Every George Clooney Movie, Ranked
There's a pretty famous story that George Clooney likes to tell about a dog. In the early 2000s, he'd set up a meet and greet with a rescue he wanted to adopt and was told that the dog had to love him or the shelter would take him back. Clooney, scared the dog wouldn't love him, rubbed himself in turkey bacon before he met the doggo just to increase his chances of success. This is a story that says a lot about Clooney, which is probably why it's often told—in this magazine, even—to illustrate his dedication to the audience, human or otherwise.
If aliens visited this planet and we needed to provide them with an example of a movie star, we would show them George Clooney. His charm is otherworldly, yet he often puts in the effort to mask it, turn it off, or make himself the joke when he needs to for our entertainment. He is, hands down, the number one celebrity to pick if you're ever going to pull off a heist. And that would be an accurate pick even if he hadn't starred in so many heist movies. He is the link between old school cinema and modern Hollywood. He is perhaps the only one whose career would get better after the Batnipples. He is untouchable, and unmissable even when he is indeed missing. He is Amal's husband.
Whether he's meeting a dog, pulling off a heist (in Vegas, in Italy, in the 1930s deep South, in WWII, in the Gulf War), voicing a fox, going into space, or playing a total goon—Clooney puts himself into every single performance. And for that, we have a hell of a filmography, which we have ranked here, of 34 movies, that are all better off with Clooney in them. — Matt Miller
Even the greatest movie stars cough up the occasional celluloid hair ball. It’s the law of averages. And sure, you could argue that The Monuments Men is way better made than Grade-Z shlock like early Clooney misfires Return of the Killer Tomatoes and Red Surf. But the reason why this stinkbomb lands at the rock bottom of this list is because of the massive gap between the film’s potential and its execution. With Clooney behind the camera and charismatic actors like Matt Damon, John Goodman, and Bill Murray in front of it, this could have been and should have been something great. And if not great, then at least watchable. Unfortunately, it’s neither—it’s just preachy and dull. The true-ish tale of a team of art historians sent behind enemy lines during WWII to retrieve great artworks stolen by the Nazis, The Monuments Men is a total waste of a juicy bit of history, its all-star cast, and a director who couldn’t even manage to make Nazis exciting. Nazis! — Chris Nashawaty
Once upon a time, ‘straight-to-video’ was where movies like Red Surf went to die quiet, anonymous deaths. And most of these films’ VHS boxes should have come with a warning label reading: Caveat Emptor. Exhibit A is this chintzy Point Break rip-off which deserved to be burned and have its ashes scattered on consecrated ground...and then have that ground salted so nothing could ever grow there again. A pre-ER Clooney (opposite Dedee Pfeiffer and KISS frontman Gene Simmons sans kabuki facepaint) plays a ponytailed, jet-skiing coke dealer out for one last score while facing off against deadly barrio thugs on both surf and turf. Glub, glub! — CN
Tomorrowland is really another Clooney jam that could’ve had it all. It was an adaptation of a frickin’ Disney park! About the future! Hyped for years. Directed by The Incredibles director Brad Bird. Ugh. Even though the visuals were as awe-inspiring as a trip to the Tomorrowland park itself, the uneven story didn’t quite live up to what it could’ve been, a good-hearted Clooney performance be damned. From now on, it’s a billion-dollar adaptation of “It’s a Small World” or bust. — Brady Langmann
We all have gigs on our resume that we’re ashamed of. They’re merely the dues one has to pay to keep working, growing, and keeping the lights on. Here’s one of Clooney’s. A sequel of sorts to the kitschy 1979 cult cheapie Attack of the Killer Tomatoes, this is a junky, winking spoof of ‘50s Atomic Age programmers like The Blob in which a town desperately tries to fend off an uprising of giant mutant vegetable-men—or are tomatoes fruit…? Either way, with his period-appropriate mullet and half-smirk that lets you know he’s at least in on how god-awful this mess is, Clooney at least seems to be having fun. At least someone is. — CN
I wanted to dig this one. I really did. Seriously. How could you mess this one up? Clooney, Krasinski, Pryce, and Zellweger starring in a sports comedy about the early days of beat-em-up American football. Leatherheads ended up being just as messy as a lineman in the fourth quarter of a game in the pouring rain. The different-genre-per-minute clip of Leatherheads led to a box-office disappointment, meaning that we’ll never get the great George Clooney hoops drama of our dreams. (Seriously. The man supposedly can ball.) — BL
A loving homage to Casablanca and other romantic wartime dramas of the 1940s, Steven Soderbergh’s The Good German has style to burn but, ultimately, little spark. Clooney stars as war correspondent Jake Geismer, who arrives in post-WWII Berlin to cover a historic peace conference, only to become ensnared in a Cold War-instigating conspiracy involving his former mistress (Cate Blanchett) and various other Russian and American players. Soderbergh’s smoky black-and-white aesthetics pay tribute to his chosen cinematic era while his story (adapted from Joseph Kanon’s novel) confronts various issues in a frank manner that never would have been allowed under the Production Code. Yet the filmmaker’s celebration-come-deconstruction never does much with its artifice, and the same is true of Clooney’s performance, which is undone by hollow affectation. Like everyone else, he seems adrift in a gorgeously rendered photocopy. — Nick Schager
If The Peacemaker is remembered at all, it’s for being the first film to be released by the then-fledgling DreamWorks Pictures. It was not an auspicious beginning. Clooney plays a dashing, cool-under-fire intelligence officer with the Army’s Special Forces and costar Nicole Kidman turns up as a nuclear scientist. Their mission: To shoehorn as many espionage-flick clichés as humanly possible into this misfire’s bloated 124-minute running time. Actually, they’re out to stop terrorists from smuggling Soviet nukes, not that it matters. Aside from the A-list stars (who have a shocking lack of chemistry), director Mimi Leder’s big-budget, big fat so-what of a film doesn’t have an original thought in its head. It’s just dreary action-flick Mad Libs. — CN
This is not a George Clooney movie. This is also very much a George Clooney movie. Let me explain: Welcome to Collinwood is a heist comedy with an ensemble cast: Sam Rockwell, Luiz Guzman, Isaiah Washington, William H. Macy, Patricia Clarkson, and George Clooney, who plays Jerzy, a wheelchair-bound safe-cracker. It’s a funny movie in which the characters, all goofy career criminals, seek to pull off a big score in the Cleveland suburb of Collinwood. Clooney delivers some of the film’s funniest lines. But he does not have the most screen time, hence it’s not a George Clooney movie. Welcome to Collinwood is a remake of the 1958 Italian heist comedy, Big Deal on Madonna Street, which itself is a satire of the 1955 Italian heist drama Rififi. This sort of thing is well within Clooney’s wheelhouse. By 2002, the year Welcome to Collinwood came out, Clooney had been in Out of Sight, Ocean’s 11 (also a remake), Three Kings, and O Brother, Where Art Though? All of which are stylish movies by Brilliant Young Directors with a certain absurd comedic bent. This is how you could describe Welcome to Collinwood, which is directed by Anthony and Joe Russo, who, a decade later, would direct Marvel movies, including Avengers: Endgame. So, yes, Welcome to Collinwood is, indeed, a George Clooney movie. — Michael Sebastian
George Clooney must love the fatalistic neo-noirs of Jean-Pierre Melville (Le Samoura?, Bob le Flambeur), for how else to explain his participation in The American? Anton Corbijn’s feature is a downbeat saga about a contract killer who, after being forced to flee his circumstances (killing his lover in the process), relocates to the mountains of Italy, where he accepts a new job while dealing with pursuing assassins. Clooney is the only American star in this European-flavored thriller, channeling the icy, existential despair of previous generations’ neo-noir antiheroes. Though its deliberate pacing turned off audiences who expected a more action-oriented adventure, its suspense is as chilly as its air of desolation and doom is palpable. Embodying a man whose self-control and proficiency do little to afford him happiness or triumph, Clooney is the alienated, melancholy heart of Corbijn’s ravishing genre film. —NS
To be fair, the Batnipples weren’t Clooney’s fault—even though he has apologized repeatedly for Batman & Robin over the decades. The real problem is that, somehow, Clooney isn’t particularly believable as either Bruce Wayne or Batman in Joel Schumacher's infamously bad Batman & Robin. Clooney is kind of just Clooney, whether he’s wearing the Dark Knight’s cowl or galavanting through Gotham as the playboy billionaire. DC superfans would probably want this movie to be much lower on the list. However it might be the only so-bad-it’s-actually-kind-of-hilarious movie in Clooney’s filmography. This is an indelible part of superhero movie history. It’s also proven to show what a good sport Clooney can be about even some of his most egregious errors. Twenty years from now he’ll still be apologizing for the Batnipples, and for that this film should be ranked higher than some of his more forgettable outings. — Matt Miller
Money Monster is a cable news nightmare come to life. On paper, it sounds like such a good concept. Directed by Jodie Foster and starring Clooney and Julia Roberts, Clooney leads the cast as Lee Gates, an over the top financial expert who gives advice on his cable show. Of course, everything goes to shit when his bad advice leads a man to lose his life savings and decides he’s going to blow up the studio. Again, interesting enough concept but the execution is dodgy to say the least. It’s the misfortune of having talents like Clooney and Roberts at the helm, both of whom are carrying the film as well as they can, without any idea of how to use them to the best of their ability. — Justin Kirkland
For his second go-round with Joel and Ethan Coen (following O Brother, Where Art Thou?), Clooney assumed the part of a high-powered divorce attorney whose skills are put to the test when he faces off against his latest client’s soon-to-be-ex-wife, played by Catherine Zeta-Jones. A sharp romantic comedy about marital warfare in a time of pre-nuptial agreements, the Coens’ film blends the goofy and the bleak to winning effect, due in large part to Clooney and Zeta-Jones’ rapport as a pair of cutthroat sharks whose predatory impulses are complicated by their budding amorous feelings for each other. Bolstering Clooney’s Old Hollywood-ish bona fides—in a role that, in an earlier era, might have been played by Cary Grant—Intolerable Cruelty is the sort of idiosyncratic A-list screwball affair that they all-too-rarely make anymore. — NS
Directed by Clooney’s long-time writing and producing partner Grant Heslov, The Men Who Stare at Goats is—like Three Kings and his Hulu TV adaptation of Catch-22—a war satire that revels in the absurd. An adaptation of Jon Ronson’s book of the same name, it concerns a journalist (Ewan McGregor) who travels to Kuwait and lands a bombshell story courtesy of a former special forces officer (Clooney) who was supposedly a member of a covert U.S. army operation that sought to train soldiers to have psychic powers. The ensuing saga is rife with out-there twists, and it benefits from strong supporting turns from Jeff Bridges, Kevin Spacey, Robert Patrick, Stephen Lang, and Nick Offerman. Clooney’s gamely loony performance, however, is the highlight of this farcical venture, and once again illustrates that he’s more than comfortable playing the intensely committed fool. — NS
In kind of an opposite of Matt Damon's The Martian, George Clooney's Augustine is alone on a dying Earth and must warn a group of astronauts not to return home. Clooney's directing here is effective—gracefully balancing the post-apocalyptic themes. As is his performance. His gruff exterior shelters a very human pain within. The problem here may be more with the film's source material—a thin sci-fi drama that fails to live up to many of the modern masterpieces of recent years. — MM
What should have been a throwback to Tracy and Hepburn—or at least Hanks and Ryan—ends up being a rom-com without a spark. At the time, the notion of orbiting a meet-cute confection around the use of cell phones probably seemed very of the moment. But viewed today, One Fine Day finds Clooney and Michelle Pfeiffer just frenetically flailing and flirting as a single mom and a divorced dad in go-go New York City. I’m sure this all sounded like a slam dunk in the pitch meeting, especially in the wake of the megahit Sleepless in Seattle. Unfortunately, there’s nothing sleepless about this one. You’ll be out cold well before the end credits roll. — CN
Nothing about the vampire film From Dusk Till Dawn particularly makes sense, especially within the confines of the George Clooney canon. But that's not to say that it should plummet to the bottom of the list. Written by Quentin Tarantino and directed by Robert Rodriguez, the action-horror hybrid features Clooney as a convict, who along with his brother (played by Tarantino himself because, hell, why not?) take hostages in an old western saloon that is eventually overtaken by vampires. Of those is preacher man Jacob (played by Harvey Keitel, because, again, why not?) because if your vampire film doesn't have a religious figure, did it actually happen? The film became a bit of an unconventional classic, if for no other reason than the fact that it's a B-movie that had a ton of fun and never took itself too seriously, and it's a rare Clooney movie that dives headfirst into the horror genre. —JK
The Thin Red Line is a masterpiece from a director who’s made a decades-long career churning out masterpieces—but Clooney is barely in it. Terrence Malick’s transcendental meditation on why mankind wages war, set at the Battle of Guadalcanal, features a revolving door of Hollywood heavy hitters, including Sean Penn, John Cusack, Adrien Brody, Woody Harrelson, and John Travolta. Clooney swoops in at the end of the film as Captain Bosche, a new commander assigned to the film’s decimated squadron. Clooney brings grit and no-nonsense charm to a blink-and-you-missed-it role that clocks in at less than two minutes flat. He’s here for a good time, not a long time. — Adrienne Westenfeld
Hollywood is famous for writing love letters to itself. (See: Mank, La La Land, Once Upon a Time…in Hollywood, The Artist—you get the point.) But the Coen Brothers aren’t like the rest of Hollywood. Sure, they’ve revisited it, but when they do, they come carrying a big ol’ gallon of kerosene. In fact, 1991’s Barton Fink just about torched the town. Here, they plop themselves down in the decade after that plot’s epic meltdown to poke fun at the fake religiosity of the 1950s studio system. For both his own real-life ancestry and knack for glamour, Clooney was an easy cast as the studio-backed star Baird Whitlock. Where he surprises, however, is in that plenty beautiful men in Hollywood would be afraid to play the role as dumb as it requires. Not Clooney. He’s nearly dizzying as a ditz. — Madison Vain
Clooney once again teamed with Steven Soderbergh for 2002’s Solaris, an adaptation of Stanis?aw Lem’s 1961 novel (which was also the basis for Andrei Tarkovsky’s 1972 sci-fi classic) that was, tonally speaking, far removed from the duo’s prior crime-centric triumphs. That artistic change of direction was one of the reasons it largely failed to connect with audiences upon its theatrical debut, although its somewhat underwhelming box-office performance isn’t indicative of its quality. The story of a clinical psychologist who travels to a space station where, he discovers, memories of his dead wife have brought her back to life (in a sense), Clooney and Soderbergh’s third collaboration is a haunting meditation on loss, love, grief, and the complicated relationship between our recollections and the truth. It features arguably Clooney’s most soulful performance, and remains the film from his oeuvre most deserving of rediscovery. — NS
In his third outing with the Coen Brothers, Clooney stars as Harry Pfaffer (say that five times fast), a married womanizer looking for love online. Harry falls hard for Linda (Frances McDormand), a daffy gym employee who finds a mislaid disk containing the explosive memoirs of Osborne Cox (John Malkovich), a CIA agent disgruntled about getting axed by the agency. In a typically Coen-esque ouroboros of character sketching, Cox is married to Katie (Tilda Swinton), another of Harry’s paramours. The Coens said that Burn After Reading completed their “idiot trilogy,” with Clooney, following O Brother Where Art Thou and Intolerable Cruelty. As a man short on brains and big on charm, Clooney is one of the best things about this screwball comedy. —AW
The first time I saw Clooney’s directorial debut about the shadowy, alleged secret life of Gong Show buffoon Chuck Barris, I remember being pretty knocked out. The critics were too. But a recent re-watch bumped it down a few pegs for me, despite its pretzelly, meta Charlie Kaufman screenplay. As the film’s lead, Sam Rockwell shows why he’s one of the best supporting actors in Hollywood—a little of him goes a long way here. Plus, you never really get inside of Barris’ head (maybe that’s the point, but it’s still frustrating). Meanwhile, Clooney is a distractingly dull cipher as Barris’ government contact who recruits the unlikely celeb into the global assassination game. Actually, I’d argue that the best reason to check out Confessions of a Dangerous Mind (and it definitely is worth checking out) is for Julia Roberts’s against-type turn as a seductively cold-blooded Mata Hari. — CN
This one is a restricted, vulnerable version of Clooney that we typically don’t get to see. Save for Up in the Air (we’ll get to that), The Descendants is perhaps Clooney’s finest work in a film that really slows itself down to allow for reflection and emotional gravitas. The Alexander Payne film sees Clooney tackle the role of a father who is navigating two impossible decisions. On one hand, he’s the sole trustee of family-owned land in Hawaii. His family pressures him to sell, though he initially wants to retrain its legacy. This all becomes small change though when his wife, Elizabeth, is in a boating accident and enters an irreversible coma. To make matters worse, he learns of her affair following the accident. The film is rife with complexity and drama, but Clooney juggles it with ease, always prioritizing the emotional weight that could have easily been thrown aside by a lesser actor. — JK
Gravity is the rare movie where Clooney's presence does not make it a George Clooney movie. This is very much a Sandra Bullock film. But what makes Clooney's role in Alfonso Cuaron's space disaster memorable is that it's so removed from his normal work. Out of the spotlight, the chatty, veteran astronaut character of Lt. Matt Kowalski is the charming foil to Bullock's stoic Dr. Ryan Stone. But it's the scarcity of Clooney (and his early departure) in the film that makes his brief time so impactful. While Lt. Kowalski's personable demeanor might have been grating at first, it also ends up being the thing that saves Dr. Stone's life by the end. — JK
Reuniting hard on the heels of Three Kings, Clooney and Mark Wahlberg head up this tentpole adaptation of Sebastian Junger’s bestseller about a New England fishing boat that gets trapped in one of the most vicious nor’easters of the 20th century. Mother Nature’s wrath gets a primeval workout here, and the towering-wave special effects are further proof that Das Boot director Wolfgang Petersen knows his way around a sea-faring disaster epic. Clooney and Wahlberg (and the rest of the fateful crew) do what they can to convey bravery—and its flipside fear—on board the doomed Andrea Gail, but their salty characters end up being secondary to the film’s shock-and-awe moments as the boat is tossed like a bathtub toy. — CN
Ryan Gosling, Paul Giamatti, Philip Seymour Hoffman, and of course, Clooney, are an ensemble you musn’t ignore, especially when the film in question is a political thriller as exciting as The Ides of March. Clooney plays a Democratic presidential primary candidate who is on the verge of securing the nomination, when a young campaign staffer (Evan Rachel Wood) he had an affair with becomes pregnant, gets an abortion, and dies by suicide after taking a fatal dose of pills in her hotel room. The tragedy rocks the campaign, unleashing a flurry of secrets and lies, which fall on Gosling’s junior campaign manager to clean up. Though Gosling’s Stephen Meyers is the film’s main protagonist, Clooney delivers a steady and sturdy performance as Senator Mike Morris, a man in the throes of personal and political crisis. Though it’s hard for anyone to stack up to the likes of Hoffman, Clooney doesn’t miss a beat in a story that twists the knife into your gut with every new revelation. — Ben Boskovich
I mean, come on. Clooney’s air-bound working drama about a hire-to-fire HR employee is handily a top 10 film in Clooney’s body of work. Disconnected from material or emotional attachments, his character of Ryan Bingham travels across the country as a freelance employee responsible for announcing layoffs to employees. The film dives headfirst into the heartbreak of losing your job and the emotional burden of passing that news along, but it’s hard to imagine the movie carrying the same weight if it weren’t for Clooney. Acting as a mentor to the idealistic, professionally driven Anna Kendrick and a love interest for the too-cool Vera Farmiga, Clooney offers a human look at someone impossibly torn between the desire to make more meaningful connections and the resistance to being vulnerable. — JK
George Clooney’s second-ever directorial effort still remains his best work at the helm of a production. Following in his anchorman father’s footsteps, Clooney studied journalism before his career in showbiz took off. And his love and respect for the craft is in every stark black and white scene of Good Night, and Good Luck as he captures the fiery tension in the broadcast news stand-off between Edward R. Murrow and Joseph McCarthy. While David Strathairn’s smooth and assured Murrow is the star of the show, Clooney is a sharp presence behind the camera (in a meta sense) as legendary news producer Fred Friendly. The film remains a concise lesson in watchdog journalism and the power of holding authority figures accountable—one that feels even more necessary as we enter the 2020s. — MM
Geopolitcal thrillers set in the the Middle East aren’t exactly hard to come by in Hollywood, but Stephen Gaghan’s attempt deserves a special spot, near the top, of the canon. It’s hushed and careful and trepidatious as it explores the backdoor dealings that control the world’s oil supply (and, as you know, therefore the world); somehow the quieter it gets, the louder it thumps. He found a perfect lead in Clooney, who offers one of the weightiest performances of his career playing the wearied C.I.A. operative Bob Barnes. (This is, of course, not a comment on the 30 pounds he packed on for the role.) Clooney has one of the most famous and expressive mugs in Tinsel Town but here he scales way back, favoring tiny glances and nearly indiscernible looks. An A-lister and tabloid mainstay for decades by the time this film released, here, he found a way to become an entirely new, completely beguiling mystery all over again. — MV
In Wes Anderson’s 2009 film Fantastic Mr. Fox—based on the book by Roald Dahl—Clooney plays the titular Mr. Fox, a family fox with a bit of wild streak. While he needs to be a responsible, reliable husband and father, he can’t resist one last raid on the area’s nastiest farmers, one that puts the whole community in danger. Anderson’s first venture into animation, Fantastic Mr. Fox is a fantastically (sorry) successful comedy—suspenseful, smart, and heartwarming—anchored by Clooney’s sincere, honest performance in the title role. One of two voice-only roles in his entire career (the other is the South Park movie), he demonstrates that he’s a voice talent largely untapped. And don’t let the animation fool you—Mr. Fox is a complex character with a rebellious streak that chides against his relationships. It’s a testament to Clooney’s skill that he can deliver both an emotional and hilarious performance in the role without showing his Hollywood royalty face. — Lauren Kranc
O Brother, Where Art Thou? remains not only Clooney's best collaboration with the Coen Brothers but one of his most beloved roles to date. Leading the film as the suave Dapper Dan man Ulysses Everett McGill, Clooney chews on the role of an escaped convict in search of .... you guessed it ... treasure! Here, he finds the perfect balance of some of the best work in his filmography—blending the bumbling comedy with the slick assuredness of a lovable con man. It's everything Clooney does best. And when you have the backup of John Turturro, Tim Blake Nelson, Holly Hunter, John Goodman, and more, it would be right criminal to not include it in the upper tier. — JK
Having captured that distinctive Clooney essence in Out of Sight, Steven Soderbergh helped solidify the actor’s Rat Pack-ish big-screen identity with 2001’s remake of Frank Sinatra and company’s 1960 hit Ocean’s Eleven (as well as its ensuing two sequels). In moviegoers’ minds, Clooney will always be, to some extent, Danny Ocean, the preternaturally poised, polished and funny master thief who leads a crew of crooks on elaborate Vegas heists marked by stratospheric personal and financial stakes. Surrounded by the likes of Brad Pitt, Julia Roberts, Matt Damon, Don Cheadle, Bernie Mac, Andy Garcia, and Al Pacino, Clooney remains the star attraction, so nonchalantly handsome and self-possessed that it’s impossible to imagine the trilogy existing without his participation. No matter one’s series preference, Soderbergh’s glitzy, glamorous, high-flying Ocean’s films are Hollywood spectaculars done right, and evidence that few can hold a candle to Clooney’s megawatt cool. — NS
I’ve always imagined that in an alternate universe where George Clooney isn’t a beloved, Hollywood leading man, he’d be doing something a lot like his character, Michael Clayton, in 2007’s Michael Clayton. In the film, Clooney delivers one of the best performances of his career, as a high-profile fixer who becomes entangled in a deadly saga of corporate evil. The film’s cold and edgy nature pairs perfectly with Clooney’s cool, and his oh-so-natural portrayal of Clayton is why I walked away feeling like this could be the real Clooney. Alongside a mighty cast that includes Tilda Swinton, Merritt Weaver, and Tom Wilkinson, this is Clooney at his most Clooney: a dark-suit-and-crisp-white-dress-shirt-wearing, middle-aged handsome man with a relentless hunger to win. A guy who seems to have all his shit together, even when he doesn’t. Clayton keeps it buttoned up until the very end, and the result is a film you will want to revisit year after year—an easy, exciting watch that’ll leave you hungry for more George. — BB
The film that firmly established Clooney’s cooler-than-cool big-screen persona, Steven Soderbergh’s 1998 romantic crime comedy is the ideal marriage of star, director, and material. Clooney is the epitome of charismatic ne’er-do-well charm as Jack Foley, a bank robber who finds himself pursued by—and eventually involved with—Jennifer Lopez’s U.S. Marshall Karen Sisco. Adapted from Elmore Leonard’s novel, Soderbergh’s sleek, jaunty, color-coded gem straddles various genre lines with exhilarating flair, aided by an exceptional cast that includes Ving Rhames, Don Cheadle, Steve Zahn, Dennis Farina and Albert Brooks. Even with such luminaries on board, however, it’s Clooney who shines brightest in Out of Sight, his whip-smart wit and ladies’ man suaveness generating intense sparks with Lopez (especially in their unforgettable car-trunk meet-cute), and proving, once and for all, that he’s the preeminent matinee idol of the modern age. — NS
Every George Clooney Movie, Ranked
There's a pretty famous story that George Clooney likes to tell about a dog. In the early 2000s, he'd set up a meet and greet with a rescue he wanted to adopt and was told that the dog had to love him or the shelter would take him back. Clooney, scared the dog wouldn't love him, rubbed himself in turkey bacon before he met the doggo just to increase his chances of success. This is a story that says a lot about Clooney, which is probably why it's often told—in this magazine, even—to illustrate his dedication to the audience, human or otherwise.
If aliens visited this planet and we needed to provide them with an example of a movie star, we would show them George Clooney. His charm is otherworldly, yet he often puts in the effort to mask it, turn it off, or make himself the joke when he needs to for our entertainment. He is, hands down, the number one celebrity to pick if you're ever going to pull off a heist. And that would be an accurate pick even if he hadn't starred in so many heist movies. He is the link between old school cinema and modern Hollywood. He is perhaps the only one whose career would get better after the Batnipples. He is untouchable, and unmissable even when he is indeed missing. He is Amal's husband.
Whether he's meeting a dog, pulling off a heist (in Vegas, in Italy, in the 1930s deep South, in WWII, in the Gulf War), voicing a fox, going into space, or playing a total goon—Clooney puts himself into every single performance. And for that, we have a hell of a filmography, which we have ranked here, of 34 movies, that are all better off with Clooney in them. — Matt Miller
Whether he's pulling off a heist with old Hollywood charm or running from the law as a bumbling goon, Clooney is the perfect man for the job.
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