The Definitive Spielberg Ranking (32–21)
With the upcoming release of “Ready Player One”, it is time to determine the true ranking of all of Spielberg’s filmography.
For over the past 40 years, Steven Spielberg has mesmerized and inspired multiple generations with his movies. He has taken on multiple genres and has created multiple masterpieces and classics throughout his career. But Spielberg’s filmography also has some misfires, a few overlooked films, and a couple of underrated classics.
Anyone who has been of fan of Spielberg’s films over the years could create their own unique list of their favorite films and they would have a good argument for each one. Within the past few years, numerous legitimate film sites have decided to try and rank Spielberg’s entire filmography. A couple of them have popped up in the past few days because of Ready Player One.
Majority of the time their lists are based on their own personal opinion, which is fine because that’s what critics do. But, I thought it would be an interesting idea to see if I could find a way to create a definitive ranking of Spielberg’s films. Not just by my opinion, but by combining numerous online sources that could help determine this. So, I decided to combine lists and rankings from a total of thirteen sources , including Rolling Stone, Hollywood Reporter, LA Times, Rotten Tomatoes, IMDb, Letterboxd, etc. The average rating and placement will appear with each film. The average rating stands for the average placement of the films when combining all of the lists together. So, let’s start off with Part One of our Spielberg Rankings. The full ranking scorecard will appear in Part Three of the rankings.
32. 1941 (Avg. Rating — 28.36)
1941 is probably the most interesting misfire of Spielberg’s entire career. Spielberg’s two previous films, Jaws and Close Encounters of the Third Kind, were massive hits both financially and critically, making Spielberg the hottest director in all of Hollywood at the time of the release of 1941 (except maybe George Lucas). Instead of making a film similar to his earlier directorial outings, Spielberg made a period comedy film in the vein of Stanley Kramer’s It’s a Mad Mad Mad Mad World and early Marx Brothers’ films.
1941 is chaotic comedy with a fun concept and it’s actually loosely based on true event. The screenplay was even written by Robert Zemeckis and Bob Gale (they’d later hit it big with Back to the Future). The execution of the concept, however, was not as great as it could have been. The film has a number of solid moments with an incredibly talented comedy cast, including the hot comedy duo of Dan Aykroyd and John Belushi. Even with all the great talent in front and behind the camera, the film is all over the place. Due to Spielberg’s focus on the comedic gags of the film, the story and the characters are lost in the shuffle.
After 1941, studios began to see Spielberg as an unreliable director that constantly went over budget and over schedule. One of the main reasons because for that was the lukewarm reception of 1941. The film, however, is worth a watch and not just because it is an outlier of Spielberg’s filmography. The look of the film is solid, the USO musical sequence is entertaining, and there are some funny moments (I’m big fan of Belushi in this). But do not go into the film looking for a incredibly cohesive story because you will not find it.
31. Twilight Zone: The Movie (Avg. Rating — 27.75)
I debated putting this one on the list because Spielberg is one of the four directors of this anthology film, but since it appears on a number of lists I felt it was worth acknowledging. Twilight Zone: The Movie is comprised of four short stories, three of which were remakes of Twilight Zone episodes. The film, however, has become more famous (or infamous really) due to the behind the scenes incident.
Spielberg’s section is called “Kick the Can” and it is a remake of The Twilight Zone episode of the same name. Unlike the other shorts in the film, “Kick the Can” has a mystical element to its story rather than a scary element. The film is about Mr. Bloom (Scatman Crothers), an old man that who arrives at a retirement home and his presence allows the residents to become young again for the night. Not figuratively, but literally. The film definitely has a Spielbergian element to it, especially compared to the other shorts in the film, but there isn’t much that makes it stand out from Spielberg’s filmography. It’s a nice little film, but it is one of the weakest segments of the film.
30. Indiana Jones and the Kingdom of the Crystal Skull (Avg. Rating — 27.29)
It is safe to say that this is arguably the most despised film of Spielberg’s filmography by his fanbase. In some cases, many of his fans choose to believe that this film doesn’t even exist.
I rewatched this film not too long ago to see if the hate was warranted and I have to admit that most of it is. Like 1941, there are some pretty solid and well-crafted sequences in this film. The motorcycle chase sequence between Indiana and Mutt and the KGB being the main highlight of the film in my opinion. It is well-executed, nicely paced, and most importantly, fun.
The performances are solid and there are some good set pieces throughout, but the film falls apart in the final third with tie-up of the alien plot. There is also an excessive amount of CGI that doesn’t hold up at all due to the last ten years of technological advancements in the film industry. In the end, it is seen by many as one of Spielberg’s biggest misfires.
29. Always (Avg. Rating — 27)
There are really only two reasons why Always is important to Spielberg’s filmography. The first is that it is the only remake Spielberg has made throughout his career (that could change soon). The other reason is that it is the final acting role by the great Audrey Hepburn, who would pass away four years later.
Always is a remake of the 1943 WWII romantic drama A Guy Named Joe that starred Spencer Tracy, Irene Dunne, and Van Johnson. Spielberg’s film is about Pete Sandich (Richard Dreyfuss), an aerial firefighter who dies in his final mission and returns as a spirit to mentor a rookie pilot. While doing this, Pete also has to watch as the rookie pilot Ted (Brad Johnson) falls in love with his former girlfriend Dorinda (Holly Hunter). Ted slowly takes over the life Pete’s once had. He has his job, his best friend (the great John Goodman), and the love of his life.
The set-up for the film is good, but the film doesn’t bring anything new to the story or the genre. The performances are solid, specifically Hunter, and the film has a good look to it (like most Spielberg films do). There are some nice moments in it, but as a film it is one of Spielberg’s weakest and arguably his most forgettable.
28. The Lost World (Avg. Rating — 25.93)
Yes, Steven Spielberg did direct the first sequel in the Jurassic Park franchise. I’ve had to debate that fact to a couple of people this past week when talking about this ranking. The main problems with the movie is that it misses the originality of the first one and relies heavily on effects, which I will say, still hold up fairly well today.
The film follows Ian Malcom (a role reprised by the icon known as Jeff Goldblum) as he leads an expedition a second island of dinosaurs to retrieve his girlfriend paleontologist (played by Julianne Moore). A young Vince Vaughn, who got his role after Spielberg saw him in Swingers, also appears in this movie as a photographer who accompanies Malcolm on his trip to the island. The film has solid actors to round out the cast, but they aren’t given much to work with it seems.
The biggest problem with this film is that it feels like the entire island part of the film, which is pretty much the entire movie, is set-up for the entertaining climax of the T-Rex wrecking havoc on San Diego as Goldblum and Moore chase it down. The set piece is a fun one, but the entire third of the movie feels separate from the rest of it. In the end, the film has all of the Spielberg spectacle from the original, but not enough heart to make it a standout film in his filmography.
27. Hook (Avg. Rating — 25)
Even though Hook is a childhood favorite of many, including myself, the film is still considered by most as one of Spielberg’s lesser films. Spielberg has even gone on record saying he is not a big fan of the film. The story of an adult Peter Pan who lost his memory imagination is a perfect story for a director like Spielberg. To fans, it is a nostalgic classic. To critics and Spielberg, the film is a misfire.
It is hard for me to speak negatively of this film because like many of it’s fans I grew up on it. I enjoy the performance of Robin Williams and I do feel that his performance is the main reason why the film has continued to have a life after its release. The film is fun, but it can also be seen as over the top in almost every aspect of the filmmaking…and it is. But, when compared to the other countless Peter Pan adaptations, I think Spielberg’s adaptation holds up better than most.
26. The Terminal (Avg. Rating — 24.86)
This is the first Hanks/Spielberg collaboration to appear on this list and it is considered by many as the weakest movie by the duo. The film feels like one of Spielberg’s simplest film. Almost the entirety of the movie is set in one location, and even though the airport set was built completely for the film, Spielberg’s look feels restrained throughout the entire film (which is something he might have chose to do). There is no big spectacle like most Spielberg films and that turned a number of people off.
The Terminal is about Viktor Navorski (Tom Hanks), a traveler who arrives at the JFK Airport in New York City. Once he arrives at JFK, Navorski finds out that during his trip his passport became no longer valid because a revolution broke out in his country and overthrew the government. Due to this, Navorski is not allowed to enter the U.S. and he is not allowed to return to his home country. The only thing he can do is stay in the airport, which he decides to do. The story is loosely based on the real-life story of a man who lived at an airport in Paris for 18 years due to a similar occurrence (it will seem that a lot of Spielberg’s stories are loosely based on something).
I actually enjoy this film a little bit and I revisit it every few years to see if it has diminished for me, but I still end up enjoying it. It isn’t one of Spielberg’s best, but I think it is Hanks’ performance that carries the film. Some people are mixed about Hanks’ performance and I think that is why the reception of the film itself is mixed. If you don’t think Hanks works as Viktor Navorski, then you probably don’t think the movie works either. Many people go into a Spielberg movie looking for a big set piece of some kind, but The Terminal lacks that because it relies solely on the performance of one actor and that is a big risk by Spielberg (even if you don’t think it is).
25. The BFG (Avg. Rating — 23.8)
The BFG is a sweet, family-friendly film that is visually-stunning. The film was written by the late Melissa Mathison, the original writer of E.T. the Extra-Terrestrial, and you can tell that her voice is present in this film alongside Spielberg.
The film, based of Roald Dahl’s novel of same name, is about Sophie, a young girl living in a London orphanage that meets an elderly giant that she sees outside her window one late night. The giant, later named the BFG (Big Friendly Giant), takes Sophie back to his home in Giant Country. For the rest of the film we follow the adventure and growing friendship of Sophie and the BFG.
The film has Spielberg’s visual flare, his themes, stunning CGI, and heart. It is a family film in the vein of E.T., but instead of being about the loss of innocence it is about maintaining a sense of innocence. The film is light-hearted and Spielberg accomplishes what he sets out to make. But in the end, The BFG feels like one of Spielberg’s safest choices of his career.
24. War Horse (Avg. Rating — 20.43)
December 25, 2011 was a busy day for Spielberg because he released two films on that day. The one that would eventually go on to receive six Oscar nominations was War Horse. It is one of Spielberg’s most beautiful films and one of his most unique films from a story perspective.
The film is based on 1982 children’s novel and 2007 play, both also titled War Horse. The film starts off at the verge of World War I and it is about the unlikely friendship between a young teenager, Albert, and his horse, Joey. After Albert’s alcoholic father purchases the thoroughbred in a local auction, Albert trains the horse to plow the family’s fields in order pay the money they owe the wealthy landowner of their farm (played by David Thewlis). Once Albert and Joey have saved the farm, Albert’s father sells Joey to British Army once war breaks out. From there on we follow Joey and the people he encounters throughout the war, both on the English and German sides.
The reason this is one of the most unique stories for Spielberg is because it is mainly told through perspective of Joey the horse. He could have easily made this film an animated one or given Joey the voice like lesser filmmakers might have done, but Spielberg is able to tell the story without any words from Joey. It is a pure visual film about the odyssey Joey and Albert both go through. The cinematography by Spielberg’s director of photography Janusz Kaminski of War Horse is some of the best cinematography from any Spielberg film. The film is technically sound with some touching moments from Joey and Albert, but to some people it cliche and emotionally manipulating (which is a critique by many for Spielberg’s entire career).
23. The Adventures of Tintin (Avg. Rating — 20.14)
It is interesting to me that the two movies Spielberg released on the same day in 2011 sit next to each other on this list. War Horse was the more critically successful one by receiving numerous award nominations, while The Adventures of Tintin was the more financially successful film by grossing almost $350 million worldwide compared to War Horse’s $177 million.
The Adventures of Tintin was based on the popular comic strip about a young journalist/adventurer that ran from 1929 to 1976. The film was intended to be the first in a trilogy of films by Steven Spielberg and Peter Jackson (Spielberg just recently announced they are definitely making another one). One of the most interesting parts of this film is the writing team. Before becoming the showrunner and writer for Doctor Who in 2007, Stephen Moffat wrote the initial drafts for the film. Once Moffat left to go work on Doctor Who, Spielberg hired Joe Cornish and Edgar Wright (who was Spielberg’s initial choice) to head up the rewrites. It is the only produced screenplay of Wright’s that he was not hired to direct (I’m sorry, I’m not counting Ant-Man).
Spielberg’s Adventures of Tintin is a fun ride that is definitely in his wheelhouse. It is an “Indiana Jones for kids” (his words not mine). The visuals are definitely stunning, especially for the time of the film’s release, but the film lacks a little bit when it comes to its characters. In the end, like The BFG, Spielberg accomplishes his goal to make a fun adventure film for a family audience, but outside of that it isn’t much else.
22. Amistad (Avg. Rating — 19.79)
When it comes to his films, Spielberg, like many great directors, focuses mainly on moments. They are usually the things that stay with you after seeing a film. That’s a big reason why you will see well-crafted sequences or highly emotional beats in weak or mediocre films. Amistad is an okay film, but the moments that work are done really well.
The 1998 film is a telling of the true events regarding the mutiny of the slave ship La Amistad and the court cases that resulted from the mutiny. Djimon Hounsou plays Sengbe, an African who is kidnapped and put into slavery. Sengbe leads the captives against the Spanish and they take over the ship. They are later caught and taken to America, where multiple court cases ensue to determine whether the captives are human or cargo of the men who kidnapped them. The cast includes Matthew McConaughey, Morgan Freeman, a young Chiwetel Ejiofer, and Anthony Hopkins who plays John Quincy Adams.
There are many moments in Amistad that work. The actual mutiny of the film that takes place early in the film is one of the major highlights of the film. It is immersive and incredibly shot. The performances of the film are strong, especially Anthony Hopkins and Djimon Hounsou. Hounsou gives an emotional and impactful performance as Sengbe. The film, however, is whether long and repetitive, which lowers the impact of the film. In a way, Amistad feels like a test run or stepping stone for later Spielberg historical dramas like Saving Private Ryan and Lincoln.
21. Sugarland Express (Avg. Rating — 19)
The Sugarland Express is one of Spielberg’s most underrated and most underseen films of his entire filmography (I rated this higher then where it ended up on this list). It is one of Spielberg’s rawest films in both style and content. He hasn’t quite figured everything out yet from a technical aspect, but that inexperience is actually quite thrilling and fresh. It is important because it was Spielberg’s first U.S. theatrical release, but it was also Spielberg’s first collaboration with both composer John Williams and director of photography Vilmos Zsgimond (Jaws and Close Encounters of the Third Kind).
Spielberg’s theatrical directorial debut was inspired by a true story about a Texas couple on the run from the police. The film begins with Lou Jean (played by Goldie Hawn) breaking her husband Clovis (William Atherton) out of prison because their child is about to be placed in foster care and she plans to stop it. After leaving the prison, the couple takes a police officer hostage and hijacks his car, which leads to a full-blown police chase that takes place over the entire course of the film.
The storyline is probably the least Spielbergian story outside of maybe Duel (we will come to that later). But, the technical work that he does in this film is pure Spielberg. He knows where to put the camera and when to move it. One of my favorite shots of all of his films takes place in this film. It’s a 360 degree shot in a moving car and it is incredibly blocked and paced (and I don’t know why it isn’t on Youtube). The Sugarland Express is one of the best directorial debuts I’ve seen and it’s fun to see Spielberg direct something that feels out of his element.
Stay tuned for Part 2 of my Spielberg Rankings!
