“The First Omen”
We may be six films and two failed TV shows into The Omen franchise, but Arkasha Stevenson did not come to play with her feature debut, which she co-wrote with Tim Smith and Keith Thomas (“The Vigil”). Set in 1971 Rome, “The First Omen” is a prequel that centers on novitiate Margaret as she grows close to one of the girls at the orphanage her convent oversees and begins to uncover a dark conspiracy. Stevenson and lead Nell Tiger Free (“Servant,” “Game of Thrones”) clearly did their homework for this one, paying homage to horror films of yore while still delivering some truly fresh and unforgettable visuals. (Yes, this movie sorta rips off the miscarriage scene from “Possession,” but man, what a scene to copy.) Extra special bonus points for being this year’s superior nun horror film— sorry, “Immaculate”—and showing full-frontal vaginal horror. Bravissimo! —LW
“Heretic”
You can’t be mad at a year that gives you Hugh Grant as an affable sociopath in a lumpy sweater. Throw a couple of Mormons in there and you’re golden. “Heretic,” the latest from “A Quiet Place” screenwriting duo Scott Beck and Bryan Woods, doesn’t quite stick the landing, but it takes you for a fun ride nonetheless. As our own Ankit Jhunjhunwala wrote in his review, “It is a measure of praise for its dramatic construction and quality of dialog that, with a few reasonable tweaks, ‘Heretic’ could easily be turned into a play.” Chatty movies aren’t for everyone, but I, personally, would love it if some random Brit invited me into his house and then lectured me about monotheistic religions, intellectual property theft by way of board games, and the song “Creep” by Radiohead. Some fun, gory action is just the icing on the cake. —LW
“I Saw the TV Glow”
After their first feature debuted at Sundance, there was much-deserved hype surrounding Jane Schoenbrun’s A24 debut, “I Saw the TV Glow.” This extensive love letter to outcasts and “Buffy the Vampire Slayer” was even more high-concept than “We’re All Going to the World’s Fair,” and Schoenbrun’s bold choices pay off in spades. It’s exhilarating to see what Schoenbrun can do with a bigger budget, conjuring an entire TV universe for their protagonist and his unlikely friends (Justice Smith and Brigette Lundy-Paine, respectively) to fall into. After you see them, you can’t forget monsters like Mr. Melancholy or the ice cream man, as if you grew up with this freaky little monster-of-the-week show yourself. Pink Opaque forever, man. —LW
“In A Violent Nature”
If you’re a big fan of horror, then it might feel occasionally like the genre is just spinning its wheels. There just isn’t anything new or innovative happening. Thankfully, 2024 had more than one truly unique viewing horror experience, perhaps led by “In a Violent Nature.” This is a slasher film that changes the point of view. No longer are you following the potential victims. In this film, you’re following the killer. Imagine “Halloween” but completely from the perspective of Michael Myers. What that allows for is a new level of suspense. You can see the slasher creeping up to his victims. You feel a sense of dread. Now, this would just be a gimmick in lesser filmmakers’ hands. But with writer-director Chris Nash, there’s so much confidence in his work, that you can feel it on screen. By changing the perspective almost makes the viewer complicit in the carnage. If nothing else, you have to hand it to “In a Violent Nature” for giving us perhaps the best kill of the year with the yoga death. — Charles Barfield
“It’s What’s Inside”
Flipping the body-swap genre on its head, “It’s What’s Inside” shakes it up, and pours out something utterly wild and refreshingly fun. In his feature debut, Greg Jardin delivers a chaotic cocktail of identity-swapping madness that begins innocently enough—just a group of friends, a pre-wedding party, and a mysterious sci-fi game. But when eight people start trading bodies like Pokémon cards, the night quickly spirals into stylish, neon-lit mayhem. Imagine if “Clue” got a Gen Z upgrade, complete with TikTok-worthy visuals, doom-scrolling commentary, and a soundtrack that hops from opera to retro gems without missing a beat. With its razor-sharp energy and wicked sense of humor, “It’s What’s Inside” isn’t just a body-swap movie—it’s a body-swap party, and everyone’s invited. —Mike DeAngelo
