{"id":1762,"date":"2026-06-13T16:37:13","date_gmt":"2026-06-13T16:37:13","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=1762"},"modified":"2026-06-13T16:37:13","modified_gmt":"2026-06-13T16:37:13","slug":"all-35-of-steven-spielbergs-movies-ranked-from-worst-to-best","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=1762","title":{"rendered":"All 35 of Steven Spielberg\u2019s Movies, Ranked From Worst to Best"},"content":{"rendered":"<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tIn\u00a0<em>Disclosure Day, <\/em>the whole human race watches the same thing at the same time. It\u2019s in the trailer, all those staring eyes full of wonder. No logical person today thinks a worldwide audience can still share a collective feeling from one mass viewing experience. But creating global emotional events is, or was, Steven Spielberg\u2019s job. The great white shark. The extra-terrestrial. He made archaeology fun. He had a T. Rex. His hard-R war pictures earned boffo dollars. His name still epitomizes success, no matter if he hasn\u2019t directed a hit this decade. Is\u00a0<em>Disclosure Day\u00a0<\/em>his summer comeback, another low-turnout late masterpiece, more wannabe spectacle, One of the Weird Ones? Even his failures belong in a museum. His best work feels personal, connecting audiences to each other and to their own childlike sense of awe. His gigantic filmography \u2014 he directed two films in one year, six different years! \u2014\u00a0is a cozy house he built for everyone. We\u2019re gonna need a bigger home.\u00a0<\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=1760\">TV\u2019s Hottest Stars on Growing Chest Hair, Bulking Up and Peeing in Buckets \u2014 For Art, Of Course<\/a><\/p>\n<div>\n<div>\n<ul>\n<li>\n<article>\n<h2>35.\u00a0<em>The Lost World: Jurassic Park\u00a0<\/em>(1997)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tBecause this dinosaur sequel is such a pointless romp where boring people get mauled so a billionaire can rally public opinion for a boardroom showdown, it\u2019s worth noting how remote Spielberg\u2019s output could feel at his \u201890s peak. Far from the suburbia of his early Amblin days, his films now took place on distant islands and in long-ago times. David Koepp\u2019s script tries to fix Michael Crichton\u2019s lame book a few dumb ways, adding poachers and a stowaway daughter who slays a raptor using gymnastics. For no apparent reason, San Diego gets\u00a0kaiju\u2019d. The first time you see Jeff Goldblum, he\u2019s yawning. The climax puts the T. Rex to sleep.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>34.\u00a0<em>The BFG\u00a0<\/em>(2016)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>In Roald Dahl\u2019s 1982 novel, Queen Elizabeth II does not fart hard enough to lift a tablecloth. She doesn\u2019t fart at all. But Steven Spielberg knew the Queen. She knighted him. In her honor, I assume, he bestowed upon her regal person not just any fart gag but the Buckingham Palace of screen flatulence. Penelope Wilton plays the British royal onscreen, flanked by telltale corgis exploding emerald buttgas out their rears. Her butler breaks wind, too, and a couple Generals. Those whizzpoppers sum up\u00a0<em>The\u00a0BFG<\/em>: gaseous, unpleasant, more loud than funny.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>33.5. \u201cKick the Can,\u201d\u00a0<em>Twilight Zone: The Movie<\/em>\u00a0(1983)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>In the days before a majority of living moviegoers grew up on Steven Spielberg, there were adults who didn\u2019t trust his Amblin shtick. They called him the sellout who killed New Hollywood, and a movie brat who wouldn\u2019t grow up. Harsh, but not always untrue. His inessential segment of this cursed Rod Serling revival is a literal retreat from adulthood, letting retirement-home denizens experience one schmaltzy night of youth regained. A\u00a0<em>Twilight Zone<\/em>\u00a0that isn\u2019t scary? Why?<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>33.\u00a0<em>Ready Player One\u00a0<\/em>(2018)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Easy to assume this IP-stuffed nostalgia play was a cheatcode for better box office after\u00a0<em>The BFG\u00a0<\/em>flopped. Tye Sheridan and Olivia Cooke are the rebel gamers in 2045 waging VR war against an evil corporation. The real stars are the references: King Kong, Doc Brown\u2019s DeLorean, Batman. Worth noting, though, how far this adaptation extends its lore beyond the rigid \u201880s focus of Ernest Cline\u2019s novel. I choose to believe Spielberg hand-picked every homage:\u00a0<em>The Golden Voyage of Sinbad\u2019<\/em>s Cyclops, the commercial where the owl bites the Tootsie Pop, \u201cSlappers Only,\u201d\u00a0<em>Battletoads<\/em>. The heroes dig Robert Zemeckis, Stanley Kubrick, and Brad Bird \u2014\u00a0friends and collaborators of Steven Himself \u2014\u00a0and they know what \u201cpadawan\u201d means. It\u2019s a dream of legacy: Tomorrow\u2019s children will be fanboys using their vast knowledge of Spielberg-approved pop culture to defeat well-funded haters. Does he realize, though, how many fanboys are haters now?<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>32.<em>\u00a0Indiana Jones and the Kingdom of the Crystal Skull<\/em>\u00a0(2008)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Colonel Jones spied on the commies for Uncle Sam. You can\u2019t trust anyone these days, though. Feds ransack his office, lean on his bosses, ruin his reputation: McCarthy shit. He\u2019s hounded by the FBI and the KGB. Protestors on his campus scream \u201cBetter Dead Than Red!\u201d Greasers and preps rumble at the diner. His country is nuking itself. Spielberg\u2019s final collab with life-long sand-castle buddy George Lucas spends more time stateside than the other Indy adventures, and the early scenes tap a vein of dumbo-political surrealism, like some mad movie scientist wanted to mix the filmmakers\u2019 best solo work together but accidentally blended\u00a0<em>1941<\/em>\u00a0with<em>\u00a0Attack of the Clones.<\/em> Darn it, I like the refrigerator: It\u2019s the pulp hero on the nuclear frontier, Indiana Jones and the Mushroom Cloud.<\/p>\n<p>\n\tThen he flies to Peru. Digital ants, digital monkeys, digital aliens. No, no, no.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>31.\u00a0<em>1941<\/em>\u00a0(1979)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Ever been the only person at the party who didn\u2019t snort cocaine? That may have been straitlaced Spielberg\u2019s actual experience filming this dire farce. Days after Pearl Harbor, the streets of Los Angeles rage with tanks, anti-aircraft fire, a jitterbug contest and a Zoot Suit riot. Did you like when Slim Pickens bull-rode a hydrogen bomb in\u00a0<em>Dr. Strangelove<\/em>? He\u2019s here, and he\u2019s constipated.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>30.\u00a0<em>The Terminal<\/em>\u00a0(2004) and 29.\u00a0<em>Always<\/em>\u00a0(1989)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Spielberg was just too nice a boy for\u00a0<em>1941\u2019<\/em>s attempt at\u00a0<em>National Lampoon<\/em>-y chaos.\u00a0His other bad airplane comedies are prettier, and replace empty snark with boring romance.\u00a0<em>The Terminal\u00a0<\/em>is his most delusional retreat from reality, proclaiming post-9\/11 that airports are bright places for finding friends and sparking romance.\u00a0<em>Always<\/em>\u00a0is a fire-pilot fantasy where a dead jerk haunts his cool girlfriend.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>28.5.\u00a0<em>Something Evil<\/em>\u00a0(1972) and\u00a0<em>Savage<\/em>\u00a0(1973)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Efficient telefilms from his workman period.\u00a0<em>Evil<\/em>\u00a0is the more obvious forbear, a spooky-farm proto-<em>Poltergeist<\/em> sensitive to simmering tensions between a freaked-out mom, a checked-out dad and a disgruntled teen. Failed pilot\u00a0<em>Savage<\/em>\u00a0is a newsman potboiler about a Supreme Court nominee\u2019s dead mistress. He wound up making three more movies with Supreme Court subplots, and you will find it baffling how much I love them all.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>28.\u00a0<em>Disclosure Day\u00a0<\/em>(2026)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>I do not think a vast conspiracy has hidden interplanetary visitations for eight decades. I also don\u2019t go to church. So I may not be the fandom for a preachy\u00a0<em>Alien Autopsy<\/em>\u00a0retread with serious nun talk. Non-Redditors can enjoy Emily Blunt as a local-news forecaster who gets brain powers from a bird. Her scenes with Wyatt Russell\u2019s guitar-chump boyfriend are loose and fun, especially when they find out it\u2019s hard to break a smartphone.\u00a0<em>Disclosure<\/em>\u00a0can\u2019t quite juggle DEFCON stakes with an unconvincing flashback and NBC product placement. But the 79-year-old\u00a0<em>Duel<\/em>\u00a0director still gives good car chase. One oncoming-train setpiece pays homage to, well,\u00a0<em>Duel<\/em>.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>27.\u00a0<em>The Adventures of Tintin<\/em>\u00a0(2011)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>If you love\u00a0<em>Dick Tracy,\u00a0Sin City,\u00a0Speed Racer<\/em> or the trailer for the new\u00a0<em>Street Fighter\u00a0<\/em>movie, I assume you kinda don\u2019t mind this unreal-on-purpose cartoon caper. Guilty.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>26.\u00a0<em>Hook<\/em>\u00a0(1991) and 25.\u00a0<em>War of the Worlds\u00a0<\/em>(2005)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>The world is split between people who hate\u00a0<em>Hook<\/em>\u00a0and people who love Rufio.\u00a0<em>War of the Worlds\u00a0<\/em>has a more stable middling reputation: admired for its Ground Zero-infused imagery, condemned for its huggy anticlimax. Robin Williams\u2019 yuppie Peter Pan and Tom Cruise\u2019s dockyard weekend dad belong together, though. One misses ballgames for board meetings. The other doesn\u2019t know about his daughter\u2019s peanut allergy. Spielberg and Fathers: Go. The child of divorce grew into a divorced father, overseeing a vast cinema of absent patriarchs while co-parenting seven children. I think his family stories are stronger, though, when they focus on the kids and moms left behind. Williams and Cruise get to prove their mojo fighting pirates and blowing up aliens. If parenting were that fun, none of us would have daddy issues.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>24. <em>Indiana Jones and the Temple of Doom <\/em>(1984)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Harrison Ford is meaner in this prequel, and hotter. Kate Capshaw\u2019s songstress screams often. Ke Huy Quan\u2019s Short Round gets enslaved. The Indians are deceitful, brainwashed, helpless, or eating chilled monkey brains. Pankot Palace\u2019s Prime Minister is played by Roshan Seth \u2014\u00a0right after he played an actual Prime Minister in\u00a0<em>Gandhi<\/em>. That biopic arguably stole\u00a0<em>E.T.\u2019s <\/em>best picture victory, in the decade when dusty industry elders kept ignoring Spielberg\u2019s popular sensations for\u00a0<em>Chariots of Fire\u00a0<\/em>and\u00a0<em>Out of Africa. <\/em>These are not titles that come up often in film discourse today because the people who loved them are dead. Is that rude to say? The brands Spielberg and Lucas were building, Amblin and Lucasfilm, could be very rude indeed. It was a different time for PG ratings, when a kid-targeted film still had swears, lust and heroes who came off like shitheads. So there are indefensible things about\u00a0<em>Doom<\/em>, but the ritual horror of its second hour is mesmerizing, and eerier than anything in his career until the surprise-ragnarok in\u00a0<em>A.I.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>23. <em>Duel<\/em> (1971)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>A lot of storyboarding, a couple weeks of filming and this ABC Movie of the Week\u00a0scored an international theatrical release. Dennis Weaver is the Angeleno businessman hunted across the desert by a truck driver we never see. Spielberg renders the inexplicable conflict into a primal showdown: The city boy in his little Plymouth Valiant, the truck brandishing Big West license plates from New Mexico, Nevada, Montana, Arizona, Idaho and Wyoming. Not a lost classic, but a crucial stepping stone.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>22. <em>The Post<\/em> (2017)\u00a0<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>The wrong Spielberg opinion I\u2019ve heard most is how he turned into a History Grampa, dedicated to the sort of middlebrow-centrist period pieces that used to steal his Oscars in the \u201880s. But there\u2019s a vibrant clarity to his recent docudramas, which deftly use past events to mirror present concerns. This journalism panorama portrays\u00a0<em>The Washington Post\u2019<\/em>sreporting on the Pentagon Papers, tracking the flow of information between newsrooms, boardrooms, D.C. garden parties and the Oval Office. Squint a little and you can spot a WikiLeaks meditation \u2014 and that\u2019s before\u00a0<em>The Post\u00a0<\/em>morphed into an in-the-moment reaction to Trump Year Zero and #MeToo. Icons play icons: Meryl Streep as publisher Katharine Graham, Tom Hanks as editor Ben Bradlee. Their first scene together is a minor-key marvel, a breakfast two-shot tracking the complex duel of their working friendship. It doesn\u2019t cut for over three minutes: confident filmmaking, the complete opposite of\u00a0<em>Ready Player One<\/em>\u2019s flailing pyrokinetics.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>21. <em>Saving Private Ryan<\/em> (1998)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>I count four Spielberg films that take place during World War II. This does not include Indy punching Nazis in the 1930s, or the\u00a0<em>U.S.S. Indianapolis\u00a0<\/em>speech from\u00a0<em>Jaws<\/em>, or the ageless 1945 pilots in\u00a0<em>Close Encounters, <\/em>or the\u00a0<em>Band of Brothers\u00a0<\/em>trilogy, or the\u00a0<em>Medal of Honor\u00a0<\/em>game franchise, or the 40-minute war film he made as a teenager and memorialized in<em>\u00a0The Fabelmans. <\/em>But unless you count a<em>\u00a0Twilight Zone\u00a0<\/em>segment he didn\u2019t touch or the emotionally distant veteran dad in the forgotten \u201860s TV drama\u00a0<em>The Psychiatrist, <\/em>his directorial career did not acknowledge the Vietnam War until he was 70 making\u00a0<em>The Post.<\/em> It\u2019s a visible absence, a critical boomer macronarrative ignored by this critical macro-boomer.<\/p>\n<p>\n\tSo it\u2019s possible to admire his fidelity to the Greatest Generation\u2019s heroism \u2014 and wonder how much his Last Good War nostalgia was an escape from harsher reckonings. With\u00a0<em>Saving Private Ryan, <\/em>Spielberg and cinematographer Janusz Kaminski created a new kind of screen violence: up-close, handheld, mud-spattered, shutter speeds so juked and lenses so flared any throwaway shot sparkles with jagged discontinuity. There\u2019s no plot reason for the rescue squad\u2019s mission to begin after a 23-minute D-Day scene and two minutes of George C. Marshall quoting Abraham Lincoln, except Spielberg realized before anyone else that you could blend gutgash mayhem with lonely-trumpet flagwaving corn. The action still looks \u2014 no other way to say it \u2014 totally rad. But even Spielberg wanted to leave this battlefield behind. His later American histories devisceralize the Civil War, the Cold War and Vietnam into hallways-of-power conversations and paper trails. Meanwhile, a generation of\u00a0<em>Ryan<\/em>-influenced\u00a0<em>Call of Duty<\/em>\u00a0games let you go all\u00a0<em>Ready Player One<\/em>\u00a0on the beaches of Normandy whenever you want.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>20. <em>The Sugarland Express<\/em> (1974)\u00a0<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Goldie Hawn plays the ex-con young mom desperate to rescue her son from his Methodist foster family. William Atherton is her husband, who agrees to sneak out of prison when she threatens him with no more sex. They\u2019re half-dumb, she\u2019s half-crazy, and this mix of high-speed media satire and down-home tragedy is a hidden gem of \u201870s car cinema, goosed by Vilmos Zsigmond\u2019s hazy wide-horizon cinematography and a harmonica-heavy score from first-time collaborator John Williams.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>19. <em>Amistad<\/em> (1997)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Spielberg\u2019s worst ending is Anthony Hopkins\u2019 John Quincy Adams delivering a 10-minute summation to the Supreme Court. Until then,\u00a0<em>Amistad<\/em>\u2019s an impressive sprawl, focused on the nightmare toll of slavery and the legislative cobweb that kept the nefarious institution alive. Djimon Hounsou\u2019s Cinque leads his fellow captives in a gory uprising. Then the Africans come to America, and the lawyers arrive. Matthew McConaughey is Roger Sherman Baldwin, the shady litigator who tries defending the rebels using a wrongful-transfer technicality. \u201cDid Christ hire a lawyer,\u201d asks Stellan Skarsg\u00e5rd\u2019s booming abolitionist, \u201cto get him off on technicalities?\u201d Baldwin\u2019s response sums up the cheeky-realist spirit of Spielberg\u2019s legal thrillers: \u201cBut Christ lost.\u201d<\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=1758\">Rex Reed Hated Everything. Someone Had to Edit Him<\/a><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>18. <em>AI: Artificial Intelligence <\/em>(2001)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Stanley Kubrick spent decades developing this dystopian fairy tale. Spielberg made it in honor of his late friend. So probably the meanest opinion on this list is I think<em>\u00a0A.I.<\/em>\u00a0is worse than any film Kubrick made after\u00a0<em>Killer\u2019s Kiss.<\/em> But there\u2019s no denying the brilliance of Haley Joel Osment, so weirdo-cute as the mecha-child trying to\u00a0<em>Pinocchio<\/em>\u00a0himself real. You sense a populist stretching for artiness: When the robot boy surprises his \u201cMommy\u201d on the toilet, she\u2019s casually reading\u00a0<em>Freud on Women<\/em>. Themes!\u00a0But the controversial ending is the most mysterious sequence of Spielberg\u2019s career.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>17. <em>Catch Me If You Can<\/em> (2002)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>With pride he called himself a teenage con man. See young Steven strolling through the gates at Universal, without a pass, armed only with a suit and a briefcase and attitude. Or maybe he jumped off the Universal Studios tram and started visiting sets. Never let the truth get in the way of a good story, and don\u2019t underrate this counterfeit caper as a self-portrait of chutzpah and truthiness. Leonardo DiCaprio found his post-<em>Titanic<\/em> holding altitude as Frank Abagnale Jr., a talented liar making banks and airlines into suckers. His crimes drip Jet Age cool, even as his parents\u2019 divorce opens a gaping wound the fakery can\u2019t fill. Zest fades whenever Hanks\u2019 composite-feeling Agent Hanratty gets pushed forward as a replacement dad. The script unabashedly fictionalized Abagnale\u2019s memoir; more recent investigations have wondered if the truths he told about his falsehoods were just more falsehoods. Credit<em>\u00a0Catch Me<\/em>\u00a0for self-awareness. \u201cSometimes,\u201d Hanratty says, \u201cit\u2019s easier living the lie.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>16.\u00a0<em>Lincoln<\/em>\u00a0(2012)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Was our greatest president just a bit of a con man, too? In this unconventional biopic about the ticking-clock vote for the 13th Amendment, Daniel Day-Lewis plays Honest Abe with a twinkle, always ready with a joke or a tall tale to take over a conversation. It\u2019s a clever trick, this gift of gab, a way to direct people\u2019s attention. Of course, his playful rhetoric and diplomatic shell games have the highest purpose: to end slavery before the Confederate states reunify their voting bloc back into Congress. So here\u2019s an epic about a legal loophole, a process-oriented sibling to the <em>Schoolhouse Rock! <\/em>episode where a bill becomes a law.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>15. <em>The Fabelmans <\/em>(2022)\u00a0<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Not really his first autobiographical film, since the tale of young Sammy Fabelman and his parents\u2019 imperfect union reflects back on so many Spielbergian domestic duels. Two-and-a-half hours feels both too long and too short: There\u2019s some dawdling between the family\u2019s many moves, and then <em>Fabelmans<\/em> ends with Sammy on the lot about to start his Abagnale Era. I think this is the only one of Spielberg\u2019s films you could really call freewheeling: Hitchcockian meta-celluloid suspense, high-school-sucks comedy, Michelle Williams\u2019 maternal complexity, behind-the-scenes 8mm magic and a David Lynch cameo.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>14. <em>Raiders of the Lost Ark<\/em> (1981)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Necessary to admit I don\u2019t think the perfect Indiana Jones movie exists. You can picture it in your head, or find pieces of it scattered like artifacts throughout the franchise, but no single entry gets everything right.\u00a0<em>Raiders<\/em>\u00a0is\u00a0the conventional favorite because of Karen Allen, whose Marion Ravenwood sparkflies off Indy. Carefully, I will admit this romantic adventure I have loved my whole life is a bit frontloaded, with that rolling-rock prologue and the pippy Ford-Allen chemistry fading into a long desert meander before the wowzer chase.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>13. <em>Close Encounters of the Third Kind<\/em> (1977)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>The one Spielberg movie that gets better when you\u2019re stoned. Richard Dreyfuss plays Roy Neary, an Indiana everyman driven to family-ruining feats of unemployed garbage art after a UFO gives him a sunburn. When his wife and three children flee to his sister-in-law, Roy forgets all about them \u2014\u00a0a plot point the director regretted after he became a dad. It\u2019s crucial to\u00a0<em>Close Encounters\u2019<\/em> drop-out delirium, of course; Roy really does come off like an addict whose drug is extra-terrestrials. But Spielberg\u2019s later, better alien mood opera knows you never leave mom behind.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>12.5 <em>Poltergeist<\/em> (1982)\u00a0<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Rumors persist he produced this horror flick right out from under credited director Tobe Hooper. If so, it\u2019s a revealing bad twin, unleashing psychotronic terror on the cute kids of suburbia the same summer <em>E.T.<\/em> came out. The final shock is darker than any finale he allowed into his official work.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>12. <em>The Color Purple<\/em> (1985)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Careening through decades in a Georgia household, this Alice Walker adaptation begins with a teenager in childbirth. She\u2019s instantly separated from the baby by her predator father. Forced marriage to Danny Glover\u2019s imposing Mister promises more imprisonment. By the time young Celie grows up to be Whoopi Goldberg, though, it\u2019s clear\u00a0<em>Color Purple<\/em>\u00a0will tackle disturbing material with a surprising ebullience, part slapstick and part hymnal. Celie emerges from her semi-mute shell thanks to the generous (and erotic) attentions of Mister\u2019s mistress, played with slinky confidence by Margaret Avery. Pick your -ism and it\u2019s here:\u00a0racist whites, sexist husbands, an arguable throuple. (Also Oprah Winfrey, in a blazing movie debut.)\u00a0And where\u00a0<em>1941<\/em>\u00a0and\u00a0<em>Temple of Doom<\/em>\u00a0opted for chintzy Busby Berkely spoofs, Spielberg\u2019s musical numbers here pulse with yearning and spiritual awe. That instinct would fully flower decades later, when he made it to the west side.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>11.<em>\u00a0Jurassic Park<\/em>\u00a0(1993)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>A splendid entertainment that has no actual ending. But it feels like it has an awesome ending, which is one of Spielberg\u2019s best tricks. The velociraptor corners the humans. It lunges \u2014\u00a0and gets bitten up out of the air by the T. Rex. Previously, the Tyrannosaur\u2019s approach caused earthquakes. Now, somehow, she snuck into the foyer? It works because of sheer momentum, because Spielberg understood audiences scared of the T. Rex would want the big lug to have a hero moment, and because Williams\u2019 wonderful score cranks up before you can ask any questions. The novel is less fun, but Crichton knew the real villain was John Hammond, a rich man playing neo-genetic god. Spielberg cast <em>Gandhi<\/em> director Richard Attenborough to play Hammond as a Scottish Santa Disney. So <em>Park<\/em> becomes the silliest <em>Frankenstein<\/em> riff: Love the doctor, love the monster, boo raptors! Triceratops droppings never tasted so good.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>10. <em>Empire of the Sun<\/em> (1987)\u00a0<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>No young actor rewarded Spielberg\u2019s trust more than Christian Bale. The future Psycho Batman already exudes full-bodied mania as Jamie, a Shanghai-born Brit scrounging through the Japanese invasion. Left behind by his parents, he befriends smooth operator Basie, played with insinuating menace by John Malkovich. Rechristened \u201cJim,\u201d the boy grows up imprisoned and semi-indoctrinated, aspiring to Basie\u2019s slippery amorality and worshipping Japanese pilots flying Zeroes against his own Allies.\u00a0<em>Empire of the Sun\u00a0<\/em>stretches some unconventional directions \u2014\u00a0the overlay of bombs with maternal eroticism is very<em>\u00a0Freud on Women<\/em>\u00a0\u2014\u00a0and grafts the scope of a David Lean saga onto a bizarro-Amblin tale about learning manhood from a moral apocalypse.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>9. <em>Indiana Jones and the Last Crusade<\/em> (1989)\u00a0<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Think this is a boring\u00a0<em>Raiders<\/em>\u00a0retread? You have chosen poorly. The funniest\u00a0Jones\u00a0is the most emotional, and a kitchen-sink travelogue extravaganza. The prologue pays homage to Buster Keaton and John Ford, and throws in River Phoenix\u2019s astounding Ford impression. The Grail search requires a zeppelin, a boat chase, a horse-tank-cliff fight, a castle with tapestries, the real fa\u00e7ade of a millennia-old temple and (ah!) Venice. Julian Glover\u2019s wealthy turncoat will be the best Indy villain so long as Nazi-curious American aristocrats seek eternal life. Due respect to Karen Allen, but no scene partner ever cut Ford down to size like Sean Connery. The Jones boys\u2019 snappy-regretful banter (with dialogue doctored by playwright Tom Stoppard) feels like the tense grown-up conversations Spielberg\u2019s other father-son duos never get to have. Consider Henry Jones Sr. an unusual sibling to\u00a0<em>Close Encounters<\/em>\u2019 Roy, another dad whose obsession with transcendence breaks his family apart. Given the chance to achieve his life\u2019s grandest goal, Henry instead offers Indiana some hard-earned advice for serenity: \u201cLet it go.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>8. <em>Minority Report<\/em> (2002)\u00a0<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>The coolest movie on this list \u2014\u00a0and the greatest, for precisely one hour and 55 minutes. Tom Cruise is a supercop stopping murders before they happen. He\u2019s also a sadsack drug addict, huffing ultra-heroin to cry over his lost son\u2019s vid-o-grams. When he\u2019s accused of a killing yet to happen, he hops vertical maglev freeways, wrestles jetpack police and removes his own eyes. Here\u2019s the moment Spielberg and Kaminski seemed incapable of anything but gobsmackingly perfect images, shooting 2054 in grayscale textures still luscious after decades of grimdark imitators. It\u2019s a pulpier Philip K. Dick future noir than\u00a0<em>Blade Runner, <\/em>with a murderer\u2019s row of character actors as scene-stealing gonzo grotesques. When Anderton pairs up with Samantha Morton\u2019s precog, it\u2019s the stuff of Greek Tragedy: The seer guiding the hero to his fate. And then\u00a0<em>Minority Report<\/em>\u00a0falls off such a cliff that I know some dear friends refuse to believe the ending happens at all.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>7. <em>Bridge of Spies<\/em> (2015)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/><em>Stranger Things<\/em>-powered nostalgia has lately frozen the cultural perception of Spielberg\u2019s fascinations to his early career: Kids, dads, suburbs, aliens, hey presto, here\u2019s J.J. Abrams\u2019 forgettable\u00a0<em>Super 8!<\/em> But the macro-subject of his later work is the law.\u00a0<em>Lincoln,\u00a0The Post <\/em>and even<em>\u00a0Minority Report\u00a0<\/em>are D.C. tales about rewriting government rules for the greater good (or for powerful men\u2019s self-enrichment). The heroes of\u00a0<em>Catch Me If You Can,\u00a0The Terminal <\/em>and<em>\u00a0Munich\u00a0<\/em>are stateless nowhere men dangerously beyond jurisdiction.<em>\u00a0Bridge of Spies <\/em>ultimatizes his interest in the ethical borderlands. Tom Hanks is James Donovan, the attorney hired against his will to defend Mark Rylance\u2019s accused Soviet spy.\u00a0His boss, the judge, and the federal government want him playact a fake defense to prove due process. Instead, he does his job well \u2014\u00a0which makes him a pariah. He\u2019s a Frank Capra character in a Kafka quagmire:\u00a0<em>Mr. Smith Goes to the Trial. <\/em>The topical touchstone is the purgatory politics of Guantanamo Bay, but that\u2019s just a wind up for a mid-film genre swap, when Donovan goes to East Berlin to negotiate a prisoner swap. By then he\u2019s another nowhere man: An unofficial diplomat disavowed by his own handlers, trapped in the geo-political cracks between Russia, East Germany and an America that despises him.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>6. <em>War Horse <\/em>(2011)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Many films on this list make you cry. This Great War odyssey is the industrial-strength tearjerker. It\u2019s not just a coming-of-age story about an innocent youth who loves a horse. It\u2019s\u00a0six\u00a0of those stories, tracking noble steed Joey between multiple owners from the Devon countryside back and forth across No Man\u2019s Land. I know it sounds sappy to declare this my favorite Spielberg war movie, but I think by 2011 the<em>\u00a0Private Ryan<\/em>\u00a0director\u00a0was older, wiser, and sick of the coolness of bloody warfare. Death here is subtle, offscreen, yet tangible. The human cast resets every twenty minutes or so, each new chapter a perfect short film about a moment of grace in war\u2019s hell. Bro, I\u2019m not even a horse guy, but every time I watch\u00a0<em>War Horse\u00a0<\/em>I feel like I am.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>5. <em>West Side Story<\/em> (2021)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Why remake a perfect movie? Maybe to make it more perfect?\u00a0<em>Lincoln<\/em>\u00a0writer Tony Kushner\u2019s script widens\u00a0<em>West Side<\/em>\u2019s story to include urban renewal and unrepressed racism. Kaminski\u2019s camera dances. New discoveries Rachel Zegler, Ariana DeBose and David Alvarez bring warmth to the Sharks\u2019 immigrant ambition, while Ansel Elgort and Mike Faist are the \u201ccan\u2019t-make-it-Caucasians\u201d running on faint hope or pure hate. Rita Moreno returns from the 1961 original, singing \u201cThere\u2019s a place for us\u201d inside a dead man\u2019s store on the border of a gone neighborhood. Spielberg directs every frame like he\u2019s got something to prove.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>4.\u00a0<em>Schindler\u2019s List\u00a0<\/em>(1993)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>For about an hour, no joke: A comedy. Bleak comedy, to be clear, horrified at the liquidation of the Krakow ghetto. But Liam Neeson\u2019s Oskar Schindler is another Abagnale, a phony tycoon who becomes an actual tycoon by charming Nazi grandees with cigars and women. His moral counterweight is Ben Kingsley\u2019s Itzhak Stern, the accountant he hires because oppressed Jews make cheap employees. Kingsley was\u00a0<em>Gandhi\u2019<\/em>s Gandhi, the picture of serenity in a film composed entirely of speeches and conversations that sound like speeches.\u00a0<em>List<\/em>\u00a0became a new kind of prestige whale \u2014\u00a0so obviously important a teacher showed it to us in junior high, so obviously not the stuff of rewatch-podcast meme fodder. Important to stress how strenuously it avoids museum-piece clich\u00e9s. Shocking death is casual, unpunctuated: Genocide as Oxygen. Monstrosity arrives with Amon G\u00f6th, the commandant Ralph Fiennes plays as an especially prissy Hutt. Unable to pick a final scene, Spielberg tries three whopper endings, their staginess not undercutting the clinical horror of\u00a0<em>List\u2019<\/em>s you-are-there power.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>3. <em>Munich<\/em> (2006)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>This Mossad revenge thriller turns elliptical, mission-drifting from extrajudicial executions into a portrait of the new omni-fear. Because the subject is the Israel-Palestine conflict, because it\u2019s an explicit 9\/11 allegory, and because the 1972 Olympic assassinations intercut with an unpleasant sex scene, it\u2019s easy to overlook the pinpoint craft of\u00a0<em>Munich<\/em>\u2019s espionage storytelling. Working off a clever script from Kushner, Spielberg stages every mission like a heist gone wrong. Bombs don\u2019t explode the right way. Cars drive where they shouldn\u2019t. The wrong person answers the phone. Eric Bana\u2019s spy captain starts asking questions, wondering who he\u2019s killing and why so many people are taking their place. It\u2019s a bravely controversial moral thrill ride \u2014\u00a0and the closest Spielberg ever came to making a James Bond movie, with Daniel Craig doing global violence pre-<em>Casino Royale<\/em>\u00a0and\u00a0<em>Moonraker<\/em>\u00a0baddie Michael Lonsdale as an information baron.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>2. <em>Jaws<\/em> (1975)\u00a0<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>The first time I saw\u00a0<em>Jaws<\/em>\u00a0it was dubbed into French, a language I do not speak. It was riveting. I didn\u2019t want to swim for years \u2014\u00a0not in the ocean, not in the deep end of a pool. Williams\u2019 low-repeating-note score is a universal language for terror. The shark puppet didn\u2019t work, so the desperate director found a way to make its\u00a0<em>grand blanc\u00a0<\/em>presence felt in every shot of the water. Roy Scheider, Richard Dreyfuss and Robert Shaw are a perfect alliance of opposites: fearful cop, half-hippie aqua-intellectual, crustiest of captains. Their seaquest is an unrelenting final act, terrifying even when they\u2019re just boozing sea chanteys. Any kid today knows sharks are less dangerous than people. Yet\u00a0<em>Jaws<\/em>\u00a0gets more potent as a natural-disaster allegory every year the environment turns against us. And show me one modern politician who isn\u2019t just a little (or a lot) like Murray Hamilton\u2019s Mayor.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>1. <em>ET: The Extra-Terrestrial <\/em>(1982)<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n<br \/>Darker than you remember<em>.\u00a0E.T.\u00a0<\/em>starts and ends in the forest, the lit city down the hill resembling a night sky full of stars. The most famous image is a black silhouette against the moon: boy, alien, bicycle. Shadows fill the house Henry Thomas\u2019 Elliott shares with his brother, his sister, and his mom. (Dad\u2019s in Mexico with Sally, his absence as palpable as a shark you never see.) The camera hovers down with the young cast, so the toy-stuffed closet feels cavernous as a doom temple. Junk kid\u2019s movies tend to be overlit and colorful, but Spielberg remembers how visceral darkness feels to a child: the witching hour, staying up late at a sleepover, the scary wonder of being awake when your parents are asleep. This is his smallest story on a map \u2014\u00a0house, neighborhood, woods, a school day cut short by frog liberation \u2014\u00a0but the emotions reach for cosmic empathy. \u201cThink how other people feel for a change!\u201d Robert MacNaughton\u2019s big brother demands. Empathy is the plot and the primary special effect. Marvelous technique crafted E.T.\u2019s body, but the soul-baring performances (Drew Barrymore!) bring him to life. And no matter how soaring Williams\u2019 score is, there\u2019s no doubt\u00a0<em>E.T.\u00a0<\/em>is the toughest of Spielberg\u2019s alien quintet.\u00a0<em>Close Encounters<\/em>\u00a0and<em>\u00a0Disclosure Day<\/em>\u00a0promise revelation.\u00a0<em>War of the Worlds\u00a0<\/em>and even\u00a0<em>Crystal Skull\u00a0<\/em>fix their broken families. Elliott is the one who says goodbye to someone he loves. But<em>\u00a0E.T.\u00a0<\/em>knows we all have to go sometime. Our eyes will close. The credits will roll. Someday, Steven Spielberg will stop making movies. Put your hand on your glowing heart and repeat this prayer: He\u2019ll be right here.<\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=1756\">\u2018Awards Chatter\u2019 Podcast: Tom Pelphrey on How Getting Sober, Landing \u2018Ozark\u2019 and Becoming a Parent Helped to Prepare Him for \u2018Task\u2019<\/a><\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>A list of all 35 of Steven Spielberg&#8217;s movies, ranked from worst to best.<\/p>\n","protected":false},"author":1,"featured_media":1761,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[742,90],"class_list":["post-1762","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-disclosure-day","tag-steven-spielberg"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>All 35 of Steven Spielberg\u2019s Movies, Ranked From Worst to Best - 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