One of the remarkable aspects of ranking the films of Paul Thomas Anderson is that almost any order of his movies could be accurate – he is one of the most influential directors of his era, and his films consistently offer a wide range of delights, even if you don’t completely adore them. (Owen Gleiberman, who referred to himself as “the most passionate critic” of “Boogie Nights,” beforefalling out of syncwith the filmmaker.) Each list is correct and each list is incorrect, and based on your mood or the time of day, your rankings could change significantly. But that’s just how it is.
Anderson’s newest film, “One Battle After Another,” premiered in theaters over the weekend. His tenth feature-length movie seems to be a culmination of sorts, but we’ll delve deeper into that later. At the very least, it offers a chance to reflect on his previous work. And what an impressive collection it is.
10. “Inherent Vice” (2014)
There are limited objective truths regarding Anderson’s body of work. One of them is that “Inherent Vice” is his least successful film. Based on a similarly expansive novel by Thomas Pynchon with the same title, the film features Joaquin Phoenix as a disheveled detective in a whimsically imagined 1960s California, who becomes involved in a complex and hard-to-follow conspiracy involving sinister real estate developers, cultists, Nazis, and more. At some point, you find yourself surrendering to “Inherent Vice.” This isn’t to suggest there aren’t enjoyable elements – the cast is outstanding, with actors like Josh Brolin, Owen Wilson, and Martin Short delivering remarkable, unconventional performances. (This film should have also made Katherine Waterston a well-known name; instead, she’s been playing mother roles in low-quality horror films such as this year’s quickly forgotten “Fear Street: Prom Queen.”) We’re confident the film made sense in Anderson’s mind at one time. It’s one of the few instances where you can sense the movie slipping away from him. Additionally, it was the final film he collaborated on with cinematographer Robert Elswit, which is unfortunate given how strong their partnership had been up until then. Perhaps Anderson sensed it too. The following series of films is arguably Anderson’s finest yet.
9. “Hard Eight” (1996)
Anderson’s first feature film, which was initially titled “Sydney” as he preferred, originated from a 23-minute short titled “Cigarettes & Coffee” (here it is in)lousy quality on YouTube, there’s a perfectly PTA moment where the camera is observing two individuals sitting at a table, and as the waitress passes by, it moves alongside her to another table). The feature version features John C. Reilly as a wandering man who partners with an older gambler (Philip Baker Hall, a returnee from the short). Together – as expected – they find themselves in a lot of trouble. “Hard Eight” showcases an impressive cast, including Gwyneth Paltrow as a prostitute that Reilly falls for and Samuel L. Jackson as a local thug, along with smaller parts played by future Anderson favorites Philip Seymour Hoffman and Melora Walters, but the film often seems too light and traditional. Still, Anderson’s skill with the camera (this was his first work with Elswit) and his dedication to emotional authenticity within an exaggerated, genre-related framework, is clearly evident. If you haven’t seen “Hard Eight,” you should definitely give it a try. It’s rare for directors to be so fully developed in their first film as Anderson was here.
8. “The Master” (2012)
Some people believe “The Master” is Anderson’s greatest work. Alison Willmore from Vulture ranked it #1.on her list(She was especially captivated by Phoenix’s unique portrayal of the post-war misfit Freddie Quell). However, it’s a challenging film to fully grasp, often remaining unclear and vague to an excessive degree. Anderson’s movies are consistently a captivating mix of influences and inspiration, and “The Master” was shaped by a rough biography of Scientology founder L. Ron Hubbard (played here by Hoffman), stories shared by Jason Robards with Anderson while on the set of “Magnolia,” excerpts from Thomas Pynchon’s novel “V.,” and the significant presence of Jonathan Demme’s “Melvin and Howard,” one of the pivotal works in Anderson’s life and crucial for understanding his filmography. (There are scenes directly taken from Demme’s film for “The Master.”) Unlike in other Anderson films, it’s difficult to see the connections, and the various elements don’t come together into a cohesive whole. This might be due to the fact that “The Master” was Anderson’s most challenging film to create, as he significantly revised it after failing to get funding and was influenced by Hoffman’s suggestion to focus more on Phoenix’s character, which ultimately reduces the strength and enigma of the story. It also doesn’t help that, for the second time in two films, Anderson chose to end the movie with a substitute son begging a father figure while the father figure sits behind a desk. Someone must have noticed this at some point? There are indeed enjoyable aspects in “The Master,” particularly Amy Adams’ clever performance as the wife of the Hubbard surrogate, but it’s a film that’s easier to admire than to truly love.
7. “Magnolia” (1999)
There’s a revealing moment from the “Magnolia” special edition DVD where Anderson, taking in the feedback on his latest major work, is shaking then-girlfriend Fiona Apple. “‘Sydney’ wasn’t too long,” he yells, shaking her, “‘Boogie Nights’ wasn’t too long.” She appears confused, representing the film that, in Anderson’s current perspective, was receiving such severe criticism. Looking back, “Magnolia” does seem, in certain respects, to be Anderson’s masterpiece—a three-hour, densely populated epic exploring fate, secrets, and the unique influence of the San Fernando Valley. It includes one of Tom Cruise’s finest performances ever, as a self-centered self-help instructor who must come to terms with his dying father (Robards). He received an Oscar nomination for this role but didn’t win, which seems astonishing in hindsight, especially considering that Michael Caine’s pleasant performance in “The Cider House Rules” was the one that ultimately prevailed. “Magnolia” has many layers—such as the storyline following a police officer (Reilly) who falls in love with a sexually abused addict (Walters), inspired by odd, “Cops” parodies that Reilly and Anderson would make for fun; another thread features William H. Macy as a former genius who attempts to rob his company. Not every subplot succeeds. The storyline involving Julianne Moore, as Robards’ wife, running around, yelling, and crying for drugs, is especially annoying. “Magnolia” is Anderson at his most personal and chaotic;a revealing New York Times featureAnderson, during that time, depicted a man consumed, nearly to the point of obsession, with perfecting the film. Nevertheless, “Magnolia” stands as one of the director’s most impressive movies – its duration, intricacy, and soundtrack (including a complete set of Aimee Mann songs and a delicate Jon Brion score) draw you into a sort of trance. And then there’s Cruise. Wow, he’s simply never delivered a better performance.
6. “Punch-Drunk Love” (2002)
At the time “Punch-Drunk Love” came out, Anderson stated that it was his first truly authentic film that felt like his own. He was moving out from under the influence of Demme and Robert Altman, along with his other cinematic influences, to craft something entirely his. He aimed to create a 90-minute romantic comedy (which ended up being 95 minutes including credits), featuring Adam Sandler as the lead actor, after watching a compilation DVD of the comedian’s best “Saturday Night Live” performances. (Anderson would film some “Saturday Night Live” segments to prepare for “Punch-Drunk Love.”) Combine this with the real-life story of a man who accumulated over a million frequent flyer miles from just $3,000 worth of pudding, a subplot involving a sex phone ring scam, and some imaginative elements (like the arrival of an old harmonium) and you get “Punch-Drunk Love,” Anderson’s heartfelt tribute to the power of love. Although the movie didn’t do well at the box office, despite its low production cost (even after Anderson removed footage from the first two weeks of filming, which he found unsatisfactory), it has greatly improved in reputation over the years. Certain parts of the film – the archway where Sandler and Emily Watson finally meet, Hoffman as an angry mattress salesman and minor criminal who yells at Sandler on the phone, the use of a song from Altman’s “Popeye” – have become iconic pop culture references. Elswit mentioned that he was told to shoot the film like a science fiction movie, hence the light flares and lens effects and the appearance of a group of Mormon brothers like visiting aliens, giving it a unique visual style. It was also the last film where Anderson worked with Brion, whose score (which also has a sci-fi feel) has been imitated many times since – just listen to the track when Julia Garner leaves the school auditorium in “Weapons.” In some ways, “Punch-Drunk Love” marked both the beginning and the end of an era. In that sense, it stands alone beautifully. It’s hard not to fall in love.
5. “Boogie Nights” (1997)
It’s challenging to capture the experience of watching “Boogie Nights” on a large screen and exiting the theater with your hair blowing back. Anderson’s second film, created when he was in his late twenties, traces the ascent and decline of the adult film industry throughout the 1970s and 1980s, centered around the fictional star Dirk Diggler (Mark Wahlberg), inspired by the more tragic John Holmes. (The film was partially based on a short movie Anderson directed about the character while still in high school.) Initially, Anderson aimed for a three-hour runtime with an NC-17 rating, but New Line Cinema executive Mike De Luca convinced him to lower it to an R rating, agreeing to the extended length even though the final version was significantly shorter than three hours. A three-hour edit wouldn’t have been discouraged. “Boogie Nights” is incredibly brilliant, brimming with vitality, energy, and rich characters (with Don Cheadle, Burt Reynolds, William H. Macy, and Heather Graham delivering exceptional performances), making it truly captivating. It also highlights the hope and optimism often found within even Anderson’s darker works, as Diggler avoids the fate that Holmes faced (who was involved in a multiple-murder case and died of AIDS before reaching 45), choosing a more positive path for some of his characters. “Boogie Nights” introduced Anderson as one of the most gifted directors of his generation, earning Reynolds an Oscar nomination despite being widely regarded as a difficult person and frequently clashing with Anderson and many cast members. Even now, “Boogie Nights” continues to be a surge of energetic filmmaking, whether you discover it on cable or stream it through an inconvenient service.
4. “There Will Be Blood” (2007)
It’s logical that Anderson would follow up the vibrant “Punch-Drunk Love” with a bleak American epic exploring the cost of capitalism and how greed utterly corrupts. Based loosely on Upton Sinclair’s 1926 novel “Oil!,” “There Will Be Blood” features Daniel Day-Lewis as the determined oilman Daniel Plainview, who becomes increasingly corrupted by the power and wealth he gains from exploiting the earth’s resources. Throughout the film, he forms an uneasy partnership with a local preacher (Paul Dano), faces a man who claims to be his long-lost brother (Kevin J. O’Connor), and deals with raising a surrogate son – the child of a man killed on one of his oil fields. The movie is morally intricate and often oppressively dark (enhanced by Jonny Greenwood’s horror-themed score), yet it remains thrillingly entertaining, with a fast pace and the sense of embarking on an adventure. An adventure that ultimately leads to the pit that once held America’s soul. Still, it’s an adventure. “There Will Be Blood” was a challenging production, with Anderson firing the original actor who played the preacher (which is also why Dano ends up portraying both brothers) and creating elaborate outdoor scenes. Fun fact: They were filming at the same time as “No Country for Old Men,” in the same part of Texas, and the Coens had to pause filming for a day to avoid the smoke from the “There Will Be Blood” set being visible from their location. A monumental accomplishment that earned Elswit and Day-Lewis well-deserved Oscars, it’s hard to believe that Anderson was still able to produce a few movies that were even more powerful. Truly impressive.
3. “Licorice Pizza” (2021)
While “Magnolia” was Anderson’s effort to create the ultimate San Fernando Valley film, he may have actually achieved that with “Licorice Pizza.” It’s simple to dismiss “Licorice Pizza” as too light—its foundation lies in stories shared by Gary Goetzman, a collaborator of Anderson’s hero Demme and Tom Hanks’ producing partner—and it’s also easy to be distracted by the controversies that emerged during the movie’s award season (including problematic Asian representation and the age difference between the two lead characters). Although it’s understandable to feel uneasy about the film, these issues are largely irrelevant— “Licorice Pizza,” which Anderson has described as an homage to classic hangout films like “Fast Times at Ridgemont High” and “American Graffiti” (it also has some similarities to Richard Linklater’s “Dazed and Confused”), is one of his most impressive yet underappreciated works. Anderson decided to focus the film on two relatively unknown actors, Cooper Hoffman (son of Anderson’s frequent collaborator Philip Seymour Hoffman) and Alana Haim (from the pop group Haim), who infuse the story with tremendous vitality and enthusiasm. The narrative, made up of various episodes set in the Valley in 1973, blends real-life figures (such as closeted mayoral candidate Joel Wachs, portrayed by Benny Safdie, and producer Jon Peters, played by Bradley Cooper) with imaginative recreations from Goetzman’s childhood, such as selling waterbeds and establishing a pinball arcade. It’s incredibly endearing, full of memorable lines, and beautifully filmed and staged. In fact, a thrilling scene involving a moving van and an oil shortage sets up the climactic car chase that concludes “One Battle After Another.”
2. “Phantom Thread” (2017)
It’s also intriguing how the agreement has become stronger in recent years regarding “Phantom Thread.” Upon its release, it was profitable and received nominations for Best Picture, Best Director, Best Actor, Best Supporting Actress, and, naturally, Best Costume Design, which Mark Bridges won (this was the night he also won a waterski – reportedly). At that time, it wasn’t seen as one of Anderson’s top works, but over the years, it has grown to be among his most praised (the same Vulture list ranks it at #2). Taylor Swift mentioned it in a song, as did The Weeknd. The film follows a meticulous London fashion designer (Day-Lewis) and his romance with a younger waitress (Vicky Krieps), and is arguably Anderson’s most romantic film, thanks to the more complex aspects of their relationship, not despite them. Day-Lewis won for “There Will Be Blood,” but it’s “Phantom Thread,” which creates an entire universe around his meticulously crafted preferences, that truly represents the pinnacle of his two-film partnership with Anderson. The fact that the movie can feel confined, with just a few locations and limited characters, yet still evoke a wide range of emotions, is what makes “Phantom Thread” so unique. If you’ve only seen it once or haven’t watched it at all, take this as a suggestion to do so.
1. “One Battle After Another” (2025)
Anderson’s newest film is – surprisingly – his most impressive work to date. Based loosely on Thomas Pynchon’s 1990 book “Vineland,” the story centers on a former revolutionary named Bob (Leonardo DiCaprio), who is trying to raise his teenage daughter Willa (Chase Infiniti) in a contemporary world he finds difficult to grasp. Of course, he’s overwhelmed by suspicion and perhaps with good reason, as he was once part of a radical anti-government group called the French 75. One day, the ghosts of Bob’s past return when a white supremacist colonel (Sean Penn) reappears in his life and takes Willa. It’s remarkable and thought-provokingnow, filled with imagery of detention centers and authoritarian tactics that we have been exposed to over the past year, but it’s also Anderson’s most purely entertaining film, the kind that thrives on Imax screens (and other high-end large-format options) and was shot in VistaVision, a nearly forgotten film format. It’s not entirely surprising that Anderson excels at action scenes, given the gripping sequences in “Boogie Nights” and “Licorice Pizza” that keep you on the edge of your seat, but it might come as a surprise to see how effectively he handles so many such scenes within the same movie. It reaches a climax with a car chase that feels like a classic and, like the rest of the film, is grounded in the characters and their experiences. The cast features a range of vibrant characters, brought to life brilliantly, including standout performances from Benicio del Toro and “Saturday Night Live” writer Jim Downey, plus the first-ever collaboration between DiCaprio and Anderson (DiCaprio had previously been offered the role of Dirk Diggler and was briefly attached to the Jon Peters role in “Licorice Pizza”). But it’s Infiniti, in her debut feature film role, who truly steals the spotlight. The fact that she can perform alongside Penn and DiCaprio in scenes that would overwhelm even more experienced actors is just one part of her incredible performance. Anderson seems to have enjoyed, in the later stages of his career, discovering young talents like Haim and Infiniti. He has mentioned that part of the reason the film took so long to finish, after he began working on it two decades ago, was finding the perfect Willa. She was definitely worth the wait.
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