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Best George Clooney Movies of All Time Ranked!

George Clooney as Jay Kelly in ‘Jay Kelly’. Cr. Peter Mountain/Netflix © 2025.

George Clooney is a living legend!

The beloved actor, director, and Oscar-winner has appeared in some of the most popular movies of the last twenty-five years.

His new movie, ‘Jay Kelly‘, which teams Clooney with Adam Sandler, debuts on Netflix December 5th.
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In honor of the new film, Moviefone is counting down the 20 best George Clooney movies of all time.

NOTE: For this list, we are only including movies that Clooney appeared in and not films that he directed but did not act in.

Without further ado, let’s begin!

Related Article: George Clooney Talks Netflix’s ‘Jay Kelly’ and Working with Adam Sandler

20) ‘Wolfs‘ (2014)

(L to R) George Clooney and Brad Pitt in ‘Wolfs’. Photo: Sony Pictures.

Hired to cover up a high-profile crime, a fixer (Clooney) soon finds his night spiralling out of control when he’s forced to work with an unexpected counterpart (Brad Pitt).
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19) ‘The Midnight Sky‘ (2020)

A lone scientist (Clooney) in the Arctic races to contact a crew of astronauts returning home to a mysterious global catastrophe.
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18) ‘Money Monster‘ (2016)

Financial TV host Lee Gates (Clooney) and his producer Patty (Julia Roberts) are put in an extreme situation when an irate investor takes over their studio.
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17) ‘The American‘ (2010)

Dispatched to a small Italian town to await further orders, assassin Jack (Clooney) embarks on a double life that may be more relaxing than is good for him.
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16) ‘The Monuments Men‘ (2014)

Based on the true story of the greatest treasure hunt in history, The Monuments Men is an action drama focusing on seven over-the-hill, out-of-shape museum directors, artists, architects, curators, and art historians who went to the front lines of WWII to rescue the world’s artistic masterpieces from Nazi thieves and return them to their rightful owners. With the art hidden behind enemy lines, how could these guys hope to succeed? Starring Clooney, Matt Damon, Bill Murray, John Goodman, and Cate Blanchett.
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15) ‘The Ides of March‘ (2011)

George Clooney in ‘The Ides of March’. Photo: Sony Pictures.

Dirty tricks stand to soil an ambitious young press spokesman’s (Ryan Gosling) idealism in a cutthroat presidential campaign where ‘victory’ is relative. Also starring Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, Marisa Tomei, and Jeffrey Wright.
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14) ‘Three Kings‘ (1999)

A group of American soldiers (Clooney, Mark Wahlberg, and Ice Cube) stationed in Iraq at the end of the Gulf War find a map they believe will take them to a huge cache of stolen Kuwaiti gold hidden near their base, and they embark on a secret mission that’s destined to change everything.
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13) ‘Ocean’s Eleven‘ (2001)

Less than 24 hours into his parole, charismatic thief Danny Ocean (Clooney) is already rolling out his next plan: In one night, Danny’s hand-picked crew of specialists (including Matt Damon, Brad Pitt and Don Cheadle) will attempt to steal more than $150 million from three Las Vegas casinos. But to score the cash, Danny risks his chances of reconciling with ex-wife, Tess (Julia Roberts).
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12) ‘Syriana‘ (2005)

The Middle Eastern oil industry is the backdrop of this tense drama, which weaves together numerous story lines. Bennett Holiday (Jeffrey Wright) is an American lawyer in charge of facilitating a dubious merger of oil companies, while Bryan Woodman (Matt Damon), a Switzerland-based energy analyst, experiences both personal tragedy and opportunity during a visit with Arabian royalty. Meanwhile, veteran CIA agent Bob Barnes (Clooney) uncovers an assassination plot with unsettling origins.
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11) ‘Fantastic Mr. Fox‘ (2009)

The Fantastic Mr. Fox (Clooney) bored with his current life, plans a heist against the three local farmers. The farmers, tired of sharing their chickens with the sly fox, seek revenge against him and his family. Also featuring the voices of Meryl Streep, Jason Schwartzman, Bill Murray, Willem Dafoe, Michael Gambon, and Owen Wilson.
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10) ‘Hail, Caesar!‘ (2016)

George Clooney in ‘Hail, Caesar!’. Photo: Universal Pictures.

When a Hollywood star (Clooney) mysteriously disappears in the middle of filming, the studio sends their fixer (Josh Brolin) to get him back. Also starring Alden Ehrenreich, Ralph Fiennes, Scarlett Johansson, Frances McDormand, Tilda Swinton, and Channing Tatum.
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9) ‘O Brother, Where Art Thou?‘ (2000)

In the deep south during the 1930s, three escaped convicts (Clooney, John Turturro, and Tim Blake Nelson) search for hidden treasure while a relentless lawman pursues them. On their journey they come across many comical characters and incredible situations. Based upon Homer’s ‘Odyssey’.
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8) ‘Gravity‘ (2013)

Dr. Ryan Stone (Sandra Bullock), a brilliant medical engineer on her first Shuttle mission, with veteran astronaut Matt Kowalsky (Clooney) in command of his last flight before retiring. But on a seemingly routine spacewalk, disaster strikes. The Shuttle is destroyed, leaving Stone and Kowalsky completely alone-tethered to nothing but each other and spiraling out into the blackness of space.

The deafening silence tells them they have lost any link to Earth and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But the only way home may be to go further out into the terrifying expanse of space.
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7) ‘Burn After Reading‘ (2008)

When a disc containing memoirs of former CIA analyst Osbourne Cox (John Malkovich) falls into the hands of gym employees, Linda (Frances McDormand) and Chad (Brad Pitt), they see a chance to make enough money for Linda to have life-changing cosmetic surgery. Predictably, events whirl out of control for the duo, and those in their orbit. Clooney plays Harry Pfarrer, a U.S. Marshal having an affair with Cox’s wife (Tilda Swinton).
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6) ‘Out of Sight‘ (1998)

Meet Jack Foley (Clooney), a smooth criminal who bends the law and is determined to make one last heist. Karen Sisco (Jennifer Lopez) is a federal marshal who chooses all the right moves … and all the wrong guys. Now they’re willing to risk it all to find out if there’s more between them than just the law.
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5) ‘Jay Kelly‘ (2025)

George Clooney as Jay Kelly in ‘Jay Kelly’. Cr. Peter Mountain/Netflix © 2025.

Famous movie actor Jay Kelly (Clooney) embarks on a journey of self-discovery, confronting both his past and present, accompanied by his devoted manager, Ron (Adam Sandler).
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4) ‘The Descendants‘ (2011)

With his wife Elizabeth (Patricia Hastie) on life support after a boating accident, Hawaiian land baron Matt King (Clooney) takes his daughters (Shailene Woodley and Amara Miller) on a trip from Oahu to Kauai to confront a young real estate broker (Matthew Lillard), who was having an affair with Elizabeth before her misfortune.
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3) ‘Up in the Air‘ (2009)

Corporate downsizing expert Ryan Bingham (Clooney) spends his life in planes, airports, and hotels, but just as he’s about to reach a milestone of ten million frequent flyer miles, he meets a woman (Vera Farmiga) who causes him to rethink his transient life. Also starring Anna Kendrick.
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2) ‘Good Night, and Good Luck‘ (2005)

The story of journalist Edward R. Murrow’s (David Strathairn) stand against Senator Joseph McCarthy’s anti-communist witch-hunts in the early 1950s. Also starring Clooney, Robert Downey Jr., Patricia Clarkson, Frank Langella, and Jeff Daniels.
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1) ‘Michael Clayton‘ (2007)

George Clooney in ‘Michael Clayton’. Photo: Warne Bros.

A law firm brings in its “fixer” (Clooney) to remedy the situation after a lawyer (Tom Wilkinson) has a breakdown while representing a chemical company that he knows is guilty in a multi-billion dollar class action suit. Also starring Tilda Swinton and Sydney Pollack.
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December 7, 2025
Beyond Fest Announces Full Line Up

Beyond Fest runs September 27th – October 11th in Los Angeles.

We brought word last week that hugely popular genre festival Beyond Fest would be featuring a retrospective about the work of ‘RRR’ director S.S. Rajamouli. Now the full details of this year’s event have arrived.

The complete slate of 2022 programming comprises 63 features, including 10 world premieres, 3 US premieres, and 25 West Coast Premieres over 15 days of cinematic excess from September 27th – October 11th.

Partnering with American Cinematheque, Beyond Fest will screen at the legendary IMAX at the TCL Chinese, Hollywood Legion Theatre, Aero Theatre, Los Feliz 3, and IMAX headquarters with all ticket sales going to the 501c3 non-profit film institution.

The tenth anniversary of the festival will open with two free screenings of Finn Parker’s horror ‘Smile’ and closes with a world premiere of David Gordon Green’s wrap-up to his ‘Halloween’ trilogy, ‘Halloween Ends’.

Other world premieres include ‘My Best Friend’s Exorcism’ and Joe Begos’ festive epic ‘Christmas Bloody Christmas’.

The new ‘Hellraiser’ (which we wrote about here), directed by David Bruckner, will screen with in-person appearances from Bruckner himself.

(L to R) Quinta Brunson as Oprah Winfrey, and Daniel Radcliffe as “Weird Al” Yankovic in The Roku Channel’s ‘Weird: The Al Yankovic Story.’

And just in case you think it’s all horror all the time, the festival will also offer ‘WEIRD: The Al Yankovic Story’, and Martin McDonagh’s caustic comedy ‘The Banshees of Inisherin’.

In a first for the fest, a partnership with IMAX will offer some exclusive screenings at the company’s HQ, including ‘Dunkirk’, ‘Gravity’ (in 3D) and ‘Mad Max: Fury Road’.

“After the rejuvenating 2021 edition reminded us of the importance of cinema and community, we knew our 10th anniversary had to be special,” head of programming Evrim Ersoy said. ‘And here we are with a program as eclectic, electric and diverse as the community we serve with old masters mingling with new talent and a chance to discover and celebrate the whole spectrum of films including some once-in-a-lifetime dream events. Long live cinema and glory to the People’s Republic!”

All Beyond Fest programming at the Los Feliz 3 Theatre is 100% free courtesy of streaming service Shudder. Rebranded as the ‘Shudder Theater,’ it will be host to a series of hotly anticipated titles including the world premiere of social media horror ‘Grimcutty’ from director John William Ross, West Coast premieres of Kristina Buozyte and Bruno Samper’s visionary science-fiction epic ‘Vesper’ from IFC films.

Also on offer? A24’s one-take hairdressing murder mystery ‘Medusa Deluxe,’ Amanda Kramer’s ‘Give Me Pity!’, the SXSW breakout ‘Deadstream’, Decal’s Jewish lore horror ‘The Offspring’, Austrian shocker ‘Family Dinner’ and the latest journey into the heart of human darkness from ‘Tickled’ director David Farrier, ‘ Mister Organ’.

For TV fans, there will be a special screening of Showtime’s new small-screen adaptation of vampire tale ‘Let The Right One In’.

Tickets will be on sale via americancinematheque.com on Wednesday, September 14th at 10am PST. Visit beyondfest.com and americancinematheque.com for full details on programming and venues.

(L to R) Michael Myers (aka The Shape) and Jamie Lee Curtis as Laurie Strode in ‘Halloween Ends,’ directed by David Gordon Green.

September 13, 2022
Five Times Movies Made Us Realize Being an Astronaut Sucks

With ‘Ad Astra’ hitting theaters this weekend, all it took was staring into Brad Pitt’s lost little boy eyes as he dodges space debris to get us thinking about how we had it all wrong. When adults asked us what we wanted to be when we grew up, chances are we exclaimed “Astronaut!” more than once, but movies have actually spent a long time telling us why that’s a terrible idea. Alongside the bravery, intelligence, and pioneering spirit of everyone involved in a space program comes enormous risk.

‘Interstellar’ (2014)

With Earth in serious trouble, humans are looking to the stars in this Christopher Nolan film starring Matthew McConaughey, Jessica Chastain, and Anne Hathaway. But with all the talk of relativity and “where did these marks on my floor come from?” there’s no time for lounging around and laughing like you’re in a soda commercial. McConaughey ends up spending what ends up being his family’s whole life trying to save the planet, so he ends up just having to go back to space to hang out with the closest thing he has to a lady love.

‘Gravity’ (2013)

If you ever took gravity for granted, watching this Academy Award-winning Sandra Bullock film will quickly shift you into an attitude of gratitude. As her mission to upgrade the Hubble telescope goes horribly wrong thanks to a Russian missile strike, Bullock spends the entire movie figuring out how to drift away from certain things and towards others to get home. Heaven help you if you saw this movie in 3D. Audience members left the theaters and reportedly kissed the ground. Or…was that just us?

‘Moon’ (2009)

It’s bad enough taking a job to go to space and hang out by yourself mining fuel, but it’s even worse when your communication signals get jammed except for video voicemails from your boo on Earth. It becomes incomprehensibly bad when you learn that the signals were blocked on purpose by your boss AND you’re a clone. Things swing back to being good when you realize that having clones means you have company, but then they get bad again when you realize those clones are jerks and you’re the dumbest one.

‘Apollo 13’ (1995)

Humankind has always been fascinated by visiting that big rock in the sky. Humankind’s second thought should be how petrifying any trouble up there would be. Apollo 13, the mission led by Jim Lovell, and the movie led by Tom Hanks, exemplifies both the resourcefulness of our space program and why it’s best for most of us to stay grounded. Mechanical failures abound—explosions, leaks, transmission blackouts. And as if that weren’t enough, human mechanical failures make things even worse, with urinary infections and freezing temperatures. By the time these guys land you’ve stress eaten three days’ worth of calories.

‘First Man’ (2018)

Damien Chazelle and his team conveyed a body-shaking version of what it was like to be a meat sack propelled into space in a tin can at the start of the space race. While movies about space have always had the deep bass of rocket boosters, First Man exponentially upped the ante by conveying just how precarious the structures were on top of that enormous power. Between launches, training scenes, and occasional crashes in fields, the movie never seems to stop shaking. Poor Baby Goose.

September 19, 2019
‘Roma’ Review: Alfonso Cuarón’s Latest Masterpiece Is Truly Special

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As a director, writer, producer — and sometimes documentarian — Alfonso Cuarón seems like he’s been a fixture of the cinema for years. Indeed, it’s surprising to realize he’s only directed eight films since his 1991 debut, “Solo con Tu Pareja.” This is possibly because his last three –“Harry Potter and the Prisoner of Azkaban,” “Children of Men,” and “Gravity” — all in one way or another became an immediate part of the pop culture firmament, earning accolades or box office glory or supplying the world with a prescient look at humanity, technology, and the magic in between — the magic of creation, if nothing else.

But even for a constant inventor and fearless experimenter, his latest, “Roma,” is something special, something unique — an intimate, even sometimes slight drama given poetry and emotional resonance as it’s projected against the backdrop of not just Mexican history, but his own. Shot in black and white, starring a nonprofessional actress, and set in a time and place seldom explored in mainstream cinema — that is, until a filmmaker like Cuarón has the personal investment, and perhaps more importantly, the authority to shine a light upon it — “Roma” tells a deeply humane, enchanting story that easily ranks among the best and most indelible of 2018.

Newcomer Yalitza Aparicio plays Cleo, a young maid in the household of a middle-class family living in Mexico City in the early 1970s. Obedient and sensitive, Cleo forms natural attachments with her employers Sofia (Marina de Tavira) and Antonio (Fernando Grediaga), not to mention their three children — and they with her. But the growing strain between Sofia and Antonio serves as a reminder that she should keep their family at arm’s length, at least until she becomes pregnant by Fermin (Jorge Antonio Guerrero), the cousin of her friend Adela’s (Nancy Garcia) boyfriend, Pepe (Marco Graf).

After Antonio leaves, Cleo grows closer to the children, as Sofia attempts to figure out how to explain to them that their parents are getting divorced. But when Fermin abandons Cleo and leaves her to give birth alone, they are forced to come together to make the best of their respective situations.

Cuarón’s film was reportedly inspired by his own upbringing, and as homage or recreation (or both), he chronicles these characters’ lives in ways that bring them vividly to life. Cleo’s tasks are menial and domestic, but they give her purpose, and make her feel a sense of belonging — except when Sofia reminds her that she is an employee, which happens occasionally, but never cruelly. It’s a distinction that blurs ever more dimly as both she and their family face adversity. First, it is when she fearfully reveals her pregnancy to Sofia, then later when Sofia invites her on a vacation with the children where she hopes to come clean about their father. Cuaron’s camera observes affectionately how these women band together in the face of unhelpful, indifferent men, and care for children, and each other, indicting their counterparts irrefutably but dispassionately.

The filmmaker also serves as his own cinematographer, astutely capturing both the routine of their lives and the details that seem at once mundane and magical. From the dog turds that never seem to wash away, to the carport where Antonio’s prized Galaxy will barely fit, his portrait feels both aspirational and delicately anchored in reality; planes fly distantly over the rooftops where maids across the city hang laundry. Weddings take place in the background as sad conversations unfold. As a New Year’s party gets underway, a fire breaks out in the hills beyond the hacienda grounds, and the partygoers, including the children, venture out to help smother the brush fires. The rhythms are those of real life, combining tragedy and triumph and coincidence and convergence with honesty and compassion, elevating it all to something more profound than the “mere” stuff of a maid bonding with the family she works for.

Aparicio is both the film’s tether to a documentary-style reality about the lives of maids in a middle-class Mexico City borough and its light source, its force for elevating the premise to something more meaningful. What happens to her, and to the family, is never pitying, and neither does it indulge in anachronistic clichés; these women have grander, or at the very least more honest dreams for their future, and part of this adventure involves them coming to terms with that. And it all goes back to Cuaron’s great gifts as a filmmaker, presented through his work time and again: To take worlds we think we know, or we feel we can imagine, and to immerse us in them, make them feel visceral, and to give that emotional dimension.

Ultimately, “Roma” aims for something so specific that it cannot help but feel universal. In doing so, it humanizes experiences that it seems easy to have distant, detached opinions about, and then elevating that humanity into the stuff of great art. In the end, it achieves something unique, relatable, and transcendent all at once.

November 29, 2018