one-liner reviews of everything i read & watched in 2024

i'm tired, we're doing this letterboxd-style

Normally at the end of the year, I round up every book I read, TV show I binged, and film I watched and choose the best to recommend to all of you lovely people. This year? I don’t feel like it. So, I present to you a single-line review of every piece of media I consumed this year, from the amazing to the okay to the ones that pissed me off. A reminder that this is for new media, not rewatches or re-reads. Otherwise, we’d be here until 2026.

every book I read in 2024

StoryGraph says I read 24 books in 2024 and my top moods were emotional, reflective, dark, funny, and sad. Sounds about right. For an in-depth review of a handful of these books, read my post “a review of every book I read this summer.”

Anna Karenina by Leo Tolstoy - 4/5

Tolstoy I love you so much, you write so well, and your characters are fascinating, complex, and deeply human, but FOR THE LOVE OF GOD WOULD IT HAVE KILLED YOU TO GET AN EDITOR?

Friends, Lovers, and the Big Terrible Thing by Matthew Perry - 4.5/5

Most celebrities don’t have the talent or perspective to write an autobiography; Matthew Perry isn’t one of them with his darkly funny, deeply emotional, brutally honest look at Friends, fame, and addiction.

American Psycho by Bret Easton Ellis - 3/5

Just watch the movie.

The Year of Magical Thinking by Joan Didion - 4/5

My first of Didion’s work, this was a wonderful, albeit a little clinical at times, deconstruction of grief and loss.

Our Missing Hearts by Celeste Ng - 3.5/5

While I appreciated the themes of anti-censorship, anti-authoritarianism, anti-nationalism, and anti-racism (basically anti-all the isms), Ng’s attempt at dystopian literature falls short of the rich inner worlds of the protagonists that inhabit her better-known domestic dramas.

The Bluest Eye by Toni Morrison - 3.5/5

It pains me to say a word against the literary national treasure that is Toni Morrison but I feel the protagonist in this novel is oddly sidelined in her own story and I didn’t connect with it the way I did with Beloved.

Silver Nitrate by Silvia Moreno-Garcia - 3/5

The occult, 90s nostalgia, and the history of Mexico City’s film industry make this story about a cursed lost film come to life–although I prefer Moreno-Garcia’s other novel, Mexican Gothic, more.

The Guest by Emma Cline - 4/5

This book is like floating in the water on a summer afternoon in late August; you’re drifting along in a dream state until you start drowning in the reality of a summer season that has overstayed its welcome.

Happy Hour by Marlowe Granados - 4.75/5

And if I say that the protagonist, and by extension Granados herself, is the Eve Babitz of our generation?

Hot Milk by Deborah Levy - 4/5

When you want to spend a summer in Spain finding your independence, connecting with your Greek roots, and having dalliances with hot men and women but your strained relationship with your “sick” mother and her quack doctor gets in your way.

Hercule Poirot and the Greenshore Folly by Agatha Christie - 4/5

Kind of boring but then the twist happens and it’s a great twist even if it came together a little too easily.

Belladonna: Our Italian Year by Anbara Salam - 4/5

I came for the Italian vibes, I stayed for the toxic, codependent, homoerotic female friendship that sends the protagonist into a downward spiral of identity crisis, obsession, and self-destruction.

The Idiot by Elif Batuman - 4/5

400 pages of what it’s like being a very smart dumbass.

Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg - 3/5

A funny, heartfelt, and tragic story that suffers from “white woman attempts to write about racism” syndrome; just watch the movie.

Homesick for Another World by Ottessa Moshfegh - 2.75/5

The book’s description makes it sound infinitely more interesting than it is and I was kind of severely let down while also having not super high expectations but also wondering if my expectations were the problem, and I think that’s my quintessential issue with Moshfegh’s novels (I hear Miss Ottessa is on Substack, heyyyy girlll).

The Lost Daughter by Elena Ferrante - 3.75/5

This novel that deconstructs the concept of “natural motherhood” isn’t my favorite of Ferrante’s work, but it’s still Ferrante, so it’s still good; do not watch the movie.

Either/Or by Elif Batuman - 4/5

The sequel to The Idiot, it’s more eventful and has some poignant moments for the protagonist (when she wonders if she’s only a good writer and not a good novelist–felt that) but I think I ultimately prefer the first book.

Intermezzo by Salley Rooney - 4.25/5

Reading this novel about two grieving, estranged brothers finding comfort and love through unconventional relationships is like the warm embrace of a loved one on a rainy autumn day.

The Thursday Murder Club by Richard Osman - 4/5

Contrary to popular belief, retirement homes are not where the elderly go to die–unless of course you get murdered at one, and if you’re lucky, you’ll have this charming, funny, whip-smart group of pensioners to solve it.

Frankenstein by Mary Shelley - 4/5

Forget everything you know about the 1931 film because it absolutely butchered Shelley’s story, which explores grief and the act of playing God through Victor’s narrative, and the concepts of monstrosity and humanity through The Creature’s narrative, bridging them together to ask are monsters born are created?

The Secret History by Donna Tartt - 3.5/5

I thought this was a story about an enigmatic college professor who leads a secret murderous cult consisting of his students but this is not that and while I came to enjoy the story for what it was, I still mourn the story I thought I was getting.

The House of the Seven Gables by Nathaniel Hawthorne - 3.75/5

I fear the house and family history that inspired the story is more interesting than the story itself, although I would read it again, especially after having visited the actual house myself.

The Maidens by Alex Michaelides - 2/5

It kept me reading, I’ll give it that, but the plot twist was terrible and nonsensical, and this author doesn’t write women well.

Eileen by Ottessa Moshfegh - 3.5/5

I think I actually enjoyed this one but I also will probably never read it again.

every TV show I watched in 2024

I didn’t watch many new shows this year but most of the ones I did watch were outstanding. Most.

The Sopranos - 5/5

Juxtaposing mob life with suburbia, Tony Soprano is the perfect metaphor for the sins of the U.S.; he’s sociopathic, greedy, and corrupt, and no amount of therapy or self-awareness will solve his problems or absolve him of his sins, the only way to stop him is to take him out (side note: the final scene of the series was perfect, I don’t know why it caused such a huge debate).

Percy Jackson & the Olympians - 2/5

How are you given a second chance to adapt a beloved book series and you still fuck it up.

The Good Place - 5/5

When a random comedy turns out to be the most heartfelt, poignant, emotionally devastating exploration of morality and the importance of allowing people second chances and remaining hopeful about humanity’s ability to do good (there’s also a line in the show that goes, “Cincinnati is a good place for people who weren’t too good but not too bad either” and I’m just happy to be represented).

We Were The Lucky Ones - 5/5

Telling the story of a family who is separated during the Holocaust, it gives you a harrowing reminder that the concentration camps were the worst of the worst, but life outside of them was still a nightmare; it makes me think of Palestine, where I hope that one day Palestinians will also be granted freedom and the chance to rebuild.

1899 - 4.5/5

This show is a masterclass in well-written plot twists.

Chernobyl - 5/5

Such a well-written piece that perfectly captured the scale of the Chernobyl nuclear plant disaster in a myriad of ways, from the epic dystopian nature of it all right down to the smallest of details one wouldn’t even think of, and brought it all together in a way that reminds us that any nation is capable of a disaster of this magnitude because of greed and pride.

Bridgerton (Season 2) - 4/5

After years of being a Bridgerton hater, I finally decided to watch season 2 (the season with Anthony and Kate) and oh my god, what an excellent enemies-to-lovers slow burn, why don’t they put that much effort into any of their other seasons???

The Bear (Season 3) - 3/5

An aimless season, with mostly filler and questionable character development, although the episodes “Ice Chips” and “Napkins” stand out.

Bates Motel - 4.5/5

A Psycho prequel set in 2013 (the music, the aesthetics, the old iPhones–this did numbers on Tumblr) that follows a teenage Norman Bates as he begins turning into the killer we all know him as, this is a perfect example of a prequel elevating the source material to create complex characters with rich, empathetic backstories.

Ghosts (UK) (Seasons 4-5) - 5/5

After years of waiting for new seasons to become available in the U.S. I finally got to finish this show, and it was just as hilarious, heartfelt, and comforting as ever (I cried so hard at the end).

Generation Z - 3.75/5

A strong premise (a zombie outbreak among nursing home residents causes the old to literally eat the young, and the only ones who can stop it is a group of teenagers) that gets a bit muddled and is thematically all over the place, but it’s still a hilarious, fun ride with a great cast, especially Buket Komur, who I’ve been following for years and am so excited to see her make her big TV break.

My Brilliant Friend (Season 4) - 5/5

The most brilliant and faithful book-to-TV adaptation I’ve ever seen, crafted with so much love and care.

The Penguin - 5/5

I was prepared to give this series a 4/5, until the last 2 episodes absolutely floored me; Lauren LeFranc is an amazing showrunner and deserves every bit of praise, there were so many emotionally devastating moments that will stick with me, and Cristin Milioti as Sofia Gigante deserves all the awards!

Only Murders In The Building (Season 4) - 4/5

I could watch this loveable trio solve murders every day, but season 5 needs to be the last because I fear it is beginning to overrun its course.

Yellowjackets (Season 1) - 4.5/5

It’s like if Lord of the Flies, The Wilds, The Craft, and Mean Girls had a baby.

The West Wing - DNF

Great show, but I didn’t finish because I got so disillusioned with the late 90s political optimism.

Fool Me Once (2024) - 3/5

I watch Netflix’s Harlan Coben mysteries for the British vibes, so I’m never disappointed there, but this was like a very long car commercial with an overly sentimental ending for a character who is a war criminal.

Inside Man (2022) - 2.5/5

One of those “character keeps making the worst possible decision at every given moment” shows that leads to a pile-up of bodies, which can be good, but this…was not; I’ve never wanted to slap David Tennant more.

every film I watched in 2024

2024 was such a good year for film, from new releases to new discoveries. I also watched a lot of comedy specials and documentaries! Side note about the documentaries, most of them were short docuseries, thus making them available to review on Letterboxd, and since I’m writing this section based on my Letterboxd diary, docuseries will be included even if they’re not technically films.

Get ready. This one’s long.

Saltburn (2023) - .5/5

Someone needs to take away Emerald Fennell’s access to Final Draft.

Bottoms (2023) - 4/5

Didn’t get it at first but upon a rewatch I actually wish it had leaned into its absurdist humor even more; that climactic fight scene was everything and Ayo Edebiri is the people’s princess!

The Truman Show (1998) - 5/5

A film that works on so many levels, that is so well-written that it feels like a commentary on so many things yet doesn’t feel unfocused at all; I think I had a minor religious experience during that final scene.

Taylor Tomlinson: Have It All (2024) - 4.5/5

Taylor Tomlinson keeps topping herself and I fear the power she will have come 20 years from now.

Jenny Slate: Seasoned Professional (2024) - 4/5

Loved being back in Jenny Slate’s weird little mind; there’s a part about child birth when she says “you can have all the support and loved ones and doctors in the room with you but when the actual moment of giving birth comes, you are alone” and even though I’m probably remaining childless for the rest of my life, that line really touched me, and I think that’s what makes Jenny so special.

All of Us Strangers (2023) - 3/5

I feel like a heartless little bitch when I say I don’t understand everyone’s reaction to this film, like yes I was sad, but I was left wondering what the point of it all was; Paul Mescal and Andrew Scott were great though.

Hannah Gadsby’s Gender Agenda (2024) - 3/5

An ensemble comedy special exclusively featuring queer comedians is a great idea, except for when the same jokes are being repeated and it’s being produced by Netflix, famous supporter of Dave Chappelle.

American Psycho (2000) - 4/5

Props to director Mary Herron and writer Guinivere Turner for actually understanding the source material and making a great film without exploiting women; I fear what would’ve happened if a man had read certain scenes in the book and decided to include them; that being said, I’m hopeful for the Luca Guadagnino remake because I trust everything that man does.

Quiet on Set: The Dark Side of Kids TV (2024) - 3/5

While I think it’s ultimately an important watch, it does feel as though someone watched a bunch of “Dan Schneider is creepy” YouTube compilations and decided to make a documentary about it, and you can feel how much the producers are using speculation to make up for the absence of some very prominent stars (my qualms with this deserve more than one line so read my full thoughts here).

Monkey Man (2024) 4.5/5

*cries* We have come a long way from Skins; Dev Patel is here to prove action films can be original, well-made, diverse, and fucking fun! (Dev Patel please let me know when you are free just say the word I will drop everything).

Real Women Have Curves (2002) - 4/5

A beautifully crafted look at the dual reality of the America-born daughter of a Mexican immigrant mother, with an honest and heartfelt look at the mother-daughter relationship, body positivity, and finding your own path to womanhood.

Ramy Youssef: More Feelings (2024) - 4.5/5

I don’t think anything will top the “Did 9/11 work?” joke from his previous special, but this appropriately titled follow up delivers even more well-executed stream-of-conciousness-style jokes on “controversial” topics; also I go to sleep every night knowing Ramy Youssef’s wife is the luckiest woman in the world; also also WHEN ARE WE GETTING RAMY SEASON 4 MY BOY?!!!

Challengers (2024) - 5/5

I could not give less of a fuck about tennis but suddenly I was on the edge of my seat for an entire 2 hours overdosing on insane camera movement and a pulsing electronic dance club score.

Crossroads (2000) - 2/5

I thought I was in for a fun girls’ trip movie and it’s not not that but also, what the fuck? (content warning: obligatory plot point when cast member Britney Spears has to save the day by singing).

Turtles All the Way Down (2024) -4/5

Adapted from my favorite John Green novel about a girl with debilitating anxiety and OCD, it retained the nostalgia of Green’s 2010s glory days while toning down some of the Greenisms (I never felt like I was watching characters try to out-quirk each other as is the case with his other stories (and it was filmed in Cincinnati!))

Prom Dates (2024) - 2/5

I wish I could tell you what happens in this movie but I forgot 90% of it right after watching.

The Iron Claw (2023) - 4.5/5

I put this film on to see some hot men in tight 70s clothing and ended up bawling my eyes out at the saddest story about family legacy, destiny, toxic masculinity, and mental health I have ever seen; Zac Efron you were ROBBED of an Oscar!!!! (also this is based on a true story and all I have to say is Fritz Von Erich I will SEE YOU IN HELL).

Totally Killer (2023) - 3/5

An interesting premise that blends teen slasher horror and time travel science fiction together, but it’s a little clunky and wouldn’t be worth much if Kiernan Shipka wasn’t absolutely selling every line she’s given.

Casablanca (1942) - 3.5/5

Pearl Harbor WISHES it was this.

MH370: The Plane That Disappeared (2023) - 2/5

I don’t know why I was trusting Netflix with a documentary about this.

Unknown: The Lost Pyramid (2023) - 4.5/5

What a pleasant surprise that this turned out to follow Egyptian archeologists discovering and taking back their own history, and a good chunk of it was in Arabic too, with subtitles instead of dubbing!

Unknown: Cosmic Time Machine (2023) - 5/5

Detailing the long and complicated journey of assembling, testing, and launching the James Webb Space Telescope, this did a great job at communicating the hopes, dreams, blood, sweat, and tears behind this project and what it means for humanity’s search for our origins.

Unknown: Cave of Bones (2023) - 2.5/5

It could’ve been 45 minutes instead of 1 hour and 30, and there wasn’t much substance to it, but Neanderthals as a subject is reliably fascinating enough; come to find out, the anthropology community panned the paper these scientists wrote about this.

Unknown: Killer Robots (2023) - 2.5/5

A documentary about the possibilities of AI, it has a horrifying centrist point of view (literally at one point these scientists accidentally discover 40,000 toxic molecules and the most they say is “oopsie”) and it’s full of military propaganda; proof that STEM majors need ethics and humanities courses, and probably like several wellness checks a year.

Poisoned: The Dirty Truth About Your Food (2023) - 4/5

If you live in the U.S., don’t watch, stay in blissful ignorance.

Scariest Places in the World (2023) - 1/5

Look, my expectations weren’t high, but saying spirits were “documented on social media” and having talking heads labeled things like “paranormal researcher” and “paranormal influencer” with 100% seriousness has me guffawing.

Mysteries from the Grave: Titanic (2022) - 3/5

If you’re a Titanic enthusiast, you’ll find almost nothing new here, but there are several stories from descendants of survivors that were good, although I still don’t know what “mysteries” they’re referring to, and several times they spoke of “fate” as if “fate” physically played a hand in the ship’s demise, and at times they sounded very close to teetering into conspiracy theory territory.

Aftersun (2022) - 4.5/5

Don’t watch if you have daddy issues and a mentally ill father.

Talk to Me (2022) - 4.5/5

Usually “teens conjure spirits and suffer the consequences” is a tired, irritating genre but this horror flick infuses it with new life thanks to a tight script, great editing, and a stunning lead performance.

Invasion of the Body Snatchers (1956) - 4/5

A great film if you can ignore the red scare propaganda.

Invasion of the Body Snatchers (1978) - 4.5/5

The remake to end all remakes; self aware, takes every advantage of modern (for the time) filmmaking, and delivers one of the most chilling, memorable final shots in cinema history.

The Little Shop of Horrors (1960) - 3.5/5

I mourn for the days when cheap, campy horror comedies were made.

Dementia 13 (1963) - 2.5/5

Worth a watch if only to see the pure directing talent from Francis Ford Coppola in his very first film, but then again, given its thin script and Coppola’s recent exposure for being a total creep, you won’t miss anything.

Night of the Living Dead (1968) - 4/5

Earning its title as the father of the zombie genre, that ending was probably the most devastating ending to a horror film I’ve ever seen, and this is coming from someone who has watched every Ari Aster film.

Boyfriends and Girlfriends (1987) - 4/5

Friends, love triangles (or love squares), young people living in France; this marked the beginning of my obsession with Eric Rohmer films.

Four Adventures of Reinette and Mirabelle (1987) - 3.5/5

Two girls, one from the country, and one from the city, study together in Paris and come across things in their daily lives that test their differences; there are scenes in this that look straight out of a painting, and the use of primary colors is striking (that’s true for all of Eric Rohmer’s films).

The Conjuring 2 (2016) - 3.5/5

I’ll watch anything with fictional Ed and Lorraine Warren (who are much better than the real losers) but as with most of the Conjuring films, the title sequence with that hauntingly intense vocal arrangement fills me with more emotion and excitement than anything else in the film.

A Summer’s Tale (1996) - 4/5

An Eric Rohmer film about a scrawny, dark-haired, sensitive artist who can’t decide which girl he wants, he gives this monologue about loneliness that reminds me that unfortunately, he is my type.

Beetlejuice Beetlejuice (2024) - 4/5

Not perfect, but exceeded my expectations despite some questionable plot choices (literally what was Monica Bellucci even doing there) and creative decisions (that animated sequence with Charles–the fuck was that?); it knows it’s a sequel and isn’t trying to be anything but, yet also doesn’t feel too nostalgia-baity either.

Friday the 13th (2009) - unrated

The 2010s trend of rebooting 80s horror franchises and trying to make the plot more complicated and exciting with laughably bad results is oddly comforting and made this a fun watch even if it’s not good in the slightest.

Child Star (2024) - 3.5/5

Comparisons to Quiet on Set are inevitable; I think this is the better of the two, even if it at times feels like just another Demi Lovato documentary with an excuse to promote her new music.

The Blob (1958) - 3/5

Less talky more blobby.

Triangle: Remembering the Fire (2011) - 4/5

A documentary about the Triangle Waist Factory fire of 1911, nothing will make you realize just how much blood U.S. labor laws are written in like this documentary; a harrowing reminder of how far we’ve come and how far we still have to go.

A Girl Walks Home Alone at Night (2014) - 4/5

A modern film noir that pays homage to a mix of genres, this is truly unlike any film I’ve seen, bringing you in with the tease of a gory revenge story and surprising you with the beautiful unfolding of an outcast love story.

The Substance (2024) - 4/5

Literally every time I thought “How far can this go?” it went even further; stunning performances, a script that’s unafraid to be out there, gruesome, cruel, and funny all at once, and insane editing, cinematography, and sound design, watching it in the theater truly felt like an attack on the senses in the best way.

I Saw the TV Glow (2024) - 3/5

Kind of amazed, kind of disappointed, I feel like it oddly did too much and too little at the same time, but the ending was brilliantly emotional and haunting, and every scene was a visual feast.

The Social Network (2010) - 5/5

“Sure, I’ll finally see what the Facebook movie is all about” *is immediately floored*: “Sorry, my Prada’s at the cleaners, along with my hoodie and my fuck-you flip flops, you pretentious douchebag!"

Jurassic World: Fallen Kingdom (2018) - 1/5

Every choice made was the wrong one.

Clue (1985) - 4.5/5

A movie based on a board game sounds like it would be a disaster, but a self-aware script that pokes fun at its characters and uses Tim Curry to the best of his abilities makes for a fun ride.

Wicked (2024) - 5/5

Some of you forgot that Miss Ariana Grande-Butera was a musical theater kid whose first professional acting gig was on Broadway but EYE never forgot!

The Talented Mr. Ripley (1999) - 4/5

Matt Damon and Jude Law playing homoerotic frenemies as they gallivant across Italy for the summer until things take a murderous turn, what’s not to love?

The Age of Innocence (1993) - 4/5

Martin Scorsese’s most violent film, and not a gangster in sight.

Brooklyn (2015) - 4/5

1. why is Saoirse Ronan the queen of period pieces

2. I missed my chance to buy a Brooklyn brownstone, instead of being a 1950s Irish immigrant I was too busy not being alive yet :(

West Side Story (2021) - 3/5

In an alternate universe, Mike Faist would be opposite Rachel Zegler and Ansel Elgort would be terminally unemployed (in all seriousness though, Elgort’s creepy ass aside, he is supremely untalented, seeing him utterly fail to sing or emote opposite Rachel Zegler, who is giving a performance of a lifetime, is painful).

Nosferatu the Vampyre (1979) - 4/5

That kind of gothic horror that is unique to 1970s Europe, it boasts haunting sets, beautiful cinematography, and impeccable styling, but the rest of the film fails to match the absolute horror of the opening sequence.

The Apartment (1960) - 5/5

Probably the smartest, sharpest script I’ve ever come across; they truly don’t make films like this anymore.

Abigail (2024) - 4/5

The script could’ve been tighter and more focused, especially thematically, but the performances absolutely sold the hell out of it and I am always ready for blood-soaked final girl Melissa Barrera!

Chernobyl: The Lost Tapes (2022) - 4/5

Using archival footage only, this documentary places you in the POV of the first responders, employees, and citizens directly affected, making for a harrowing reminder of all the ways so many people’s lives were lost or changed forever.

Black Christmas (1974) - 4.5/5

This film speaks about female bodily autonomy and violence against women in a way that many modern films still can’t grasp, with a smart script and cinematography that never exploits its female characters, leaving much of the violence to the imagination, making for a truly fear-inducing experience that haunts you long after it’s over.

White Christmas (1954) - 3.5/5

As one Letterboxd reviewer put it: a whole lot of white, not a lot of Christmas.

Lisa Frankenstein (2024) - 4/5

Cole Sprouse doesn't say a single word until the very end and that’s why I liked this so much.

Black Christmas (2019) - 2/5

Unless you like unfocused scripts hellbent on Saying Something with SJW keyword-stuffed dialogue, thin characterizations, and the kind of uninspired, bleak filmmaking that Blumhouse is uniquely capable of, skip this one!

Anna Karenina (2012) - 5/5

Simply one of the most stunning, expertly crafted, one-of-a-kind films I’ve ever seen, with a truly unique visual style that serves the story impeccably.

Eileen (2023) - 2.5/5

Great shots, stunning effort from Anne Hathaway, but suffers from a lack of integral detail and narration from the book; if I hadn’t read the book, I wouldn’t have kept watching.

Immaculate (2024) - 3/5

Sydney Sweeney said she did Madame Web so she could have the money to finance this, and neither film was worth it; final act was wild though, and those last 10 minutes were insane.

Suspiria (1977) - 3.5/5

A bit of a thin script but it’s so goddamn beautiful to look at, a masterclass in lighting and color.

Amy (2015) - 5/5

The only piece on Amy Winehouse you’ll ever need, letting Amy tell you about herself in her own words through archival footage and song lyrics, letting you see the woman behind the image the media painted her in; a true palette cleanser after that fuck ass biopic.

Dune: Part Two (2024) - 4.5/5

SO mad at myself for not seeing this in theaters, this was a visual FEAST, with an epic score and stellar performances all around; I’m kicking down Denis Villeneuve’s door begging him to start work on Dune: Messiah.

The Crow (1994) - 4.5/5

Back when films weren’t afraid to be unapologetically gritty, sexy, and over-the-top goth; RIP Brandon Lee <3 (PS I read the plot of the remake on Wikipedia, and holy shit no wonder that one flopped so hard)

Nosferatu (2024) - 4.5/5

Another stunning entry from Robert Eggers, a beautiful, haunting, dreadful film that doesn’t ease up for a second, with great performances all around but an especially surprising breakout performance from Lily-Rose Depp, who put her entire body and soul into it.

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There you have it! Every new thing I watched and read in 2024. What are your favorites from this year?

In the meantime…

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Have a happy new year, I’ll see you in 2025!