The 17 Best Film Performances of 2024

As a film critic with over two decades of experience under my belt, I must say that 2024 has been a truly remarkable year for cinematic performances. The talent we’ve witnessed this year is nothing short of breathtaking, and it’s been an absolute pleasure to watch these artists bring their characters to life on the silver screen.

As a movie enthusiast, I can’t express enough how exhilarating it is when a performance leaves me utterly astounded. It could be an artist whose talent I had underestimated, transcending previously perceived boundaries. Or perhaps a seasoned cinematic icon rekindling their brilliance. Sometimes, it’s a fresh face bursting onto the scene with a performance that commands attention.

If you buy into the idea that the best movies reflect our world back to us, then the best film performances of 2024 showed us how deep our anger runs, how scarred we are by grief, and how resilient we can be. They were alternately eager and scared to peek behind the curtain at what might be forbidden: sex, money, a new face, a wizard. Some brought their star power to bear on grandiose characters, letting audiences delight in their unrestrained peacocking. Others played people retreating into themselves to escape pain or rejection. Others had their sights on a fat diamond ring.

2021 movie year was captivating, showcasing a diverse array of 17 standout performances. These span large-scale blockbusters and smaller films acquired in festivals, covering topics such as political histories, body horror, family dramas, and more. Each of these productions has the potential to send shivers down your spine or make you sit up straighter with anticipation.

Presented in alphabetical order

Adrien Brody, The Brutalist

Reflecting on Adrien Brody’s captivating performance in Brady Corbet’s latest film, I find myself deeply moved by the weight of history and struggle carried on Brody’s expressive face. As László Tóth, a visionary architect forced to flee Hungary during Nazi occupation and settle in Philadelphia, Brody portrays a man grappling with anti-immigrant prejudice, marital strife, and personal demons such as drug addiction.

Kieran Culkin, A Real Pain

In my prolonged battle to avoid developing excessive empathy for Roman Roy from the series “Succession”, Kieran Culkin’s understated vulnerability often tested my resolve. With his performance in “A Real Pain”, Culkin shifts to a character who suppresses his pain just as tenaciously, yet hides it behind an energetic demeanor reminiscent of a tour guide, which is both charming and draining. It’s exhilarating to witness a gifted actor secure the role they’ve long awaited, and this one seems tailor-made for Culkin. He skillfully employs subtle gestures and tones that subtly compel us to lean in, eagerly waiting for the moment when all his suppressed emotions finally burst forth. Eisenberg provides Culkin with a climactic scene of intense emotion toward the end of the film, which feels somewhat superfluous, but even this challenging scene doesn’t deter Culkin from delivering an outstanding performance.

Danielle Deadwyler, The Piano Lesson

In Malcolm Washington’s interpretation of August Wilson’s play, numerous spirits are present. These spirits inhabit the walls, a beautifully crafted upright piano that belongs to siblings Berniece and Boy Willie Charles, and the stories passed down through family history. Deadwyler’s character, Berniece, is particularly sensitive to these spirits, yet she isn’t alone in sharing space with them. Over the past few years, Deadwyler has portrayed an androgynous gunfighter in “The Harder They Fall,” a survivor at the end of the world in “Station Eleven,” and a grieving but resilient mother in “Till.” In “The Piano Lesson,” she collects all her strength, sorrow, and remorse into something greater than herself. Her eyes widen, her posture stiffens. Through Deadwyler’s performance as Berniece, she embraces the maternal legacy of her family and becomes the only one who can protect them from their past.

Ariana Grande, Wicked

Apart from rare instances, I’ve rarely connected with the appeal of Ariana Grande (“Into You” is an exception, despite my skepticism), and before the release of the “Wicked” movie, everything – from the fan art-inspired initial glimpses to the flashy trailers – seemed cheaply made and poorly planned. However, I must admit that I was incredibly mistaken about Grande’s portrayal of Galinda. Her performance stands out as one of the most cheerful triumphs of theater enthusiasm this side of Annie’s “76 Trombones.

Chris Hemsworth, Furiosa

On one extreme, Ariana Grande’s femininity in “Wicked” stands out, while on the other end, Chris Hemsworth’s flamboyant portrayal of post-apocalyptic masculinity in “Furiosa” contrasts sharply. Decked out with a prosthetic nose and teeth, a beard resembling a mountain man, and enough hair dye to fund a charity fun run, Hemsworth struts through the wastelands, bringing an exaggerated flair and intensity to “Furiosa”. This over-the-top performance was crucial in delivering the necessary pageantry and aggression that the movie required to surpass its predecessor, “Fury Road”. Previously, we’ve seen Hemsworth step away from Thor to play against type (he’s hilarious in Paul Feig’s “Ghostbusters”), but what makes his performance in George Miller’s sequel so captivating is how skillfully he transforms Dementus into a blend of high-concept action comedy. It’s incredibly satisfying to watch.

Marianne Jean-Baptiste, Hard Truths

As a movie enthusiast, I must say that many films set for release in 2024 seem to believe that the only solution to a chaotic world is more chaos. However, Mike Leigh’s Hard Truths offers a unique perspective. Instead of embracing madness, we encounter a woman who anticipates the madness of the world with seething anger. Marianne Jean-Baptiste breathes life into Pansy, a character constantly locked in battle against the insensitive, ignorant, thoughtless, lazy, overly helpful, underhelpful, condescending, and simply annoying individuals she encounters – even her own family. This portrayal is particularly aimed at those unfortunate souls who dare to cross her path. Jean-Baptiste, whose nomination for an Oscar came 28 years ago from Leigh’s Secrets and Lies, delivers a performance that is both hilariously funny and mercilessly cruel before finally revealing the deep-seated pain hidden within Pansy. It becomes clear in these moments that no performance this year has struck such a raw societal chord as effectively as Marianne’s.

Nicole Kidman, Babygirl

Initially perceived as transitioning into advertisements and television series, Nicole Kidman surprisingly reasserts her fearless and adventurous acting prowess in the film “Babygirl.” At age 57, she portrays Romy, a CEO who tires of girlbossing and discovers passion through her submissive role to a young, dominant intern. The film playfully challenges societal norms surrounding sex and power, yet Kidman’s daring, uncensored, and frequently amusing performance keeps the narrative grounded, preventing it from veering into excessive or absurd territory.

Mikey Madison, Anora

For people familiar with Mikey Madison primarily as the daughter in ‘Better Things’ who later starred in two films where she portrays murderers set ablaze, the role of Anora was quite a refreshing change of pace. In this film, she takes on the titular character, a stripper who becomes embroiled in a fake romance with a Russian oligarch playboy. Ani is tough as steel, and her feisty nature forms much of the humor in the movie, but she’s also unable to resist the allure of a wealthy admirer who promises to lift her out of her humble background. Madison manages to make this character believable by emphasizing Ani’s combative spirit, creating a complex figure who embodies both razor-sharp edges and heartache.

Demi Moore, The Substance

2024 saw an unexpected revival in Demi Moore’s career, marked by one of the year’s most buzzed-about performances. Playing Elisabeth Sparkle, a once-famous Hollywood actress seeking to regain her youth and beauty through experimental treatments, was a role that could have resonated with many actresses. However, it was Moore’s powerful portrayal, not seen for decades, that stood out as one of the highlights of the year in cinema.

Cillian Murphy, Small Things Like These

It might be surprising to learn that, only a year after winning the Best Actor Oscar, Cillian Murphy has given an even more impressive performance in his career. In the film, he portrays a coal merchant in 1980s Ireland who unintentionally comes into contact with one of the notorious Magdalene laundries, where women and girls were forced to work under harsh conditions. This role showcases guilt, responsibility, and anguish, all subtly conveyed through Murphy’s expressive facial expressions. In a sense, this performance mirrors his portrayal of a guilt-ridden Oppenheimer from another film. Thus, it seems that Murphy has seized the perfect moment to establish himself as cinema’s primary actor carrying the burden of the world.

Hunter Schafer, Cuckoo

2021 was an exceptional year for horror movie performances. In the chilling film “Longlegs,” Nicolas Cage took on a complex supernatural role; Hugh Grant delved into malevolence as a professor in “Heretic”; and Naomi Scott portrayed fear in the face of death in “Smile 2.” However, none compared to Hunter Schafer’s captivating performance as Gretchen in Tilman Singer’s “Cuckoo.” Her role demanded both physical strength (there’s a raw determination in Schafer’s movements) and emotional depth. The movie’s unique bird-themed horror concept is engaging and terrifying, but it wouldn’t have been nearly as effective without Schafer delivering scene after poignant portrayal of Gretchen’s struggle with her mother’s passing and the disconnection she feels from her remaining family. Schafer skillfully bridges the horror aspects with Gretchen’s profoundly human narrative, drawing viewers into her nightmare while simultaneously battling to stay alive.

Léa Seydoux, The Beast

In Bertrand Bonello’s poignantly destructive sci-fi love story, Léa Seydoux portrays a lab worker in a future ruled by AI dominance, where the AI authorities persuade humans to erase their genetic flaws by revisiting past lives and suppressing deep emotions. (No need to compare it to Scientology.) As Gabrielle, Seydoux effectively employs her delicate features and penetrating eyes as she rekindles a frequent romance with George MacKay’s Louis, creating an effortless chemistry that propels viewers throughout the film’s complex premise. In the movie’s concluding moments, Bonello allows Seydoux to take control. As her character crumbles under the pressure of a devastating choice, you sense the culmination of all her lives and memories – a surprising emotional blow. Performances like this one can catch you off guard, and this one certainly does.

Justice Smith, I Saw the TV Glow

As a movie critic, I’ve mostly seen Justice Smith shine in big-budget productions like the Jurassic World films, Detective Pikachu, and Dungeons & Dragons: Honor Among Thieves. But it was refreshing this year to witness him take on a role that truly showcased his slender physique and bashful countenance in I Saw the TV Glow. Director Jane Schoenbrun cast Smith as Owen, a shy superfan of the teen drama The Pink Opaque, who grapples with the possibility that his reality and identity may not be what he thinks. This film is all about Owen’s journey to accept a different way of living, only to retreat back into himself again. Smith delivers an exceptional performance, capturing the tension between Owen’s hope and fear, and the internal battle they wage within him. Navigating the profound emotional landscape hidden beneath a veneer of timidity is no easy feat, but Smith rises admirably to the challenge.

Sebastian Stan, A Different Man

It’s a bit strange to think that in less than a year’s time, Sebastian Stan will once again don the chrome arm of the Winter Soldier in Marvel’s Thunderbirds, considering how much 2024 felt like the year he emerged from his MCU cocoon and started taking big chances. (How else to describe his turn as Donald Trump in The Apprentice?) Stan spends the first half of A Different Man under a significant amount of prosthetic makeup as a man with neurofibromatosis. The gambit could feel regressive in a less assured film and in the hands of a lesser actor, especially when the plot leads Stan’s character, Edward, to a miracle cure. But by the film’s second half, when Edward encounters a maddeningly well-adjusted mirror version of himself, Stan really starts to cook. As things escalate into a kind of Kafka–by–way–of–Charlie Kaufman comedy, he leans into his character’s frustrations, doubling down on self-destruction again and again. Stan is incredibly funny playing this downward spiral, even as he holds on to Edward’s essential pathos.

Fernanda Torres, I’m Still Here

Walter Salles’s movie about a politically active family navigating Brazil’s transition into military rule during the 1970s carries an unsettling relevance for several reasons, yet it wouldn’t have such a profound impact without the steadfast acting of Fernanda Torres. Portraying real-life activist Eunice Paiva, Torres demonstrates the emotional strain needed to remain strong amidst a regime determined to terrorize her family. She keeps at bay the fear that almost overwhelms her character and propels both Eunice and the film into a space of steadfast resilience.

Denzel Washington, Gladiator II

Title Change: “Now Do a Silly One”: The Film

Daniel Zovatto, Woman of the Hour

In simpler terms, Anna Kendrick’s first movie as a director presents an innovative narrative structure about the true story of serial killer Rodney Alcala. The plot splits into two parts, where Kendrick plays a struggling actress who unwittingly meets Alcala on a game show called The Dating Game. Daniel Zovatto portrays Alcala with a chilling performance that shifts from friendly to terrifying. His ability to display warmth one moment and cold horror the next is reminiscent of water draining out of a sink. Kendrick adds layers of themes like sisterhood and self-reliance to the story, but these elements wouldn’t be as impactful without Zovatto’s menacing presence.

The Honorable Mentions

The Runners-Up

2021 might not seem like a standout year for movies or acting to some, but if you’ve missed out on gems like “Sing Sing” from A24, where Colman Domingo and Clarence Maclin deliver heartfelt performances, or the intricate dynamics between Julianne Nicholson and Zoe Ziegler in “Janet Planet,” then you’re missing out! And let’s not forget Austin Butler’s chilling portrayal of an alabaster psychopath in “Dune: Part Two.” So don’t be quick to write off this year just yet!

The New (and Old) Movie Stars

2024’s films have reshaped our understanding of what it means to be a movie star. Julio Torres offers an eccentric take on navigating America’s bureaucratic labyrinth in “Problemista.” June Squibb proves she’s still got it by tackling scammers at the age of 94 in “Thelma.” Glen Powell uses a Notes app to coach his girlfriend in tricking police in “Hit Man,” making that app the interesting twist.

The Pertinent Ones

Currently, the political sentiment of the country might be unclear, but it’s challenging not to discern a sense of pressing political undertones in Amy Adams’s wild defiance in Nightbitch, Julianne Moore’s steadfast unity in The Room Next Door, and Carolyn Bracken’s justified retribution in Oddity. Additionally, there were more explicitly political performances, such as Ralph Fiennes and Stanley Tucci portraying cardinals battling their own ambition in Conclave, and John Magaro and Peter Sarsgaard depicting journalists in the thick of tragic events in September 5.

The Unbreakable Trios

2021 was a stellar year for captivating cinematic ensembles. As a movie critic, I found myself deeply moved by the performances of Carrie Coon, Elizabeth Olsen, and Natasha Lyonne in “His Three Daughters”. These remarkable actresses portrayed grieving sisters whose long-suppressed resentments finally burst forth in a powerful and poignant display.

And, of Course, Tilda

Tilda Swinton wasn’t specifically mentioned in the given list as I found it challenging to select just one outstanding performance from her, as she delivered three exceptional ones. These roles include her portrayal of a despairing figure in “Problemista”, her resilient character facing inevitable doom in “The Room Next Door”, and her delusional yet melodious depiction of a hoarder after the fall of civilization in “The End”. This trilogy of performances could serve as an omen of the following years in American life.

2024-12-10 22:55