Movies are about moments – big moments that erase our cynicism about cinema and remind us of its capacity to dazzle as well as touch us. This happens in a way only possible with a medium that seamlessly combines so many other art forms. These are instances that prompt us to consider things in a different light, empathize with others in a way we could never expect or simply entertain.
While sometimes memories of the overall plot of a film or its minute details may escape us, certain scenes stand out like a beacon in a bland cinematic landscape. What follows is a list of the 10 best scenes from the movies in 2024. While some of the films they’re from might not have been completely successful, during these moments, perfection was achieved, and they’ve proven powerful enough to stay with this viewer long after the credits have rolled and the lights have come up.
Carry-On – En route to a hostage situation at LAX, police detective Elena Cole (Danielle Deadwyler) realizes the FBI agent driving her is, in fact, one of the bad guys. Attempting to stop him, she sets off a chain reaction of events that leads to a spectacular, high-speed crash. Combining practical effects with computer-generated images, director Jaume Collet-Serra creates a genuinely incredible, showstopping moment, one worth rewinding again and again.
Civil War – A revolution has broken out and martial law has been declared, an act that has emboldened anyone with a gun. A group of reporters run afoul of three would-be “peacekeepers,” their lives suddenly in danger as circumstances allow the trio to carry out their misguided macho fantasies. Thanks to Jesse Plemmons’ intense performance as the armed leader, this scene develops into a moment of gut-wrenching tension, the reality of which hits too close to home.
Day of the Fight – Hoping to reconnect with his estranged father (Joe Pesci), who’s incapable of speaking after suffering a stroke, boxer Mike Flannigan (Michael Pitt) unburdens himself with a poignant monologue of sorrow and regret. Though this scene is quietly rendered, the passion Pitt employs results in a heartbreaking moment, as does Pesci’s contribution, the actor conveying regret and longing with only his eyes.
Furiosa – Intent on protecting a massive tanker they intend to steal, Furiosa and Pretorian Jack (Anya Taylor-Joy and Tom Burke) pull out all the stops to repel a group of marauders set on stopping it. In a franchise replete with brilliant action set pieces, this 15-minute sequence stands out, director George Miller using every trick in his bag to create an innovative, invigorating symphony of ferocious motion.
Ghostlight – Having suppressed his anger over the meaningless death of his son, Dan (Keith Kupferer) finally vents his frustration during a deposition attended by his wife and daughter. The raw emotion on display, as well as the relief that is felt, is made all the more palpable by the fact that the three principal actors are a family in real life. It’s a well-earned, cathartic moment that rewards the patience of the viewer.
Heretic – Having trapped two young Mormons in his home, Mr. Reed (Hugh Grant) uses a Monopoly game, charts and historic images to explain to them that all religions follow the same basic tenets and story, something done to undercut their beliefs. Cleverly written, the scene is brought to life by Grant’s increasingly impassioned explanation, the character’s incredulous nature reaching wonderfully ridiculous heights. The actor’s enthusiasm for this offbeat role makes this showstopping moment all the more delicious.
My Old Ass – (spoiler alert) Answering a plea for help from her younger self (Maisy Stella), Elliott (Aubrey Plaza) reveals that Chad (Percy Hynes White), the man she warned her not to fall in love with, tragically dies in the near future. When he interrupts their conversation, Elliott is face-to-face with the true love she lost years before. This unexpected development provides the film with a devastatingly emotional conclusion that elevates the script, providing Elliott with a well-earned sense of closure.
Smile 2 – Intent on passing on a curse that’s been inflicted on him, a police officer, Joel (Kyle Gallner), infiltrates a crack-house, hoping to infect a drug dealer he’s been following. Needless to say, things don’t go as planned. This, the opening sequence of the film, is a single-take, handheld shot which travels into the rundown house, goes in and out of various rooms, then follows Joel outside as he flees toward a shocking, unexpected death. Director Parker Finn immediately jolts the audience out of their seats, delivering a visceral moment he fails to top.
The Substance – Having suffered a series of incidents that have left her self-esteem in tatters, Elisabeth (Demi Moore) gets ready for a date, examining herself in the mirror, repeatedly adjusting her hair, clothes and makeup. Her unfounded doubt over her appearance takes hold, and she smears her lipstick in frustration across her beautiful face. Moore’s fierce approach provides resonance to this moment, as it becomes obvious she is venting her own experiences with the cruel Hollywood machine.
Wolfs – In a panic after having awakened from a drug-induced stupor, the Kid (Austin Abrams), wearing only his underwear and socks, bolts from a seedy hotel room, not sure where he’s going but intent on leaving the two hitmen who’ve found him (George Clooney and Brad Pitt) in his wake. What results is a foot chase through the streets, alleys, bridges and stores of New York City. As comical as it is exciting, Theodore Shapiro’s techo-jazz score adds a jaunty feel to the sequence, the chagrined reactions of the screen veterans the perfect complement to this ridiculous, post-modern moment.
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This article appears in Best films and scenes of 2024.
