Paul Thomas Anderson Movies Ranked: From Hard Eight to One Battle After Another

Paul Thomas Anderson is one of the greatest directors of our time. He’s one of those rare filmmakers where almost everything he’s done is worth watching. Sure, some films are stronger than others, but has he ever made a bad movie? I don’t think so. Of course, that means there’s always going to be debate about which of his films are the best and which are the weakest. With that in mind, here’s our ranking of Paul Thomas Anderson’s movies, from worst to best.

Phantom Thread

Some PT Anderson fans might have this at the top of their lists rather than the bottom. For me, it lands last simply because the subject matter—1950s haute couture fashion—just isn’t in my wheelhouse. That said, the fact that Anderson can make such a topic engaging says a lot about his talent. Daniel Day-Lewis (in what was his “retirement” role) is excellent, as are Lesley Manville and Vicky Krieps. Still, I found it a little dull overall—though the ending is unquestionably great.

Inherent Vice

Anderson’s fondness for Thomas Pynchon is on full display here. Despite flopping at the box office (and with some critics), it’s a wild, trippy ride through 1970 Los Angeles. Joaquin Phoenix is at his stoned best, Josh Brolin steals the show ordering pancakes in Japanese, and Martin Short pops up as a coke-snorting dentist. It’s messy but undeniably fun.

Hard Eight

This modest debut put Anderson on the map. At under two hours, it feels like a product of the post-Tarantino Sundance indie wave of the mid-’90s. But Philip Baker Hall and John C. Reilly deliver powerhouse performances in this card-shark drama. It’s unlike anything else Anderson has made, and I have a soft spot for it.

The Master

A thinly veiled look at Scientology, The Master is a powerful, ambitious film. It helped relaunch Joaquin Phoenix’s career after I’m Still Here and gave Philip Seymour Hoffman one of his best showcase roles as cult leader Lancaster Dodd (Anderson’s take on L. Ron Hubbard). Striking, unsettling, and brilliantly acted, it remains one of his most discussed works.

Licorice Pizza

Here Anderson returned to the more energetic style of his early films, crafting a coming-of-age story starring Cooper Hoffman (son of Philip Seymour Hoffman) and Alana Haim. Their oddball romance is set against the backdrop of the San Fernando Valley, complete with classic Anderson flourishes—including Bradley Cooper’s hilarious turn as producer Jon Peters.

Punch-Drunk Love

Anderson made this as a kind of love letter to Adam Sandler, building a film around his familiar man-child persona but giving it real depth. Sandler plays a meek bathroom supply salesman with flashes of uncontrollable rage who falls in love with Emily Watson’s character. Scored beautifully by Jon Brion (with Shelley Duvall and Harry Nilsson’s “He Needs Me” from Popeye as a recurring motif), it’s a strange, sweet, and unforgettable romance. Plus, Philip Seymour Hoffman is perfect as the bullying owner of a phone-sex service—his final confrontation with Sandler is Anderson gold.

There Will Be Blood

For many, this is Anderson’s masterpiece. I get it: Daniel Day-Lewis delivers perhaps his greatest performance, the cinematography is stunning, and Jonny Greenwood’s score is iconic. Personally, I’ve always preferred Anderson’s more kinetic, Altman-esque films like Boogie Nights and Magnolia over his more stately works. But there’s no denying this is one of the defining films of the 21st century.

One Battle After Another

Some are already calling this Anderson’s greatest film. I think it’s too early to say—it deserves time to marinate before we place it in the canon. Still, with Leonardo DiCaprio, Sean Penn, and newcomer Chase Infiniti anchoring a sweeping father-daughter story, it’s absolutely one of his most impressive works. (Read my review HERE.)

Magnolia

When it hit in 1999, Magnolia divided audiences—especially the famous shower of frogs. But to me, it’s ALMOST Anderson’s best film. It’s an emotionally devastating, sprawling story of LA misfits reckoning with their past sins. The ensemble cast is flawless: Tom Cruise (in one of his best roles), Jason Robards, Philip Seymour Hoffman, Julianne Moore, John C. Reilly, Melora Walters, Philip Baker Hall, and William H. Macy all deliver career-high performances. Plus, Aimee Mann’s songs tie it all together beautifully.

Boogie Nights

Not only my favorite PT Anderson movie, but one of my favorite movies ever. His affectionate yet gritty homage to the 1970s porn scene is endlessly rewatchable—every time I revisit it, I find something new. Mark Wahlberg is perfect as Dirk Diggler, John C. Reilly is hysterical as his best friend Reed, and Burt Reynolds steals the show as patriarch Jack Horner (even if he didn’t appreciate the film himself). It’s bold, funny, tragic, and endlessly alive—Anderson at his very best.

Which PT Anderson movie is your favorite? Let us know in the comments!

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