we had managed to underestimate Villenueve. Dune: Part Two was not only a cinephile darling, but had its own pop culture breakthrough. Villeneuve’s first film brought out a diverse audience, including the ‘old-school’ fans of Dune (David Lynch’s notorious 1984 adaptation); the passionate supporters of Timothée Chalamet, and the devoted readers of Frank Herbert’s original novels.

The addition of Austin Butler (Elvis) and Florence Pugh (Midsommar) to the ensemble cast was just another step in bringing younger film enjoyers. Butler’s hairless appearance as Feyd-Rautha intrigued newer fans who were not yet fully acquainted with House Harkonnen. However, the current fans were excited to be guided into the world of the Fremen through the lens of Paul Atreides (Timothée Chalamet); it took less than a fortnight for the film to join Letterboxd’s ‘One Million Watched Club’.

Anyone with access to the internet was aware of Dune: Part Two: be it the relentless flood of eccentric line-reads from Javier Bardem as Stilgar—’as written’; Paul Atreides’ oft-TikTok-quoted rousing speech to the Fremen people, or the various references to the enormous sandworm Shai-Hulud. Shai-Hulud in particular was the blueprint for some one-of-a-kind popcorn buckets, which were rapidly given a Freudian mocking by everyone on the internet; even Villeneuve commented on the buckets being an ‘insane marketing idea’. Regardless, Dune: Part Two will remain the most talked-about science fiction franchise film, even after the upcoming Academy Awards—at least until Dune: Messiah.

Ash Sutton on IF

When given the brief of ‘best film in 2024’, I instantly started thinking about the most noteworthy cinema experiences this year. There weren’t many. However, there was one movie that I vividly remember absolutely sobbing my eyes out to: IF. The film is aimed at a younger demographic than I am. It collects an absolutely star-studded cast and pushes Ryan Reynolds and newcomer Cailey Flemming into the lead roles. It’s an equally heartbreaking and heartwarming story of the importance of clinging onto your childhood silliness and innocence, highlighting that wanting to grow up too fast isn’t all as it seems. The film was by no means perfect, but the cosy feeling it gave was unbeatable.

Kinds of Kindness is a beautiful absurdist anthology film that fully deserved its praise. A carefully choreographed pageant of colors and concepts played by shrewdly chosen performers, it is a clever triptych that shows off the sense of humor of the director and screenwriters. Director Yorgos Lanthimos’ uncompromising vision of his eccentric worlds make his filmography a force of nature, but this one in particular might just be his best yet.

The three short stories presented to the audience are darkly compelling premises, with an overarching impressionist theme about the blurred lines between love and acceptance and cruelty. The first is a subtle allusion to the Biblical story of Job, the second a retelling of the communion of man and Christ, and the third is a warning about the dark side of devotion. All three do a good job at exploring a relationship with divinity in a modern, secular era. A cynical depiction of these grand concepts, Lanthimos’ hyper-real settings provide a strong dose of irony amidst the bleakness. The absurd and hypocritical nature of societal norms are amplified through the hyperbolic surrealism, deadpan humor and several deliberately unpleasant scenes.

The best part of this film, though, is surely its cast. They all play multiple characters different in personality and physicality, showcasing their abilities to shapeshift when needed. The long, uncomfortable silences between characters discussing everyday monotony comes off as truly repressed authenticity, not a gimmick, and the humanity in interactions becomes more real than surreal after a point.

Atshiga Bovin on The Holdovers 

Alexander Payne has successfully added to the phenomena of Christmas films with his latest movie, The Holdovers. The film’s UK premiere in January 2024 meant that British audiences lost the true festive sensibilities of the film the first time around. However, this means it is currently the perfect time to revisit The Holdovers and appreciate it for what it is: an ode to the beautiful nostalgia of Christmas.

The film is situated in a New England prep school, following the teacher Paul Hunham (Paul Giamatti), student Angus Tully (Dominic Sessa), and cafeteria manager, Mary Lamb (Da’Vine Joy Randolph), as they spend the Christmas break together. The film reimagines the familiar found family trope of many Christmas classics (I’m looking at you, The Grinch) but in an academic environment, the New England scene lending itself well to the aesthetics of wintry comfort.

It is colour graded to the muted greyish blue of winter, replicating the faded nostalgia of VHS tapes and adding the 70s look. The cross-fade is revived, shots blending seamlessly together, giving the film a lulling and comforting fluidity. However, it still manages to evoke a multitude of emotions within the spectator, ending on a heartwarming yet bittersweet note.

The Holdovers feels like a toasty hot chocolate on a frosty December walk; warm, cosy, and essential to the festive season.