Movie reviews: Must-see films you may have missed

You could be forgiven if you thought “Inside Out 2,” “Deadpool & Wolverine” and “Dune: Part Two” were the only movies released in theatres this year.

They dominated popular culture and soaked up most of the attention at the box office, but they weren’t the year’s only great films.

Every week, movies that don’t have the benefits of a bloated marketing budget or the collective charm outreach of the recent Ryan Reynolds/Hugh Jackman ’round-the-world publicity onslaught still provide a big bang for your entertainment buck.

Here are five of 2024’s must-see movies you may have missed:

1. Very loosely based on a true story, “Hit Man” is the tale of a mild-mannered college professor (Glen Powell), who wears disguises to moonlight with the police as a fake hit man to entrap would-be people looking to bump off their enemies. When he finds himself attracted to a woman (Adria Arjona) who wants her husband dead, his morals and police ethics are challenged. Light and frothy, “Hit Man” is a rom com with thrilling twists. Anchored by a whip smart script, the movie makes the most of Powell’s performance, showcasing his full-on leading man turn as a guy who embodies an ideal by creating a role-playing fantasy of what a hit man would be. As the disguises get nuttier and nuttier, and the plot more pretzel-shaped, director Richard Linklater finds a balance between Powell’s showcase work, the script’s big laughs and the story’s inherent tension. It could have gone south very easily, but Linklater pulls off a bit of a magic trick and keeps it hilariously humming along on all cylinders.

2. A hybrid of TV talk show, teen exorcism movie and found footage film, “Late Night with the Devil” features “Oppenheimer’s” David Dastmalchian as Jack Delroy, host of a failing late-night television chat show called “Night Owls.” In an effort to boost ratings, he books paranormal researcher Dr. June (Laura Gordon) and patient Lily (Ingrid Torelli), subject of the best-selling book “Conversations with the Devil.” Goaded into proving that a demon lives inside Lily, Dr. June appears to summon something from deep inside her patient. Is it actually a demon and, most importantly, will it save “Night Owl” from cancellation? At its heart, “Late Night with the Devil” is a Faustian showbiz satire about the price some are willing to pay for success. Delroy is the smiling face of ambition – the man who is willing to unleash evil in exchange for a point or two in the ratings. Dastmalchian nails the hosting duties, but it is his darker side – the suppressed fear, anxiety and greed – that impresses. “We’ve got to get you back as soon as possible,” he gushes to Dr. June seconds after she’s beckoned a demon for the camera. “It could become a regular spot.” The film’s production value and attention to detail makes it seem like we’re watching a suppressed tape of an actual broadcast, like “War of the Worlds,” only real. The skillful filmmaking builds up the tension to an exciting and eye-popping payoff.

3. Romance and ‘roid rage collide in “Love Lies Bleeding,” a pulpy romp about gym manager Lou, played by Kristen Stewart, who falls for a weight-lifting drifter (Katy O’Brian), who blows into town on her way to a Vegas bodybuilding competition. Question is, will a violent chain of events get in the way of their love and bodybuilding glory? “Love Lies Bleeding” is a squirmy, no-holds-barred hybrid of crime thriller, family drama, psychological study and 2SLGBTQ+ romance. Director Rose Glass entertainingly juggles the various elements, and isn’t afraid to shock and amuse the audience with audacious breaks from reality. No spoilers here, but the visualization of the protective power of love is eye-popping, funny and, if you are willing to take an artistic leap, really effective. A bloody and brutal twist on the neo noir that harkens back to films like “Wild at Heart” and early Coen bros, it comes equipped with a scruffy looking Ed Harris, some shocking violence, but also an attitude. It is a wild and thrilling ride that plays into old crime story tropes with fresh and fun execution.

4. “Perfect Days,” from director Wim Wenders, is a beautiful movie, but it’s not the kind of film that benefits from a detailed synopsis. Veteran Japanese actor Koji Yakusho is Hirayama, an everyman who leads a quiet life made up of routine and simple pleasures. He wakes up at the same time each day, finds joy in reading poetry and his American punk rock cassette collection, and takes pride in his work as a public toilet cleaner. Like I suggested, it’s not exactly story driven. Instead, it’s a joyful celebration of a quiet life, of finding pride in your work, of taking advantage of simple pleasures. At the heart of the film is Yakusho. His unpretentious performance brims with empathy, compassion and the understanding of the minutia that makes up a successful, happy life. It’s a deceptively simple performance, but rich in its execution. Yakusho takes an unassuming character and brings him to vivid life by emphasizing the stillness and grace that exemplifies Hirayama, a man of few wants and great appreciations. “Perfect Days” is a film in love with life – a meditative slice of life that will leave you feeling better as the end credits roll than you did when before the film began.

5. “Thelma” is something you don’t see very often – a thriller starring a 93-year-old action hero. June Squibb plays a grandmother who sets out on a motorized scooter to get revenge on the scammers who took $10,000 from her. “What about my money?” she says. “Am I supposed to just let them have it?” From a low-speed scooter chase and a showdown with the bad guys, to the acquisition of a weapon and a high-octane heist musical score, the movie has all the elements of an edge-of-your-seat suspense film. But its biggest asset is Squib, who brings steely determination, vulnerability and humour to the title character. She may not exactly be Ethan Hunt, but she’s more endearing and delightful than Jack Ryan and Jason Bourne combined. She’s easy to root for, even if her high-stakes mission seems impossible. There are also subplots involving Thelma’s grandson Daniel (Fred Hechinger), daughter Gail (Parker Posey) and son-in-law Alan (Clark Gregg). But at the film’s core is an exploration of old age and how, as Thelma’s friend Ben says, “People these days don’t care about old things.” “Thelma” confronts that idea, dismissing it with panache, humour and some genuine excitement.