Joey Magidson
There are few masters on the level of Steven Spielberg. How many auteurs essentially create a type of cinema? The modern Hollywood summer blockbuster only exists because of Spielberg and what he accomplished with Jaws. There are almost no directors like him, as he can craft blockbusters like Jurassic Park or Raiders of the Lost Ark in the same incredible way that he can shepherd the heights of prestige film to the screen with things like Saving Private Ryan or Schindler’s List. With his newest film in Disclosure Day now in theaters, it felt like the right time to finally share my ranking of his movies. So, that’s exactly what I’m doing today. Join me, why don’t you?
In my review of Disclosure Day (here), I raved about Spielberg’s filmmaking like so:
If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? That’s not just the tagline for Disclosure Day. It’s also the film’s central thesis, alongside the notion that maybe, instead of fear, it could change things for the better? Working again in the realm of aliens and UFOs, maestro Steven Spielberg is far more focused on the human element, resulting in deep emotions and a full cinematic experience. Whatever you’re expecting this movie to be, Spielberg has some of that for you, but he’s also delivering something different as well. I was thrilled and moved by what he revealed, to the point where almost nothing else so far this year has matched it.
Disclosure Day is both playful and a slow burn, so you have to get on its wavelength a bit. Spielberg makes you earn the final half hour or so, which is among the most satisfying denouements in his career. Hell, the opening shots of the flick are of a wrestling match. That’s probably not what those expecting Spielberg to revisit an alien invasion are prepared for. However, it’s just another way he wants you to check your expectations at the door. He’s already done War of the Worlds. He’s already done Close Encounters of the Third Kind. This is something else, and in my humble opinion, superior to both of those works. High praise, indeed, but justified.
Director Steven Spielberg and writer David Koepp (working off of a story by Spielberg) are at the height of their powers, crafting a sci-fi mystery with some deeply enjoyable thriller elements. When it’s just being a smart summer movie, they’re in full control. Multiple sequences had me on the edge of my seat. Then, when Koepp and Spielberg build things up to a third act crescendo, it becomes something more. The pair brought me to tears with the final section of the film, to the point I completely embraced what was being shown and forgot that it was a summer blockbuster. Where they leave is us shockingly moving. Despite some action scenes, this is far more of a conversation at its core, and in fact, is essentially existential discourse. Few others would even dare to consider how proof of alien life would impact religion, but not only do they, they come down on a position, no less. Armed with one of John Williams‘ best scores in years and reliably strong cinematography from Janusz Kamiński, Spielberg is firing on all cylinders. Despite some similarities to Close Encounters of the Third Kind, in no way is he repeating himself. There’s a hopefulness here that ultimately speaks favorably towards humanity, whether or not we deserve it.
A few years prior, I also raved about The Fabelmans here, including this bit about Spielberg:
Filmmaker Steven Spielberg has made arguably the most enjoyable cinematic therapy session in recent memory. Co-writing with Tony Kushner, this is as funny and as warm as we’ve seen Spielberg be in a while. His direction is occasionally dreamlike, but it completely fits the memories the man is clearly working through. A gentle but luminous score by John Williams, alongside bright cinematography by Janusz Kamiński, is top notch. The Fabelmans has A-list talent in front of and behind the camera, and it shows. Whenever a moment hooks you in this two and a half hour film, and a moment will hook you, there’s no letting go afterwards. Kushner and especially Spielberg have made something with deep meaning, not just to the director, but to audiences as well.
Below, you can see my Spielberg ranking. A lot of my choices are fairly standard, as his top three to me are Schindler’s List, Saving Private Ryan, and Jurassic Park. So, where are my unusual spots? Well, The Terminal is much higher for me than most, and that’s not clickbait, either, as I unabashedly love it. On the flip side, I have The Color Purple, E.T. the Extra-Terrestrial, and West Side Story at least a bit lower than most. Still, this sort of list is very much just a matter of what type of Spielberg works you gravitate towards the most. There are no wrong answers, after all. Where does Disclosure Day slot in? Find out next…
Here now is my ranking of the films of Steven Spielberg. Behold:
35. The BFG
34. Hook
33. 1941
32. Always
31. Indiana Jones and the Kingdom of the Crystal Skull
30. War Horse
29. The Adventures of Tintin
28. Amistad
27. The Color Purple
26. Empire of the Sun
25. The Sugarland Express
24. West Side Story
23. The Lost World: Jurassic Park
22. Indiana Jones and the Temple of Doom
21. Ready Player One
20. E.T. the Extra-Terrestrial
19. War of the Worlds
18. Indiana Jones and the Last Crusade
17. Duel
16. Munich
15. A.I. Artificial Intelligence
14. The Post
13. The Terminal
12. Bridge of Spies
11. Close Encounters of the Third Kind
10. Lincoln
8. Minority Report
7. Jaws
6. Catch Me If You Can
5. Raiders of the Lost Ark
3. Jurassic Park
2. Saving Private Ryan
1. Schindler’s List
What is your favorite Steven Spielberg film? Let us know!
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