Worst of 2024 (So Far)
Somehow we’re already halfway through the year. Here’s a look back at some of the biggest disappointments from the first-half of 2024.
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Dakota Johnson
Madame Web
- Title: Madame Web
- IMDb: link
It’s rare to find a movie that is seemingly as self-aware of being awful as Sony’s Madame Web. I can’t confirm that cast and crew deliberately set out to make a bad B-movie but that’s really the only way that this film’s existence makes any sense. Its mind-blowing faults in every aspect of filmmaking presents an unapologetic dumpster fire to keep you guessing what bad decision, in front or behind the camera, will be made next.
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The Disappearance of Shere Hite
- Title: The Disappearance of Shere Hite
- IMDb: link
The Disappearance of Shere Hite examines the life and work of Shere Hite whose books on masturbation and female sexuality caused an immediate stir and brought conversations about sexuality, gender, love, autonomy, and gender, which are still debated go this day, to the forefront of national discourse. A researcher, feminist, and author, the documentary covers both Hite’s work and the backlash they caused both to her personally and later to the feminist movement which eventually led to her to leave the United States, renounce her citizenship, and spend the remainder of her life in Europe.
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Suspiria
- Title: Suspiria
- IMDb: link
Suspiria is an art house horror film that is a bit too convoluted at the beginning and too obvious at the end. Somewhere in the middle, however, there’s an interesting tale of horror, thrills, and gore (lots and lots of gore). The film from director Luca Guadagnino throws us immediately into the odd world as we struggle to make sense of the rambling incoherence of a troubled girl (Chloë Grace Moretz) to her psychiatrist (Tilda Swinton). While initially dismissing the story as nothing more than the ravings of a troubled mind, Dr. Klemperer becomes more concerned once the girl goes missing and begins looking more closely at the prestigious dance company that may have driven her to an early grave.
At the same time, the school admits a talented American student (Dakota Johnson) who quickly becomes a favorite of Madame Blanc (also Swinton). Despite being the newest student, Susie (Johnson) shows a remarkable understanding of the dance company’s trademark piece (which it turns out is far more than a simple dance). The film features one terrific scene which clues audiences in on the power of the dance while Susie, apparently, remains unaware.
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Black Mass
- Title: Black Mass
- IMDb: link
Black Mass is a semi-successful film highlighting the amazing story of Irish-American mobster Jimmy “Whitey” Bulger (Johnny Depp) and his rise to prominence in South Boston in the 70s and 80s as the head of the Winter Hill Gang in large part thanks to his role as an FBI informant for Agent John Connolly (Joel Edgerton). What should be a thoroughly engrossing character study becomes a by-the-book gangster movie that entertains but doesn’t due justice to the source material.
Screenwriters Mark Mallouk and Jez Butterworth adapt the non-fictional account of events from Dick Lehr and Gerard O’Neill’s book that is highlighted by Depp’s performance under heavy make-up as the charismatic violent sociopath. There’s certainly more to the story than we get here, and I do have to wonder how much director Scott Cooper left on the cutting room floor. I expected far more about Bulger’s rise to power, which we hear the FBI talk about constantly but we don’t see evidence of over the course of the film. The filmmakers’ focus on the lives of Whitey Bulger and his closest associates leaves the larger canvas left half finished.
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