My yearly Top Ten Favorite Films list is out, having provided plenty of challenge (despite the fun involved in putting it together). Now it’s time for the also entertaining task of assembling my favorite movie moments. Narrowing this down is no easy matter (this list initially had 84 picks), as even some average movies have terrific moments, and there’s so much I must recall. For 2024, I narrowed it down to, appropriately, 24 memorable scenes. This list represents many fun or crucial instances, ranging from musical numbers to dramatic moments to action highlights and more. Enjoy! (Note: There are spoilers for some films.)
Favorite Scenes Presented in Alphabetical Order by Film:
The Brutalist – Lady Liberty Inverted
The opening of director Brady Corbet’s 3 ½ hour epic deconstruction of the American Dream from the point of view of a Hungarian-Jewish architect / Holocaust survivor begins in obscurity. Much like Adrien Brody’s László Tóth, we are in the dark, not entirely clear on what’s going on at first. Then, Daniel Blumberg’s tremendous score begins to rise as László makes his way up from what we come to understand as the bowls of a ship. As the score starts to peak, darkness becomes lighter, and as László emerges to see the outside world, we see he’s arrived in America due to the presence of the Statue of Liberty. However, it’s not how we usually see the famous Liberty Island statue. Instead, the camera angle shows Lady Liberty as inverted. Is this just an intriguing point of view or a foreshadowing of how starting a new life may not be so simple?
A Complete Unknown – Johnny Cash Makes an Exit
As much as I admire the work put in by the cast of this Bob Dylan biopic when it came to the singing and instrument playing, the real standout scene in A Complete Unknown is also one of its funniest. Timothée Chalamet’s Dylan and Boyd Holbrook’s Johnny Cash had been admiring each other up to a certain point. Following a scene where the two share a smoke, an intoxicated Cash then begins to try and leave the parking lot. Sure, it’s a mild reflection of the destructive behavior that caused problems for Cash (which was depicted in director James Mangold’s other music biopic, Walk the Line). Still, you can’t help but smile at the coolest guy in the room bashing into multiple cars as he attempts to make his getaway in style.
Bad Boys: Ride or Die – Reggie Protects the Family
While there were long waits between Bad Boys I, II, and III, the strong success of ‘For Life’ meant getting ‘Ride or Die’ a lot quicker. As a Summer blockbuster, directors Adil & Bilall, seemingly aiming to prove themselves after shenanigans at Warner Bros. led to the studio canceling their Batgirl film, pulled out the stops and really tried to go as wild as director Michael Bay would in the first two entries. With all that in mind, nothing is more satisfying in this film than seeing the crowd-pleasing payoff to Reggie, the now-son-in-law of Martin Lawrence’s Markus Burnett. Given the information that bad guys are coming after the family, U.S. Marine Master Sergeant Reggie Norman leaps into action, single-handedly killing 10+ armed men (and it’s shot and edited wonderfully). Reggie finally shows Marcus that he’s not just the lanky kid who can get intimidated by grown police officers from all the years ago when we first met the character in Bad Boys II.
Better Man – “Rock DJ” on Regent Street
In Better Man, the film’s conceit relies on the audience accepting British pop singer Robbie Williams being depicted as an anthropomorphized chimpanzee for thematic reasons and giving the Michael Gracey-directed film some interesting ambitions. It’s pretty successful, but one of the most compelling scenes is an elaborate music/dance sequence where Robbie and his former boy band mates from Take That perform “Rock DJ” on London’s iconic Regent Street. The original music video famously features a body horror-heavy second half, so finding a new means to present this song and do so inventively seemed like an interesting challenge. Presented largely in one long take, assisted by visual effects, this whole song and dance number turns into a fine display of the music, complete with irreverent humor, and style.
Blitz – Café de Paris
Director Steve McQueen’s impressively made and Dickensian-inspired war drama features several elaborate sequences focused on the impact of Germany’s bombing campaign against the United Kingdom during WWII. With that in mind, one section of the film in particular is rooted in a real-life scenario involving the Café de Paris. Cutting from the main story, McQueen launches us into the famed West End nightclub in London, where Ken “Snakehips” Johnson leads his swing band on stage. The camera never stops moving during this sequence as we watch it glide through the club, moving in and out of the actions involving the band, the servers, and the patrons. It’s busy, but everyone is having a grand time. Then, a harsh reality settles in as the implication that a bombing is imminent becomes clear. The next time we see this location, it is the aftermath of the explosion that took place, and looking over the Café de Paris becomes a much darker experience.
Challengers – Game. Set. Match.
So much of Luca Guadagnino’s kinetic sports drama, Challengers, is built around the sexual tension held between each of the three main characters. It is released now and again in various ways, but to what avail? Zendaya’s Tashi Duncan, Josh O’Connor’s Patrick Sweig, and Mike Faist’s Art Donaldson are all frustrated and out of sorts, leading into the final match of the film. We see the tennis action pushed to the limit thanks to some inventive camera choices. A stunning revelation increases the emotions even more. Where will this all lead? During the film’s final rally, a jump for a volley at the net leads to a collision between the two young men, with the woman of their dreams hoping to finally see real tennis recognizing what’s happening and loudly exclaiming, “C’mon!”
Civil War – “What Kind of American Are You?”
Whatever one takes away from Alex Garland’s Civil War from a political angle is up to them. However, the film is still incredibly effective as what amounts to a survival horror film focused on press members attempting to reach the White House. This trip leads to some stops on the way, but none of those moments is more terrifying than when Jesse Plemons makes his cameo as an ultranationalist militant ready to execute anyone who is not the “right kind” of American. Equipped with an assault rifle and red sunglasses, this is menacing iconography that cuts down to the core of what’s being faced in this fictional future America. The film may deliver a bit of a convenient out to the scene, but the work by Plemons and the rest of the cast is incredibly effective regardless.
Dune: Part Two – “Grandfather… You Die Like An Animal”
The second part of Denis Villeneuve’s epic efforts to adapt Dune was very successful. Given the film’s scope, Part II is full of terrific moments to look at. Yes, I was rather impressed by Paul Atreides learning to ride the sandworm and the introduction of Austin Butler’s Feyd-Rautha, but I had another in mind in terms of watching a scene that shows what commanding a moment looks like. This occurs late in the film. The Fremen have launched their attack on the Harkonnens and have proven their strength. Paul Atreides then enters the throne room, and before tending to business involving the Emperor of the Known Universe, he walks past everyone and straight to an already injured Baron Harkonnen to execute him. The Baron only has time to hear him acknowledged as the grandfather to the powerful Atreides before losing his life and is given no honor when the following order is merely to cast his body out onto the sand. I’m aware this is different from the book, but from a cinematic standpoint, there’s satisfaction in seeing Paul take revenge for his father’s death, and the scene is rather effective.
The First Omen / Nosferatu – A Tribute to Possession
Whether a prequel or a remake, The First Omen and Nosferatu are fine extensions of what has come before. Along with the style and atmosphere brought by their respective directors, both films also feature strong lead female performances in the form of Nell Tiger Free as Sister Margaret and Lily-Rose Depp as Ellen Hutter. During key points in both films, both performers’ characters are pushed to a place that involves freaking out, convulsing, and other actions that feel as though they are dealing with out-of-body elements pushing them harder than anything. These sequences easily call to mind a similar freak-out experienced by Isabelle Adjani’s Anna from the psychological horror film Possession. Far from a simple knock-off, it feels more as though both modern features took inspiration from the cult favorite.
Furiosa: A Mad Max Saga – Assault on the War Rig
Mastermind George Miller’s post-apocalyptic prequel is divided into several chapters. While each has its highlights (I’m especially thinking of the opening with Furiosa’s mother’s efforts to save her daughter), the incredible high-speed, car-based action shines brightest during chapter three, “The Stowaway.” Traveling in the heavily modified War Rig, equipped with even more defensive additions than seen in ‘Fury Road,’ a supply run is interrupted by scavengers determined to take it down by any means necessary. This leads to a series of actions, all thrilling to watch, with different understandings of how each part of the War Rig is important and what to take away from both Anya Taylor-Joy’s Furiosa and Tom Burke’s Praetorian Jack as far as their determination to stop those in their path. The way the camera goes from ground to air in several instances, let alone all the stunts and explosions on display, shows how wild Miller’s ambition is, let alone how skilled he is in capturing it all on camera.
Godzilla x Kong: The New Empire – All Monsters Attack in Zero-G
Following Godzilla vs. Kong’s success in saving theaters (first) in 2021, Godzilla x Kong arrived, feeling like pure gravy. With the big promised fight out of the way, it just feels like a time for Kaiju enthusiasts like myself to revel in what additional Legendary Pictures take on the King of the Monsters has to offer. GxK has no shortage of fun moments involving monster brawls. Still, I was all for the collective battle featuring Godzilla and Kong (with help from Mothra) taking on the nefarious Skar King and the ice-blasting Shimo. Seeing these titans all leap at each other in slow motion is the kind of geeky dream one hopes to get in a movie like this, made with the visual effects of today, and it delivers the fun. On top of that, before these monsters take the bout to Rio de Janeiro, they must fight in a zero-gravity space, adding to the wild nature of seeing these brutes in battle.
Hit Man – A Firey, Wirey Interrogation
Richard Linklater’s delightful dark comedy gave co-writer Glen Powell a real chance to shine as Gary, a dorky professor-turned-undercover mole posing as an assassin-for-hire. Late in the film, when it looks like he and his girlfriend Madison (Adria Arjona) are backed into a corner, Gary thinks on his feet to keep both out of trouble. Arriving at Madison’s house while wearing a wire, Gary silently uses the Notes app on his phone to guide Madison through an interrogation to make it seem like both are innocent of an incident that has taken place. While Madison is still mad at Gary based on certain reveals from earlier, the two not only convincingly fake-argue their way out of trouble, but they even have fun and begin turning each other in on the process. It’s a devilish bit of fun based around the dark circumstances these two have created for themselves, and it’s also a highlight of the talents put on display by Powell and Arjona.
Hundreds of Beavers – The Trial of Jean Kayak
There could be a whole post dedicated to just moments from Mike Cheslik’s brilliant slapstick farce, Hundreds of Beavers. From the Rube Golberg machines to a snowman with muscles to the appearance of a “horse,” this film had me laughing from start to finish with its ingenious construction. Singling one sequence out in particular while I was leaning on a big brawl that would take place afterward, the courtroom scene really did a number on me. At this point in the film, our hero, Jean Kayak (Ryland Brickson Cole Tews), is being put on trial for the crimes he’s committed against beavers. Despite being, in essence, a silent film, there’s a case made against him by a beaver wearing suspenders, complete with evidence from beavers dressed like Sherlock and Watson. Meanwhile, Jean Kayak has been given a court-appointed beaver lawyer, who is visibly nervous and stammers his way through a defense. It’s all just so hilarious.
I Saw the TV Glow – “Starburned and Unkissed”
The genre-defying indie film I Saw the TV Glow has lingered with me since seeing it earlier in the year, and that comes from the sort of hypnotic mood created by director Jane Schoenbrun. It has a variety of ideas embraced by different audiences in numerous ways, which speaks to how much of a significant effect the film has had. That said, one standout sequence comes somewhat early on, as we come to understand a teenage Owen’s (Justice Smith) relationship with the YA supernatural series “The Pink Opaque.” We see this through a long take of Own walking through a school hallway, set to Caroline Polachek’s “Starburned and Unkissed.” It’s an evocative sequence that does plenty to inform us about Owen’s environment, his demeanor, the show itself (thanks to pink text appearing on screen to add further detail), and a sense of what the film is attempting to establish on a thematic level. I also just really like the song.
Land of Bad – Grocery Shopping
What could have been just a throwaway action thriller is more accomplished than average thanks to the efforts by director William Eubank (The Signal, Underwater). Sure, its aim is to primarily keep Liam Hemsworth’s Air Force TACP as close to danger as possible for the sake of firefights and other elaborate action moments, but it’s rather effective. Part of that comes from what’s offered by the film’s major subplot involving Captain Eddie “Reaper” Grimm, an Air Force drone pilot played to perfection by Russell Crowe. Late in the movie, Reaper is relieved of duty and spends his time doing some grocery shopping for his very pregnant wife. It’s at this point that we see the movie star magic that is Crowe’s efforts to locate artisanal vegan cheese, while the film cuts back and forth to intense torture and other notable actions taking place. It’s deliberately meant to undercut some of the intensity, and it’s a pleasure to watch, thanks to the extra bit of zing that even a slumming Crowe can supply.
Longlegs – “That Gross Guy Is Back Again”
As steeped in darkness as Osgood Perkins’ Longlegs is, it’s not afraid to push back against some of its oddities and efforts to deliver a frightening experience. Most notably, this comes in the case of Nicolas Cage, whose performance as “Longlegs” is ratcheted up to scare but can also be brought back down to earth. This is exemplified humorously in a small scene where we watch Longlegs enter a hardware store. He attempts to be charming in his own weird way to the young clerk (played by Perkins’ own daughter), only to be met with no respect and called gross, as the teenage girl calls out to her dad about this weirdo bothering her. It’s the kind of thing that puts into perspective what kind of power Longlegs really has when broken down to his barest when he’s not planting evil dolls and sending clues to FBI agents about his satanic plans. Take away all his quirks, and he’s just a pasty loser.
Nosferatu – Shriveled and Exsanguinated at Sunrise
Picking from the scenes found in Robert Eggers’ rather excellent remake of Nosferatu essentially came down to choosing between the film’s grossest moments. That said, while Jarin Blaschke’s outstanding cinematography gave me my favorite shot of the year (the shadow of Count Orlok’s hand arriving over an entire city), I found a lot of beauty in the film’s final moments. (Spoilers Ahead) As true with every Nosferatu film, the guy just doesn’t know how to call it quits when he’s having a good time, so once again, sunlight ultimately takes care of the plague-ridden vampire. Following this occurrence, however, there’s just a fabulous shot pointing down at the remains of Orlok and a drained Ellen, both lying together, with one having sacrificed herself for the good of humanity. As we hear the quiet moments of Robin Carolan’s score as this moment occurs, it serves as a dark but fitting end to this latest iteration of the classic tale.
The Piano Lesson – “Berta Berta”
The third cinematic adaptation of one of August Wilson’s plays by producer Denzel Washington has earned its rightful share of praise, even if awareness of this film seems less than that of Fences and Ma Rainey’s Black Bottom. That said, while the movie has many commendable aspects, including the performances by Danielle Deadwyler and Ray Fisher, among others, I really enjoyed the “Berta Berta” scene. With most of the male members of the cast gathered around one night, having had a few drinks, they all begin singing an old prison work song, “Berta Berta,” together, which calls to mind gospel, blues, and rock ‘n roll. Merely hearing the music based on the voices of these men, their stomping feet, and pounds to the table, you feel a lot of emotion coming through during this sequence, hinting at history, reflecting on the history of slavery in general, and increasing our understanding of the bond between these characters.
Rebel Ridge – “I Think He’s On the Wikipedia Page”
Rebel Ridge does a terrific job of establishing tense situations punctuated largely by intelligent dialogue. While it’s easy to see how Aaron Pierre’s Terry Richmond is being put up against corrupt authority figures who are in the wrong, the film finds ways to twist the knife more and more, baiting the audience into keeping up, hoping for a release. The first form of that comes at the end of an extended first act, with Terry having another confrontation with Don Johnson’s Chief Sandy Burnne. As the two exchange words and veiled threats, the other police officers are busy trying to reset the Wi-Fi and learn more about Terry’s background. Right before the action kicks in, we get the memorable moment of discovery, with the officers not only learning what Terry’s MCMAP training means but also that Terry is literally the image used on the Wikipedia page, explaining what it is and showing its best example. It all speaks to Terry’s (non-lethal) close-quarters hand-to-hand expertise, and seeing him in action is oh-so-satisfying.
Smile 2 – Home Invasion Dancers
While I have plenty of praise for Smile 2 regarding working as a psychological horror movie exploring the nature of PTSD in a stressed and overworked pop star, the film also knows how to be scary. Yes, there are effective jump scares to enjoy, but the film’s creep factor is also incredibly high. One key scene finds Naomi Scott’s Skye Riley (reminder: Skye Riley > Lady Raven) alone in her apartment, only to find herself cornered by the “Smile Entity,” which has taken the form of her backup dancers. This sequence starts near the back of Skey’s apartment, only for her to try and move herself toward the front door without looking away. That said, as she does periodically adjust her vision, the dancers, with full smiles on their faces, get closer and closer to her, with their wildly creative movements adding an extra layer of terror on top of it all before the large force finally forces their way into capturing Skye.
The Substance – Ruining Date Night With Fred
Like several other movies on this list, The Substance has no shortage of wild, gross scenes involving body horror and director Coralie Fargeat’s purposely unsubtle approach to the satire on display. With all of that in mind, there’s a sadder, more authentic moment I wanted to point out here. Early in the film, Demi Moore’s Elisabeth Sparkle encounters Fred (Edward Hamilton Clark), an admirer from high school. The guy has no real game, but he’s sweet and puts himself out there enough for Elisabeth to agree to a date with him later in the story. Prepping for the date, however, a slight flaw causes Elisabeth to rethink what she’s wearing. An error in getting ready leads to her fussing over herself more. Elisabeth ends up making too many destructive choices, leading to her canceling the date altogether. I may not be a woman or one who has these kinds of anxieties when it comes to getting ready for something. Still, the sequence builds plenty of empathy for the viewer and speaks to how great Moore is as this character, let alone how much the film accomplishes at a base level, even without the grotesque theatrics that make it such a crazy ride.
Terrifier 3 – Art Meets Santa
Damien Leone was happy to up the ante for the third entry in his Terrifier series, and he certainly didn’t hold back when it came to creative kills for David Howard Thornton’s Art the Clown. While Terrifier 3’s opening sequence involving the naughtiest Santa Claus you’ll ever see was an easy scene to consider, another moment captures everything I appreciate about Art the Clown. Midway through the film, Art is ready to embark on another killing spree and comes across a Santa impersonator (Daniel Roebuck) in a bar. Art immediately becomes giddy with excitement, pulling his silent schtick and slowly ratcheting up his malevolence. Once it becomes clear to the other patrons (including a cameo-ing Clint Howard) that Art is up to no good, it’s too late. Thornton apparently took inspiration from Will Ferrell in Elf for this scene, and it shows up until Santa’s bones get broken and his face is ripped off.
Wicked – Defying Gravity
With no experience of Wicked outside cultural osmosis, I wasn’t sure what I was in for with Jon M. Chu’s blockbuster musical fantasy. Fortunately, I found myself quite taken by the film, largely thanks to the performances and some of the elaborate musical numbers. From everything I understand, “Defying Gravity” is the true showstopper. While certain visual choices were made that may have slightly hampered the impact, the overall feeling I got from Cynthia Erivo’s performance of this song and everything going on in the build toward the “To Be Continued” credit really did a number on me. It’s powerful stuff and, by default, one of the strongest cinematic cliffhangers I’ve seen in some time.
Will & Harper – “Harper and Will Go West”
Early in the incredibly sweet and well-meaning documentary Will & Harper, Will Ferrell and Harper Steele are on a Zoom call with Kristen Wiig. They request that she write and perform a song that summarizes their road trip. The two give Wiig an exhaustive list of ideas they hope to see utilized that can best work as an anthem for the duo. As an audience, we have no real idea of what this will amount to. Then, just as the credits begin, and we’ve possibly forgotten all about the song to begin with, Wiig pops in over the credits to sing this song, and it’s just lovely. It’s funny, yet clever; self-aware, yet entirely fitting of the journey. The fact that it’s in the running for Best Original Song for the Academy Awards is great to see.
Hardest Cuts: Anora – Car Breakdown with Igor, In a Violent Nature – The Yoga Kill, Megalopolis – Jon Voight’s Robin Hood Erection Disguise, A Real Pain – David Admires, Envies, and Resents Benji, Red Rooms – Disturbing Cosplay
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And that will do it for my list of favorite movie moments. There were many to go through, and narrowing it down was a task unto itself. What say you? What were your favorite movie moments of 2024?
