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Outbyte PC Repair FREEClear out junk files and repair common Windows errorsFree Scan →Outbyte Driver Updater FREEFix the driver behind crashes, sound loss and screen glitchesFind Drivers →Michael Clayton is the strongest showcase for George Clooney as a screen actor, while Ocean’s Eleven remains his most effortless star vehicle. This ranking weighs Clooney’s performance alongside each film’s craft, critical standing, cultural staying power and place in his career—not simply review scores.
“All” here means released feature films in which Clooney appears as a performer, including voice roles and substantial cameos. It excludes television work, archival footage and films he directed or produced without appearing in them. The list is current through October 8, 2026; future-dated or unreleased filmography entries are not counted. AFI’s Clooney filmography is a useful credit reference, though no single catalog necessarily captures every screen appearance.
George Clooney’s movies, ranked
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Michael Clayton (2007)
Clooney’s most complete dramatic lead performance is also the anchor of a tightly controlled legal thriller. He plays a fixer whose practiced cynicism begins to give way under pressure; the film lets that shift emerge through restraint rather than grand speeches.
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Ocean’s Eleven (2001)
As Danny Ocean, Clooney makes charm feel like a working tool: relaxed enough to sell the caper, precise enough to keep its moving parts in view. The ensemble, brisk plotting and pleasure of the heist give his star persona its ideal vehicle. AFI identifies him as Ocean in its filmography.
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Good Night, and Good Luck (2005)
Clooney’s portrayal of newsman Fred Friendly is part of a film whose clipped black-and-white style makes television journalism itself feel dramatic. He also directed and co-wrote the screenplay with Grant Heslov, a rare instance where his work behind the camera is inseparable from the film’s identity. AFI’s record credits him in all three capacities.
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Out of Sight (1998)
Steven Soderbergh’s crime romance gives Clooney room to be funny, flirtatious and dangerous without forcing a choice among those modes. Its cool pacing and the chemistry at the center make it one of the clearest early signs of the screen presence he would later refine.
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Syriana (2005)
Clooney takes on a physically and morally battered CIA operative in a sprawling political drama that refuses easy explanations. The performance earned him the Academy Award for Actor in a Supporting Role; the award recognizes the work, while the film’s interlocking stories make this one of his most demanding screen projects. The Academy’s 78th ceremony record lists the win, and AFI’s film record covers the film.
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O Brother, Where Art Thou? (2000)
As the fast-talking Ulysses Everett McGill, Clooney turns vanity and verbal showmanship into comic engines. His performance anchors the Coen brothers’ Depression-era Odyssey without making the film’s oddball ensemble feel secondary.
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Gravity (2013)
Clooney’s veteran astronaut gives Alfonso Cuarón’s space survival story a reassuring counterweight to Sandra Bullock’s increasingly isolated protagonist. It is a compact supporting role, but his warmth and ease help establish the stakes before the film narrows into a one-person struggle.
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From Dusk till Dawn (1996)
Robert Rodriguez’s crime thriller changes shape dramatically midway through; Clooney’s volatile fugitive helps make the pivot feel like part of the film’s outlaw spirit rather than a tonal mistake. It remains a vivid early contrast to the polished leading-man roles that followed.
Rank #2
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The Descendants (2011)
As a father trying to reconnect with his daughters during a family crisis, Clooney plays uncertainty rather than authority. The performance finds humor in awkwardness and grief in small gestures, making the character’s emotional recalibration believable.
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Fantastic Mr. Fox (2009)
Clooney voices Mr. Fox with a lightly theatrical confidence that suits Wes Anderson’s stop-motion world. The role is both a comic showcase and a sly fit for the actor’s familiar combination of polish and self-regard.
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Burn After Reading (2008)
The Coens turn Clooney’s urbane image into a joke, casting him as a paranoid, self-important federal marshal caught in a chain of absurd misunderstandings. He commits to the farce without playing it as a wink at the audience.
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Three Kings (1999)
David O. Russell’s Gulf War satire gives Clooney a charismatic but compromised leader, a role that complicates his early movie-star authority. The film’s shifts between action, comedy and political anger make his performance an important bridge into more serious work.
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The American (2010)
This spare thriller relies on Clooney’s ability to make silence active. As an assassin attempting to finish one last assignment, he conveys exhaustion and caution through posture and routine, even when the deliberately slow pace will not suit every viewer.
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Up in the Air (2009)
Clooney’s traveling corporate downsizer is articulate, efficient and increasingly exposed by the life he has built around avoiding attachment. The film’s wry observations land because his performance gradually reveals what the character’s polished routine keeps out of sight.
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Fantastic Mr. Fox’s companion in the caper canon: Ocean’s Thirteen (2007)
The third Ocean’s film lacks the freshness of the first, but Clooney’s rapport with the ensemble remains its chief pleasure. It understands that the series works best when the plan is an excuse for the performers to enjoy one another’s company.
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The Ides of March (2011)
Clooney plays a presidential candidate with enough warmth to make his political appeal legible and enough ambiguity to keep the campaign drama from feeling like a simple morality play. He also directed the film, lending its polished surfaces a useful tension.
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Confessions of a Dangerous Mind (2002)
Clooney’s directorial debut turns game-show host Chuck Barris’s disputed claims about a second life as a CIA assassin into an uneasy blend of biography and fantasy. His brief appearance is secondary to the film’s construction, but the project shows his early interest in the gap between public image and private story.
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Ocean’s Twelve (2004)
The sequel is looser and more self-conscious than its predecessor, with a playful structure that some viewers find clever and others distancing. Clooney remains an appealing center for the ensemble, even as the film’s games with its own movie-star identities take precedence over the heist.
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Hail, Caesar! (2016)
The Coens cast Clooney as a vain studio-era movie star whose grandiosity is the punchline. His willingness to play dumber than his established persona gives the film one of its funniest performances.
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Intolerable Cruelty (2003)
This screwball legal comedy lets Clooney lean into immaculate self-confidence, then repeatedly punctures it. His chemistry with Catherine Zeta-Jones supplies the film’s central sport: watching two accomplished schemers try to outmaneuver each other.
Rank #4
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One Fine Day (1996)
Clooney and Michelle Pfeiffer give this single-day romantic comedy its appealing friction. The premise is familiar, but the film benefits from his capacity to make irritation and attraction coexist.
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The Thin Red Line (1998)
Clooney appears briefly in Terrence Malick’s expansive war film, a small credit within an ensemble built around many perspectives. The film’s contemplative approach matters more than the size of his role.
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Solaris (2002)
Steven Soderbergh’s science-fiction drama uses Clooney’s restrained performance to keep an abstract story of memory and grief emotionally grounded. Its deliberate pace and ambiguity are strengths for some viewers and barriers for others.
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The Perfect Storm (2000)
Clooney leads this maritime disaster drama as a captain facing a dangerous return to sea. The scale and weather effects carry much of the spectacle, while his steady performance gives the crew’s risk-taking a human center.
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Leatherheads (2008)
Clooney directs and stars in this old-fashioned football comedy, playing a smooth-talking team owner. Its affection for screwball rhythms is evident, though the result is less consistently sharp than his strongest comedies.
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The Monuments Men (2014)
Clooney directs and leads an ensemble about the effort to recover art stolen during World War II. The subject is compelling and the cast amiable, but the film’s shifts between wartime danger and light adventure keep it from reaching the force of its premise.
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Ticket to Paradise (2022)
Reunited with Julia Roberts, Clooney plays a divorced father whose irritation is as performative as his charm. Their ease together is the film’s strongest asset, giving a familiar romantic-comedy setup a lively center.
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Jay Kelly (2025)
This late-career role adds a self-reflective note to Clooney’s screen history. In an Associated Press report from September 2026, Clooney described the film’s line, “All my memories are movies,” a concise expression of its interest in an actor’s relationship to the work and the life around it. The remark is context, not a claim that he considers it his best film.
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The Midnight Sky (2020)
Clooney directs and stars in this post-apocalyptic science-fiction drama as a scientist trying to warn a returning crew. Its two strands of isolation and survival offer striking imagery, though the emotional connection between them is less assured.
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Money Monster (2016)
As a television financial-show host taken hostage on air, Clooney plays a version of his own commanding public-facing persona under pressure. The real-time setup gives the thriller urgency, even as its broader arguments about markets and media simplify complex systems.
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Up in Smoke (1980)
Clooney’s film appearances began long before his leading-man period, with small early credits that are less representative of his mature work. This entry is included as an early screen appearance rather than a major showcase; surviving credit catalogs vary in how they classify such minor roles.
What the ranking says about Clooney’s career
The strongest entries do not rely on one version of Clooney. Ocean’s Eleven turns his ease into ensemble leadership; Michael Clayton makes weariness and moral hesitation compelling; O Brother, Where Art Thou? and Burn After Reading exploit his comic vanity. Political dramas such as Syriana and Good Night, and Good Luck show how often his screen work connects personal performance to institutions and public life.
His range also includes voice work, brief ensemble appearances and films he directed. A Tomatometer ordering is a different kind of list: Rotten Tomatoes’ guide, updated March 31, 2023, sorts by critics’ aggregate reception, not by the quality of Clooney’s performance or a single definitive standard of “best.” Its guide and current filmography listing are useful comparison points, but the releases and scores can change over time.
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