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My love of movie scoundrels has been sorely tested this year. When I was young, I daydreamed of exotic heists, slick con artists and lovable crooks I’d seen on screen. For most of my moviegoing life, I’ve been a sucker for larceny done well. Most of us are, probably. Related Articles ‘Nightbitch’ review: Amy Adams goes feral in a cautionary tale of love and parental imbalance ‘Yacht Rock: A Dockumentary’ review: More than an ironic musical pleasure Are these the best movies of 2024? Review: Angelina Jolie glides through ‘Maria’ like an iceberg, but a chilly Callas isn’t enough 6 new streaming movies to watch on the holiday weekend But now it’s late 2024. Mood is wrong. In the real world, in America, it’s scoundrel time all the time. Maybe Charles Dickens was right. In “American Notes for General Circulation” (1842), the English literary superstar chronicled his travels and detected a widespread, peculiarly American “love of ‘smart’ dealing” across the land. In business and in politics, Dickens observed, slavish admiration of the con men among them “gilds over many a swindle and gross breach of trust.” And here we are. It’ll pass, this scoundrel reprieve of mine. In fact it just did. All it took was thinking about the conspicuous, roguish outlier on my best-of-2024 list: “Challengers.” It’s what this year needed and didn’t know it: a tricky story of lying, duplicitous weasels on and off the court. The best films this year showed me things I hadn’t seen, following familiar character dynamics into fresh territory. Some were more visually distinctive than others; all made eloquent cases for how, and where, their stories unfolded. “All We Imagine as Light,” recently at the Gene Siskel Film Center, works like a poem, or a sustained exhalation of breath, in its simply designed narrative of three Mumbai hospital workers. Fluid, subtly political, filmmaker Payal Kapadia’s achievement is very nearly perfect. So is cowriter-director RaMell Ross’ adaptation of the Colson Whitehead novel “The Nickel Boys,” arriving in Chicago-area theaters on Jan. 3, 2025. “Nickel Boys,” the film, loses the “the” in Whitehead’s title but gains an astonishingly realized visual perspective. If Ross never makes another movie, he’ll have an American masterpiece to his credit. The following top 10 movies of 2024 are in alphabetical order. Both a mosaic of urban ebb and flow, and a delicate revelation of character, director and writer Payal Kapadia’s Mumbai story is hypnotic, patient and in its more traditional story progression, a second feature every bit as good as Kapadia’s first, 2021’s “A Night of Knowing Nothing.” Mikey Madison gives one of the year’s funniest, saddest, truest performances as a Brooklyn exotic dancer who takes a shine to the gangly son of a Russian oligarch, and he to her. Their transactional courtship and dizzying Vegas marriage, followed by violently escalating complications, add up to filmmaker Sean Baker’s triumph, capped by an ending full of exquisite mysteries of the human heart. As played by Adrien Brody, the title character is a visionary architect and Hungarian Jewish emigre arriving in America in 1947 after the Holocaust. (That said, the title refers to more than one character.) His patron, and his nemesis, is the Philadelphia blueblood industrialist played by Guy Pearce. Director/co-writer Brady Corbet’s thrillingly ambitious epic, imperfect but loaded with rewarding risks, was shot mostly in widescreen VistaVision. Worth seeing on the biggest screen you can find. Opens in Chicago-area theaters on Jan. 10, 2025. Zendaya, Mike Faist and Josh O’Connor play games with each other, on the tennis court and in beds, while director Luca Guadagnino builds to a match-point climax that can’t possibly work, and doesn’t quite — but I saw the thing twice anyway. In Bucharest, production assistant Angela zigzags around the city interviewing people for her employer’s workplace safety video. If that sounds less than promising, even for a deadpan Romanian slice-of-life tragicomedy, go ahead and make the mistake of skipping this one. llinca Manolache is terrific as Angela. Like “Do Not Expect Too Much,” director Agnieszka Holland’s harrowing slice of recent history was a 2023 release, making it to Chicago in early 2024. Set along the densely forested Poland/Belarus border, this is a model of well-dramatized fiction honoring what refugees have always known: the fully justified, ever-present fear of the unknown. A quiet marvel of a feature debut from writer-director Annie Baker, this is a mother/daughter tale rich in ambiguities and wry humor, set in a lovely, slightly forlorn corner of rural Massachusetts. Julianne Nicholson, never better; Zoe Ziegler as young, hawk-eyed Lacy, equally memorable. I love this year’s nicest surprise. The premise: A teenager’s future 39-year-old self appears to her, magically, via a strong dose of mushrooms. The surprise: Writer-director Megan Park gradually deepens her scenario and sticks a powerfully emotional landing. Wonderful work from Aubrey Plaza, Maisy Stella, Maria Dizzia and everybody, really. From the horrific true story of a Florida reform school and its decades of abuse, neglect and enraging injustice toward its Black residents, novelist Colson Whitehead’s fictionalized novel makes a remarkable jump to the screen thanks to co-writer/director RaMell Ross’s feature debut. Cousins, not as close as they once were, reunite for a Holocaust heritage tour in Poland and their own search for their late grandmother’s childhood home. They’re the rootless Benji (Kieran Culkin) and tightly sprung David (Jesse Eisenberg, who wrote and directed). Small but very sure, this movie’s themes of genocidal trauma and Jewish legacy support the narrative every step of the way. Culkin is marvelous; so is the perpetually undervalued Eisenberg. To the above, I’ll add 10 more runners-up, again in alphabetical order: “Blink Twice,” directed by Zoe Kravitz. “Conclave,” directed by Edward Berger. “Dune: Part Two ,” directed by Denis Villeneuve. “Good One ,” directed by India Donaldson. “Hit Man,” directed by Richard Linklater. “Joker: Folie a Deux,” directed by Todd Phillips. “Nosferatu,” directed by Robert Eggers, opens in Chicago-area theaters on Dec. 25. “The Outrun,” directed by Nora Fingscheidt. “Soundtrack to a Coup d’Etat,” directed by Johan Grimonprez. “Tuesday,” directed by Daina O. Pusić. Michael Phillips is a Tribune critic.
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No. 4 Penn State tries to keep playoff picture out of focus in prep for tough trip to MinnesotaJamshedpur: Former CM Champai Soren on Sunday said the BJP’s movement against the alleged increasing Bangladeshi infiltration in Jharkhand was social in nature and not political or aimed at elections. Soren, who won the Seraikela seat in the assembly polls, claimed that tribals have become a minority in many districts of the state, including Pakur and Sahibganj. “As we have said earlier, our movement against the ever-increasing Bangladeshi infiltration in Jharkhand is not a political or election issue, but a social campaign. We clearly believe that infiltrators should not get any kind of protection on this land of heroes,” he said in a post on X in Hindi. “Today, the tribal community has become a minority in many districts, including Pakur and Sahibganj. What will happen if we cannot protect the lands of the indigenous people and the dignity of our women?” he added. Soren announced the BJP would very soon launch the next phase of its campaign in the Santhal Parganas over the issue. जोहार साथियों, जैसा कि हमने पहले भी कहा था, झारखंड में लगातार बढ़ रहे बांग्लादेशी घुसपैठ के खिलाफ हमारा आंदोलन कोई राजनैतिक या चुनावी मुद्दा नहीं, बल्कि एक सामाजिक अभियान है। हमारा स्पष्ट तौर पर मानना है कि वीरों की इस माटी पर घुसपैठियों को किसी भी प्रकार का संरक्षण नहीं मिलना... “Governments will come and go, parties will be formed and dissolved but our society must remain, our tribal identity must remain, otherwise nothing will be left,” he said. Alleged infiltration from Bangladesh was one of the key issues on which BJP fought the assembly elections, but it failed to cut much ice among the people. The alliance it led won 24 seats against the JMM-led coalition’s 56 in the 81-member House.
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