Every Paul Thomas Anderson Movies Ranked From Worst To Best

Paul Thomas Anderson is one of Hollywood’s most prolific modern directors, and One Battle After Another is just the latest example of his talented approach to filmmaking. Growing up in the San Fernando Valley, Anderson’s loving but critical view of America at large has colored his approach to a variety of character-driven stories in several different genres.

Even at his worst, Anderson is able to infuse traditional archetypes and familiar genres with a sense of chaotic personality and undeniable charm. His best movies (like One Battle After Another) filter these aspects through thematically powerful stories and pit the complex heroes against compelling enemies. Here is every Paul Thomas Anderson film, ranked.

10

Licorice Pizza (2021)

Arguably the most pleasant and sweet-natured of Paul Thomas Anderson’s filmography, the well-acted Licorice Pizza might also be the filmmaker’s least impressive movie. A coming-of-age dramedy set in 1973, Licorice Pizza is largely rooted in the dynamic between Alana Haim’s Alana and Cooper Hoffman’s Gary, who steadily find love in the San Fernando Valley.

Anderson’s eye for actors is on display here, with Cooper Hoffman proving himself a worthy successor to his father’s legacy in a low-key, charming but complex take on the standard coming-of-age protagonist. Haim is just as good, keeping the audience’s attention even amid scene-stealing supporting turns by Bradley Cooper, Tom Waits, and Benny Safdie.

Licorice Pizza is a time capsule, a tribute to an era that feels universal in its coming-of-age romance. However, that light-weight approach and subject matter doesn’t really stack up compared to his other works. The fact that Licorice Pizza is his worst movie is a good indicator of just how talented a storyteller PTA has proven himself to be.

9

Phantom Thread (2017)

A delicate balance of perfectionism and romance, Phantom Thread is a poignant reflection on the past that thrives thanks to its committed performances. Focusing on a prolific haute couture dressmaker in the 1950s, Phantom Thread is a slow-burning romance between Daniel Day-Lewis’ Reynolds Woodcock and Vicky Krieps’ Alma Elson.

Exploring themes of power and desire aren’t new for PTA,, but Phantom Thread stands out for its reserved approach that feels more reminiscent of old Hollywood than modern filmmaking methods. Day-Lewis and Krieps are attuned to this tone perfectly, reflecting a lost era of civility even as their characters prove pricklier than they initially appeared.

The slow-burn approach keeps this from being as easy to recommend as many of PTA’s other, more bombastic films, with a more low-key energy than the hypnotic chaos that typically embodies his films. However, the artistry on display in Phantom Thread, especially in terms of the costume design and score, can’t be understated.

8

Hard Eight (1996)

Paul Thomas Anderson’s feature-length debut, Hard Eight, is most impressive for just how tightly constructed it is. The film follows an experienced gambler (played by Philip Baker Hall) who takes a young man (played by John C. Reilly) under his wing. Right from the get-go, Anderson’s eye for actors and ear for dialogue are clear and impressive.

Benefiting from a strong cast that also includes Samuel L. Jackson and Gwyneth Paltrow in key roles, Hard Eight is best when it gets quiet and emotional. It has the basic makings of a traditional crime thriller, but there’s a genuine softness to the dynamic between Hall’s Sydney Brown and Reilly’s John Finnegan that makes the relationship incredibly charming.

Despite this, the trademark touches of PTA’s view on society and crime are clear from the film, especially once Sydney finds himself forced to make hard decisions. Bolstered by a strong cast, the shaggy dog nature of PTA’s first feature-length film only adds to the understated charm at the heart of the film.

7

Inherent Vice (2014)

Equal parts hilarious and unpredictable, Inherent Vice is PTA’s most purely comedic movie. Based on the 2009 novel of the same name by Thomas Pynchon. Inherent Vice follows Joaquin Phoenix as Larry “Doc” Sportello, a bumbling detective who finds himself amid a sprawling mystery across Los Angeles in 1970.

Purposefully overcomplicated for comedic effect, Inherent Vice feels like the unexpectedly hilarious fusion of Chinatown and The Big Lebowski. The twisty nature of the movie can make the plot hard to follow at times, and the wild collection of characters in the story only adds to the unpredictable touches.

While Inherent Vice can be meandering at times and even lose momentum at points, the highs are among PTA’s most entertaining sequences ever. A definite mixed bag, with the highs vastly outweighing the lows. Inherent Vice benefits from being so purely entertaining that it stands out from the rest of PTA’s films.

6

Magnolia (1999)

Bold, ambitious, and messy, Magnolia is one of Paul Thomas Anderson’s most emotionally resonant films. Depicting the lives of several people across the San Fernando Valley as they intersect in unexpected ways, Magnolia encompasses all the emotional highs and lows that often define a PTA film at its roots.

As a result of the disjointed nature of the narrative, some arcs are more effective than others. However, what’s true across the board is the pedigree of the cast that Anderson assembled for the film, with stand-out performances by Julianne Moore, Philip Baker Hall, Felicity Huffman, and a never-better Tom Cruise stealing the show.

Magnolia is hypnotic and strange in a way many of PTA’s films aren’t. The filmmaker has always been able to ground even the most absurd beats of his stories with a realness that Magnolia purposefully ignores. With the help of Aimee Mann’s music and Anderson’s direction, however, it all just becomes mesmerizing instead of frustrating.

5

The Master (2012)

One of the most impressive actor showcases of the 21st century, The Master is a masterclass in performance that rightfully deserves to be studied. Paul Thomas Anderson’s take on religious organizations focuses on a WWII veteran who finds himself indoctrinated into a cult called The Cause.

Joaquin Phoenix is terrific in the lead role, but the real stars are Phillip Seymour Hoffman and Amy Adams. Playing Lancaster Dodd and his wife Peggy, Hoffman and Adams are pitch-perfect in their performances. Unsettling but welcoming, friendly but threatening, the Dodds are some of PTA’s most ingenious creations.

The Master is definitely not for everyone, with a harsher edge and engrossing depiction of the toxic relationships that can easily become the norm for domineering people and those trapped within their orbits. However, for those willing to dive into the depths of humanity, The Master is an engrossing depiction of a man unraveling under the weight of expectation.

4

Punch-Drunk Love (2002)

Anchored by a genuine game-changing performance by Adam Sandler, Punch-Drunk Love is proof that if he wanted to, Paul Thomas Anderson could be delivering genre-defining romantic comedies that still retain his deeply personal touch. Sandler plays Barry Egan, a role that fits his public persona but reveals a depth many of his other characters lack.

Punch-Drunk Love might be the best example of Paul Thomas Anderson as a director with an eye towards performances. While some of his other films might have showier stars or flashier arcs for their characters, Anderson gives Sandler the runway to deliver what remains one of the actor’s most emotionally effective performances.

Filtering his own touches of crime drama and dark comedy to the standard meet-cute elements of the plot, Anderson ensures that Punch-Drunk Love feels like nothing else. While the more conventional elements of its structure might disappoint fans of his more narratively experimental work, Punch-Drunk Love is a pure delight for lovers of romance.

3

One Battle After Another (2025)

Ambitious and bold, with an eye for emotional connection and absurdist comedy, One Battle After Another is a triumph by Anderson. After a lengthy prologue establishes the dynamic between the resistance movement known as the French 75, the bulk of the film follows a former member and his teenage daughter trying to avoid arrest 16 years after going into hiding.

One Battle After Another is Anderson’s most overtly political film, even as it avoids taking direct aim at specific people or policies. Instead, the film works as a call to action against injustice, even as it reveals a clear view on the human flaws that push both sides of a conflict to make bad decisions for selfish reasons.

One of Anderson’s most compelling projects, One Battle After Another‘s action set-pieces don’t distract from a colorful cast of characters. Leonardo DiCaprio, Sean Penn, Benico del toro, Teyana Taylor, and Regina Hall all do great work, and Chase Infiniti proves herself a star by holding her own against them. A genuine triumph, One Battle After Another is a must-watch.

2

Boogie Nights (1997)

One of the most compelling period dramas about the 20th century, Boogie Nights is funny, heartbreaking, and inspiring. Focusing on a found family of adult film stars and filmmakers as they navigate the free love of the 1970s as it gives way to the darker chaos of the 1980s, Boogie Nights is broad but personal in very effective ways.

Boogie Nights might be one of the most impressive casts ever assembled for an up-and-coming director, with Anderson’s second film turning Mark Wahlberg into a movie star and reminding audiences why Burt Reynolds was an icon. Alongside them are Julianne Moore, John C. Reilly, Heather Graham, Don Cheadle, William H. Macy, and a priceless Phillip Seymour Hoffman turn.

With a script that is never afraid to become heartbreaking but always committed to remaining hopeful, Boogie Nights finds the perfect tonal balance. Boogie Nights is one of the best character dramas of the 1990s and remains, almost thirty years later, one of PTA’s best films.

1

There Will Be Blood (2007)

One of the audacious and ambitious films of the 21st century, There Will Be Blood is Paul Thomas Anderson’s best movie. Daniel Day-Lewis delivers the performance of a lifetime as Daniel Plainview, an oilman on the hunt for his fortune. Grimy, gritty, unlikable, and yet undeniably compelling, Plainview is a masterful creation by PTA and Day-Lewis.

Filtered through the lens of a western epic, There Will Be Blood‘s story about compromise and corruption is one of the most painfully effective takes on the American dream ever committed to film. The film is able to tackle these bleak themes without ever becoming dreary or dull, retaining the tension and escalating the stakes even just with plain conversation.

Anderson’s hardest-hitting film is also his most technically impressive, with brilliant visual composition that are among the century’s best examples of the form. There Will Be Blood isn’t just the best Paul Thomas Anderson movie, it’s also just one of the best films of the last twenty-five years.

Birthdate

June 26, 1970

Birthplace

Studio City, California, USA

Professions

Director, Screenwriter, Producer