Every awards season, I’m reminded there is an endless discussion of the great films, but not nearly enough of the merely good ones.
Scan any trade publication or film-adjacent social media in the period from December to February, and you’re bound to keep reading the same narrow list of ten to twenty films receiving all the attention. From critics groups to awards bodies and best of the year lists, it can feel like the same playlist on shuffle.
Few may interest mainstream audiences. A lot of good movies will. And a subset of those good films — films I’m calling Good to Great films, can contain the kind of “special sauce” that can convert a casual film fan into an enthusiast. For even the most hard core cineastes, they can broaden tastes and give us more to watch. Champion, recommend, and otherwise suggest Good to Great films, and we all benefit.
Good to Great films are generally regarded as fair to good quality overall. Few champion it, even fewer trash it. Yet the Good to Great movie distinguishes itself from the merely average by having at least one outstanding creative element. It might be an acting performance, or another contribution like cinematography, editing, score, or costume design. It’s the kind of trait that in isolation could be awards worthy and among the best of its class for the year, and can make the film irresistible to the right audience.
Let’s illustrate with a few examples:
Nia DaCosta modernizes a classic stage play into a wild fifties English house party. Tensions erupt, and guests openly manipulate and betray each other.
Several critics have dinged the film for uneven momentum and several underdeveloped plot points. But Tessa Thompson and Nina Hoss — playing former lovers at the center of the story — are incredible. Thompson’s titular Hedda Gabler manipulates or seduces everyone around her; there’s an impressive physicality to her actions, with Thompson’s eyes and posture often conveying her perceived standing and telegraphing her next move. Hoss plays her character as comparatively reserved, making her unraveling in the final acts all the more watchable.
While Hedda’s chaotic screenplay won’t necessarily draw in casual viewers, Thompson’s and Hess’s bravura performances will. For me it’s a near perfect example of strong acting keeping the audience invested in whatever comes next.
A formulaic back half of this 2024 horror film has the unfortunate impact of overshadowing a funny and fresh opening hour. Hugh Grant — playing against type as the creepy villain — is clearly having a blast playing a character poking fun at organized religion. It’s one the actor’s most richly textured performances in years.
Grant’s performance distinguishes Heretic from other A24 “elevated horror” films. Instead of dread-inducing gore or fancy visual effects, we get a minimalist chamber piece that relies on old school acting modulation to land a joke or unnerve the audience. Long stretches of the film play more like black comedy than horror, making the film more accessible for those who normally avoid scary movies.
Good action thrillers like Night Call have underrated craftsmanship. Director Michiel Blanchart makes it look easy, making complex set pieces digestible, and ramping up tension with deceptively economical shot sequences. Brutal violence can pop out of nowhere, and the editing and blocking are crisp and propulsive throughout.
Yet other qualities of the film can make the film hard to distinguish itself from other cookie cutter streaming originals. The acting is serviceable but not especially noteworthy. Plot twists pile on in ways that are fun yet a little haphazard.
Still, in an era where increasingly high budget, high concept movies dominate mainstream audience attention, there’s an appealing throwback quality to a well made, small scale “all in one night” style thriller. Blanchart’s strong direction will keep many watching.
As evidenced by these examples, the right hook can be all it takes to draw a mainstream audience into otherwise unfamiliar subject matter. So keep an eye out for otherwise unassuming films that have an outstanding element to draw in a new audience. Recommend these movies to friends and family.
Ultimately, Good to Great movies remind us that the next great recommendation doesn’t need a big awards spotlight or streaming algorithm to be worthwhile.