A ranking of every A24 film, from the festival darlings to the horrible flops, the toniest Oscar bait to the sleaziest slashers
A new verbal tic has taken over cinephile circles. Normal, everyday people take pains to call a movie “an A24 film,” while only a Variety reporter says something is “a Sony film” or a “Searchlight release.” Why? Because for movie fans, the indie studio’s badge means something. It’s a marker of quality, but more than that, it’s a promise of a certain singularity.
But I have — because I’ve seen every A24 movie. The festival darlings and the horrible flops, the toniest Oscar bait and the sleaziest slashers. In the process of making my way through the studio’s entire filmography, I’ve learned a few things, like what separates a Florida A24 movie from a New York A24 movie and how many times Margaret Qualley shows up as the embodiment of wealth and privilege. In this list, I’ve ranked all of them from worst to best.
Tier V: Garden-Variety Bad Not the true disasters — which at least have the benefit of being memorable — these films are bad in more normal ways. This tier is disproportionately made up of DirecTV releases, the redheaded stepchildren of the A24 family, though a few high-profile stinkers are included as well.
Tier IV: Mediocrities A grab bag of films that feel either incredibly un-A24 or a little bit too A24. Tier III: Pretty Good Movies Laggies was the first movie I watched for this list, and its sheer adequacy became a helpful mental benchmark. For the next 112 A24 movies, the fundamental question I asked myself was, Is this better or worse than Laggies?
Tier II: The Nearly Great From the esoteric to the adorable, this is where the notion of “an A24 film” starts to come together. These include films with small ambitions that nail them and films with huge ambitions that don’t quite get there. From left: Photo: Courtesy of A24Photo: Courtesy of A24 From top: Photo: Courtesy of A24Photo: Courtesy of A24 22.
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