The 15 Best Movie Scenes Of 2024

As a cinephile with a penchant for the absurd and a soft spot for films that push the boundaries of conventional storytelling, I found myself utterly captivated by the eclectic collection of scenes from this year’s cinematic offerings. Each one showcases a unique approach to filmmaking, immersing us in worlds both familiar and fantastical, while provoking laughter, tears, and everything in between.

It’s likely that if you enjoy a movie, you won’t leave the theater bursting to share every tiny detail with your friends. Instead, your excitement will often take the form of sharing memorable scenes from the film you just loved. These key moments, serving as mini representations of a film’s overall quality, can quickly spread not only among your social circles but also across the internet. Despite some challenges in the cinema industry in 2024, as the biggest box office flops of that year demonstrate, there were still numerous outstanding films with scenes that everyone was raving about. The top movies from around the world this year had a variety of sequences that left lasting impressions on viewers for many reasons.

Among these scenes, some stood out as unforgettable gems due to their powerful emotional impact. Others were nothing short of hilarious or captivating, creating quite a buzz when witnessed in group settings. Additionally, there were moments that sparked broader sociopolitical debates, mirroring the brave themes tackled by many of the most contentious movies from 2024. Regardless of their unique qualities, it’s evident that these scenes will continue to resonate with movie enthusiasts across the spectrum as we venture into 2025 and beyond. The top 15 movie scenes from 2024 are sure to be a hot topic of conversation for years to come, serving as compelling reasons to watch the films released in that year.

There’s a run-in with Uwe Boll in Don’t Expect Much from the End of the World

It might surprise many that Uwe Boll, the notoriously poor-rated filmmaker, would find himself starring in one of 2024’s most critically acclaimed movies titled “Don’t Expect Too Much from the End of the World.” In this dark comedy directed by Radu Jade, which delves into contemporary capitalism, a character named Angela (Ilinca Manolache) – who has gained viral fame through her TikTok videos depicting herself as an overly enthusiastic man – encounters Boll during a work delivery at his movie set. Amidst shooting a farcical sci-fi production involving a colossal insect, Boll interacts with Angela and even features in one of her videos, creating an unusual scene that becomes even more surreal given Jade’s enigmatic portrayal of the film’s opinions on Boll.

Is he embodying the decay of society? Does his character serve as an indication that today’s world has become so chaotic that someone like Boll seems ordinary? With such depth and intrigue lurking beneath an amusing situation, it’s no wonder that Boll’s good-natured demeanor and captivating persona make the scene even more engaging. It’s also appropriate that a man who admittedly used German tax loopholes to fund his films prior to 2006 encounters a woman manipulating a corrupt company for rent, as we all adapt in various ways within late capitalism. Indeed, Uwe Boll is no exception.

The Rock DJ number takes to the streets in Better Man

In Michael Gracey’s debut musical film “The Greatest Showman,” there were areas where improvement could be made. The visuals had a lot of energy, but the jarring transitions between stars like Hugh Jackman and skilled dancers during key scenes often distracted from the intended emotional impact of the songs. The editing during musical sequences was perhaps the movie’s most significant flaw, which Gracey appears to have improved upon in his latest production.

Titled “Better Man,” an extravagant musical biography that creatively depicts Robbie Williams (portrayed as a CGI monkey), includes an extended music sequence where Williams and Take That bandmates perform the song “Rock DJ.” They serenade these lyrics across various London locales, engaging in activities such as dancing on top of elderly women, frolicking within a record store, and prancing through city streets.

In a unique twist on “Rock DJ,” the rhythm is exceptionally lively, amplifying the initial song’s intensity and dramatic flair to create a piece ideal for mass sing-alongs. Even more striking, it’s filmed in one continuous shot. The camera maintains its gaze without interruption as it tracks Williams performing an array of actions from sprinting past newsstands to tumbling off a double-decker bus in a pose reminiscent of Christ. It’s a visually stunning feat, considering editing and cinematography, truly highlighting the exhilaration of music uniting people. Michael Gracey, who edited “The Greatest Showman,” can now be seen as having redeemed his editing sins.

Furiosa confronts Dementus one last time in Furiosa: A Mad Max Saga

When ranking George Miller’s films, it becomes evident that he consistently delivers something other than what is anticipated. For instance, who would have envisioned “Babe: Pig in the City” from the first “Babe”? Similarly, could people have foreseen the wild visuals of “Mad Max: Fury Road” during the ’80s when the “Mad Max” sequels were initially released? Unsurprisingly, “Furiosa: A Mad Max Saga” continues this trend by deviating from audience expectations. Instead of rehashing “Fury Road,” “Furiosa” unfolds as a more expansive tale about daily life under oppressive regimes. The climax of this unconventional storytelling approach isn’t a fierce gun battle between good and evil, but rather a prolonged conversation between Furiosa (Anya Taylor-Joy) and Dr. Dementus (Chris Hemsworth) in the desert.

Following years of pursuing vengeance, Furiosa finds herself face-to-face with Dr. Dementus. However, as time passes, she begins to understand that there might be more similarities between them than she initially thought. Both are fueled by violence and a thirst for retribution, and Dementus goads her with the idea that she’ll never find the release she seeks from him. Inflicting the same pain on Dementus that he inflicted on Furiosa is futile. Their prolonged conversation, despite being uncommon in summer blockbusters, proves to be worthwhile. It not only showcases Furiosa’s distinctive creative spirit but also adds depth to why helping other women is so crucial to Furiosa in “Fury Road.

Terry Richmond’s identity becomes clear in Rebel Ridge

Surprisingly, the most authentic spin-off of “Road House” in 2024 wasn’t the official remake starring Jake Gyllenhaal, despite his on-screen injury. Instead, it was Jeremy Saulnier’s “Rebel Ridge.” The film’s main character, Terry Richmond (played by Aaron Pierre), is cleverly patterned after Patrick Swayze’s original “Road House” hero, making an entrance in “Rebel Ridge” as a mysterious figure with a rich history of past exploits. Unlike the new “Road House,” which delved deeply into its protagonist’s background, “Rebel Ridge” understands the allure of keeping some elements shrouded in mystery.

The potential of that restraint is realized in an unforgettable scene where police chief Sandy Burnne (Don Johnson) strolls out to take care of Richmond, who is standing just outside the police station. Simultaneously, Burnne’s lackeys are looking up info on Richmond online. Initially believing Richmond is a nobody, Burnne proceeds to act all smug to Richmond, who simply wants to help his cousin stay out of jail. Director and editor Saulnier keeps cutting back and forth between this Richmond-Burnee interaction and other police officers uncovering the former character’s past.

As Burnne and Richmond’s conflict escalates to its peak, it is revealed that Richmond isn’t just an ordinary man – he’s a skilled expert in close-quarter combat. In an exciting turn of events, Richmond starts exacting his revenge in this manner. This thrilling action scene perfectly encapsulates the kind of momentum you’d expect from the director of “Green Room,” and it serves as a brilliant example of how maintaining an air of enigma around your main character can prove rewarding.

Learning to fly was never so poignant as in The Wild Robot

The Marren Morris song “Kiss the Sky” gets highlighted in one of the most poignant segments in “The Wild Robot,” a montage showing robot Roz (Lupita Nyong’o) helping adopted goose son Brightbill (Kit Connor) learn how to fly. It’s a deeply moving sequence, as the once aloof, emotionally distant robot demonstrates tremendous tenacity in aiding Brightbill’s growth as a flier. The film’s sumptuous visual scheme also proves beneficial, as the striking, painterly backdrops accentuate the different seasons and days that pass as Roz helps Brightbill in this quest. The passage of time is lovingly rendered and, by proxy, helps make the lengthy dedication Roz has to this fowl even more emotionally tangible.

In this scene, the montage effectively echoes how “The Wild Robot” skillfully blends well-known cinematic aspects with a sense of novelty. Montages like this are not new to us, nor is the concept of animated movies about robots learning affection. However, the unique setting, animation style, and compelling characters in “The Wild Robot” give these elements a fresh and exciting twist.

In this scene, larger cinematic patterns fade away, leaving only the captivating skill of Brightbill mastering flight in sharp focus. Moreover, “Kiss the Sky” is a deeply moving song that harmonizes perfectly with the sequence’s mood. This isn’t the only emotional moment from “The Wild Robot,” but this montage stands out as it beautifully showcases the film’s ability to evoke emotions.

Tashi gives a monologue for the ages in Challengers

As a dedicated gamer immersed in the virtual world of “Challengers,” I can attest that Tashi Duncan, brilliantly portrayed by Zendaya, is renowned for her unparalleled tennis skills, a legacy that was cruelly curtailed. Yet, it’s not just her gameplay that leaves an indelible impression on viewers as they exit the “Challengers” realm. Instead, Tashi’s screen presence exudes an undeniable air of authority and power, captivating audiences everywhere.

This elicits an impressively delivered monologue (penned by screenwriter Justin Kuritzkes) from Tashi, which Zendaya delivers masterfully. Within just a few minutes of screen time, she dismantles the arrogant Patrick with remarks such as “it’s not endearing for you to feign needing to struggle at these… competitions,” and “you don’t have a dream, Patrick.

In his “Challengers” shoes, Patrick struts about as if he’s the epitome of divine grace, even in challenging circumstances such as sleeping in his car or appearing desperate in social settings. However, Tashi dismantles this unwarranted arrogance with a powerful monologue and sharp remarks like “[success doesn’t define] you, it’s past the point.” This captivating exchange of words is delivered by Zendaya with an electrifying intensity, every word dripping with simmering anger. Unlike Patrick’s behavior, Tashi’s response to him is unique. It’s Zendaya’s extraordinary performance in this scene that solidifies her as a legendary actress, standing shoulder-to-shoulder with Tashi Duncan as a sports icon.

The truth comes out in Conclave

Initially, “Conclave” seemed like it would be a somewhat conventional movie, avoiding excessive action that might displease older audiences. However, upon release, it transformed into an outrageously entertaining film featuring exceptionally talented actors delivering outstanding performances as the most petty individuals imaginable. The drama reaches its peak in one of the film’s most gripping scenes, which takes place in a cafeteria where all the cardinals gather for meals between voting sessions to elect a new pope.

In this scene, Cardinal Thomas Lawrence, played by Ralph Fiennes, exposes the questionable deeds of another high-ranking clergy member, Cardinal Tremblay (John Lithgow). This powerful individual, confronted about his misconduct, initially defends and rationalizes his actions. However, Sister Agnes’ (Isabella Rossellini) compelling testimony swiftly solidifies the case against him, demonstrating that these allegations are not merely fabricated by a rival contender for the papal throne.

In a captivating manner, Director Edward Berger and the actors skillfully enact this scene with exuberant flair. The profound impact of the deceit and treachery among these characters is effectively conveyed, as well as their commitment to adding dramatic, well-pronounced accents. For example, Agnes gracefully departs after a grand curtsy, while Cardinal Goffredo Tedesco (Sergio Castellitto) reacts to the chaos not with an oration, but by taking a prolonged puff on his vape pen. This ending to a scene filled with pompous speeches and shocking disclosures is remarkably human in its execution.

Whitfield and Maclin rehearse lines in Sing Sing

2024’s “Sing Sing” film by Greg Kwedar focuses on bringing authenticity to the inmates at the Sing Sing correctional facility, particularly those involved in a theater group. Key characters, such as John “Divine G” Whitfield (played by Colman Domingo) and several real-life Sing Sing prisoners playing themselves (like Clarence Maclin, who is fascinating), are the heart of this production, making for compelling figures to watch throughout the entire movie.

This is reflected in how even the most low-key activities become transfixing when they involve individuals like Whitfield, such as a montage sequence showing the various members of the theater troupe rehearsing lines for an original play called “Breakin’ the Mummy’s Code.” Kwedar and cinematographer Pat Scola thoughtfully capture these human beings doing everything from playing basketball to folding laundry while trying to get their lines just right. This includes an especially moving display of Sean “Dino” Johnson trying to get on with his everyday business while also doggedly studying his lines and making sure he’s got the correct inflections for his dialogue.

In this “Sing Sing” scene, viewers are offered a multi-dimensional view into the lives of these men outside of their rehearsal hours. At the same time, their commitment to their art becomes evident, while the film’s powerful cinematography is also showcased. This is just one example among many in “Sing Sing” where deep emotions are elicited from characters often overlooked or excluded by other films.

Attacking the Batman in The People’s Joker

In most modern Batman movies, we expect the climax to involve Batman fighting villains to save Gotham City. However, “The People’s Joker” turns this convention on its head, encouraging viewers to rejoice as the villains attack Batman instead. The story unfolds with Joker (Vera Drew), who is stopped by Batman (Phil Braun) while en route to a “UCB Live” broadcast. But Batman’s intervention is thwarted by the Joker’s comedic allies, such as The Penguin (Nathan Faustyn) and Poison Ivy (Ruin Carroll), who come to her aid. In this unique twist, several eccentric citizens of Gotham City, who have been oppressed or even abused by Batman in the past, get their chance for revenge against the superhero.

An already mischievous sequence becomes extra enthralling by how it’s told. Director Vera Drew, in another one of the movie’s many delightful visual eccentricities, renders this sequence in a hand-drawn animation style reminiscent of old cartoons like “Batman: The Animated Series.” A visual style previously associated with reaffirming Batman’s heroic status is here co-opted to depict his destruction at the hands of the marginalized and an especially hungry Venus flytrap. The captivating, rebellious attitude of “The People’s Joker” manifests in many ways throughout its runtime. Successfully getting audiences to cheer on the demise of Batman, however, is one of its most devious sleights of hand.

Elphaba defies gravity in Wicked

In the movie adaptation of “Wicked,” it was always planned that the initial segment would conclude with the number “Defying Gravity.” Not only does this mark the intermission in the original stage production, but it also serves as an ideal way to send viewers home – if executed effectively by the filmmakers. Fortunately, director Jon M. Chu and his team managed to bring “Defying Gravity” to the big screen with all the style and theatricity it required.

Stephen Schwartz’s powerful lyrics remain spotless, but what stands out in this adaptation is the creative twists given to “Defying Gravity” for its movie version. Extended pauses are woven into the song, providing Elphaba (Cynthia Erivo) and Glinda (Ariana Grande) additional time to engage with each other. These thoughtfully crafted pauses intensify the deterioration of their friendship, making it all the more poignant.

In a remarkable transformation, “Defying Gravity” truly excels in its innovative aspects, particularly a scene where Elphaba plummets to the ground in Emerald City following her initial flight attempt. As disparaging remarks from her past echo in her mind, she miraculously ascends back to the sky, completing “Defying Gravity.” This breathtaking spectacle is undoubtedly captivating. Erivo’s potent vocals and an awe-inspiring symphony of instrumental accompaniment create an exhilarating climax for this show-stopping musical number. The reason “Wicked” left audiences spellbound at the box office can largely be attributed to this grand, indelible sequence.

Anjali expresses appreciation for Shajitha in Aattam

In the film “Aattam” directed by Anand Ekarshi, the narrative eventually revolves around a predominantly male theater group addressing the aftermath of their colleague, Anjali (Zarin Shihab), being assaulted by a prominent male member at a gathering. Prior to this incident, we see the early hours of the party where Anjali converses with one of the few women present, Shajitha (Nandini Gopalakrishnan). Anjali suggests that Shajitha and her daughter take her bed for comfort as they wouldn’t want to sleep on a hard couch. They exchange friendly words before Anjali embraces Shajitha and whispers about her joy at having another woman present.

This scene is exceptionally powerful and emotional, showcasing exceptional acting by Shihab and Gopalakrishnan, as well as Ekarshi’s keen eye as a director to capture and highlight subtle interactions between characters. Particularly poignant in the broader narrative of “Aattam,” it subtly conveys a sense of quiet sadness since the film predominantly portrays men undermining and disregarding the views and humanity of women for their advantage.

In a heartfelt representation, Anjali and Shajitha exhibit a deep connection and care for each other which stands out amidst the male-centric characters in “Aattam.” Their poignant moment in the film beautifully illustrates the ideal way people should treat one another… however, it also harshly portrays the harmful gender norms that persistently exist within our society.

Rezvan and Sana watch protests in The Seed of the Sacred Fig

In a home that’s far from welcoming, the siblings Rezvan (Masha Rostami) and Sana (Setareh Maleki) reside. Their father Iman (Missagh Zareh), serves as an investigating judge for the Revolutionary Court of Tehran, while their mother Najmeh (Soheila Golestani) persistently advises her daughters to maintain proper conduct to avoid any potential threats to Iman’s employment. Inside their home, those who rebel against the oppressive government are referred to as monstrous or dehumanized. Given that Iman regularly signs off on death sentences for these rebels, it’s no surprise that he adopts the derogatory language from his superiors and local media outlets.

As a devoted admirer, I’d express it like this: “In ‘The Seed of the Sacred Fig,’ I find myself immersed in the poignant portrayal of Rezvan and Sana, who grapple with raw glimpses of our world’s harsh truths. For instance, a moving scene showcases them huddled together, illuminated by the soft glow of a cell phone, silently witnessing real-life footage of Tehran protestors being brutally suppressed by the authorities. Their clandestine viewing is essential to preserve their connection to reality, lest they incur their parents’ wrath and lose this precious link to the outside world.

A heavy atmosphere permeates every corner of the shot, as the distressing footage showing mistreatment of protesters leaves one speechless. The simple image of Rezvan and Sana huddled around a phone in an otherwise dim room stands out significantly. In their oppressive environment, they struggle for freedom and support each other simultaneously. This profoundly human moment intensifies the nerve-wracking, suspenseful intervals within “Sacred Fig,” making it all the more captivating.

Anora and Vanya spend their greatest day in Las Vegas

In a fittingly ironic twist, a remix of Robin Schulz’s rendition of Take That’s “Greatest Day” sets the tone for the opening scene of “Anora.” Despite its cheerful lyrics and melodies, this song plays in stark contrast to Ani’s (Mikey Madison) mundane workday at a strip club. The optimism of the song seems at odds with the complexities of her present life. However, as the story unfolds, “Greatest Day” reappears, but this time it’s during a grander, emotionally intense sequence. In an unexpected turn of events, Ani’s latest client/potential love interest, Vanya (Mark Eydelshteyn), proposes to her impulsively during a trip to Las Vegas. Overwhelmed with joy, the two rush to the chapel, exchange vows, and celebrate their newfound love, all while “Greatest Day” plays in the background.

The happiness won’t endure. It’s evident to spectators that such an impromptu Vegas wedding can’t be long-lasting. However, it’s hard not to be caught up in Ani’s delight, mirrored beautifully in the “Greatest Day” soundtrack. After a lifetime of crafting authentic movies, writer-director Sean Baker employs this captivating scene to vividly depict the sensation of being immersed in love. It’s chaotic, it’s intense, and it seems so grand that it can only be conveyed through a song like “Greatest Day.” Ani’s happiness becomes the audience’s happiness in this magical sequence, all the more impressive given the bittersweet circumstances Ani later finds herself in. Happiness may not endure, but it sure leaves an impact.

Hattie gives Turner a hug in Nickel Boys

When someone brings up movies shot from a first-person perspective, it’s usually the most disturbing horror movies told from the killer’s POV that leap to mind. RaMell Ross’s “Nickel Boys,” however, is bound to become the new gold standard for this style of filmmaking. The perspectives of Elwood (Ethan Herisse) and Turner (Brandon Wilson) define where Ross and cinematographer Jomo Fray put the camera in “Nickel Boys,” creating an incredibly immersive experience that’s truly one of a kind. The power of these idiosyncratic visuals is showcased in a scene where Turner encounters Elwood’s mother Hattie (Aunjanue Ellis-Taylor) while her son is in the hospital.

Turner, who keeps his distance, has been frank with Elwood about his disinterest in relationships and bonds, managing this harsh world according to his own rules. Hattie briefly speaks to Turner about Elwood, then ends their chat by extending two embraces to him. The camera, viewing from Turner’s perspective, captures this heartfelt gesture of warmth. Although we can’t see Turner’s face, it’s evident how profoundly it affects him. A young man who frequently has to survive on his own, residing in the dehumanizing Nickel Academy reform school, experiences love through this interaction. In Hattie’s arms, Turner is reminded of the importance of human connection, while moviegoers witness an extraordinary hug that stands out among all recorded in cinema.

A man brawls with beavers in Hundreds of Beavers

In the animated adventure “Hundreds of Beavers,” there’s a playful yet gruesome vibe. Characters like fish biting human fingers or baby rabbits being cooked on screen may seem odd, but it’s all part of the whimsical violence that pays tribute to silent comedies and classic Looney Tunes cartoons. The climax, directed by Mike Cheslik, offers a particularly vivid example of this – protagonist Jean Kayak (Ryland Brickson Cole Tews) barely escapes being mauled by a pack of menacing beavers armed with their signature buzzsaw.

After being freed from his restraints, Kayak engages in a prolonged physical altercation with the beavers, who are portrayed as humans in animal suits. The humor is fast-paced and abundant, with a particularly clever moment where a beaver throws a knife between its hands, thanks to some editing trickery. The exaggerated scenes of cartoonish violence towards the beavers are side-splittingly funny. One beaver meets a fiery end by being thrown into a fireplace and bursting into flames, while another lands on a buzzsaw and is dismembered, causing packing peanuts (standing in for blood) to scatter everywhere.

This extravagant, absurdly humorous spectacle of action consistently showcases creative ways to handle beaver problems in an over-the-top manner. More gritty action films might find value in this hilarious sequence’s inventiveness and energy. The side-splitting battle between beavers and humans encapsulates the uproariously funny madness reminiscent of “Hundreds of Beavers.

2024-12-12 15:31