Chad Kennerk Looks Back at the Year of 2024
Photo by Giles Keyte, Image courtesy of Universal Pictures
After a somewhat slow start both critically and commercially, Inside Out 2 marked a real turning point in the moviegoing year as films finally began to hit their stride and moviegoers returned to cinemas for more magic.
In financial terms, the 2024 global box office is estimated at $30 billion, or seven percent behind 2023’s figures. That small downturn is due in part to the labour disputes in Hollywood back in 2023 — the important work of the Writers Guild of America strike and SAG-AFTRA strike — which postponed or halted a number of films and ultimately altered studio plans for 2024. It was another major recovery year at the global box office nonetheless, with significant increases over previous recovery years.
On the theatrical exhibition front, Sony Pictures became the first studio to purchase a cinema chain in 75 years, following the expiration of the infamous Paramount decree in 2020. Sony now owns the American dine-in theatre chain Alamo Drafthouse, which is known for encouraging proper cinemagoing etiquette and for its diverse programming of cult classics alongside new releases. The growing trend of concession merchandising continued in 2024, particularly in the US, where the Dune: Part Two popcorn bucket entered the cultural conversation and helped open the lid for more chains to get involved in the cinema collectibles market. On the UK side, Vue founder and CEO Tim Richards formally launched the welcomed foreign-language and independent film distribution arm Vue Lumière, with the aim of releasing some 10 to 12 titles a year in the UK and Ireland (Modern Films owner and company director Eve Gabereau recently joined as director of distribution.)
In an eventful year for Disney, the multiplex saw the successful return of its various divisions. Releases initially intended only for streaming, such as the aquatic gem Young Woman and the Sea, found a limited theatrical release. Another ocean adventure, Moana 2, was the most notable change of course, shifting from its development as a streaming series and sailing into cinemas. Inside Out 2 helped demonstrate how a theatrical release could lead to massive streaming success, becoming the biggest Disney+ film premiere of 2024 and the biggest for the platform since Encanto in 2021, with 30.5 million views in its first five days. Overall, streaming found a footing through advertising, entering an ad-supported era that seemed to further blur the lines between streaming and linear TV. As of now, Apple TV+ remains the only major streamer without an ad tier option, but that’s likely to change in the near future as the competition in streaming shifts from amassing subscribers to enticing advertisers with the best ad tools and capabilities.
Speaking of advertising, a robust marketing campaign from Universal Studios helped make Wicked the moviegoing event of the year. With countless brand activations and a global press tour that rivalled Barbie, Wicked capitalised on over a decade of fan anticipation — the film was first announced in development by Universal Pictures and producer Marc Platt back in 2012. Director Jon M. Chu tackled the monumental feat of bringing the beloved stage musical to the screen and did it with courage, heart, and cleverness. Though it’s been running on Broadway for 20 years, Elphaba — a character mocked for the colour of her skin — has never been played full-time by a Black actress on Broadway. In the assured green hands of Cynthia Erivo, the lyrics carry more weight, more meaning and hit like a ton of yellow bricks. For anyone who has ever felt different, bullied, or out of place, Elphaba is a heroine for the ages. In a world that seems eager to lead with blame and unreasoned hatred, Wicked felt terribly timely.
Beyond the rainbow, there were plenty of other memorable moviegoing moments this year. Guy Ritchie’s underrated action comedy The Ministry of Ungentlemanly Warfare was mad and manic fun. The Cairnes’ brothers transported audiences to the 1970s and Halloween night with the ‘found broadcast’ Late Night with the Devil. Twisters rustled up fond memories of the 1996 popcorn movie, recapturing the thrill and terror of mother nature. Inside Out 2 and The Wild Robot elevated the animated film with depth, humour and heart. Sir Ridley Scott returned to the arena with a satisfying — yet overly familiar — Gladiator II. As honourable mentions go, The Monk and the Gun, Hard Miles, and Ezra were easily among the most emotionally satisfying and heartfelt of the year. Among the best performances, Anthony Hopkins excelled in One Life. Jodie Comer impressed in The Bikeriders, as did Colman Domingo in Sing Sing, Demi Moore in The Substance and, as an ensemble, the dynamic cast of Wicked soared high.
THE IN-BETWEENS
As Film Review’s The Year in Cinema follows the UK release calendar, each year I tend to lament the number of award-contenders that see a release in the US, but don’t have a UK release until the new year. I’ve therefore borrowed a title from the pages of our historic Film Review annuals, dedicating a portion of my annual assessments to feature additional films that I greatly admired in my moviegoing year. Of those that weren’t eligible to appear on my list last year, I have highlighted The Holdovers, a contemporary classic from Alexander Payne, and The Iron Claw, Sean Durkin’s hard-hitting gut punch on brotherhood and emotional trauma. They now round out my top ten, having both seen early 2024 releases in the UK.
2024 US releases with a 2025 UK release
A Complete Unknown
A Real Pain
Nickel Boys
Nosferatu
September 5
We Live in Time
Chad Kennerk’s Favourites
1. Wicked
2. One Life
3. Sing Sing
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