Every Rob Reiner Movie, Ranked

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Originally released in 2018, this list has been significantly revised and expanded, including the addition of Rob Reiner‘s most recent work, titled Spinal Tap II: The Saga Continues.

Rob Reiner’s professional journey showcases extreme highs and lows, making it rather dizzying to consider. At the pinnacle of his success, he effortlessly produced studio blockbusters brimming with intelligence; however, at times when his career dipped, one might question how such a choice was made to invest in this director for film production. Despite being labeled as a seasoned director (or a journeyman), it’s challenging to categorize Reiner given his ability to create films as subtle and romantic as ‘When Harry Met Sally’, as chaotic as ‘This Is Spinal Tap’, or as intricately multi-tonal as ‘The Princess Bride’.

Similar to Ron Howard, Reiner began his career on television and is still recognized by some as “Meathead”. Others associate him with liberal politics, which led to a satire on South Park decades ago. For nearly a decade, Reiner was like a combination of Frank Capra and Billy Wilder. However, he lost his way, but in recent times, he’s been eager to take on new and diverse projects, aiming to regain some of the stardom he once had.

Upon the unveiling of “Spinal Tap II: The Saga Persists,” marking his 21st cinematic outing, we reflect on Reiner’s illustrious career. There’s much contention over his top seven to eight movies. Beneath those gems, recalling any others is quite a challenge!

21.
North (1994)

In a surprising twist of fate, the scathing review given to the film “North” by Roger Ebert, famously described as “I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every insipid, idiotic moment of it,” has eclipsed the film’s popularity itself. Indeed, it’s fortunate for director Ivan Reiner that his film is more notorious than acclaimed. Twenty-five years on, “North” remains as criticized as Ebert originally wrote, a bafflingly misguided concept executed in an insipid and limp manner.

Reiner tries to blend whimsy, satire, and Capra-esque sentimentality here, but the result is excruciating to watch. To make matters worse, Bruce Willis portrays an Easter bunny that is even more abysmal than anything seen in “Hudson Hawk.” If anything, Ebert’s critique was overly generous.

20.
The Magic of Belle Isle (2012)

In his later phase, Reiner has been drawn to films that explore aging characters who’ve lost loved ones and grapple with the remaining years of their lives. Following the commercial success of 2007’s The Bucket List, he collaborated again with Morgan Freeman in this overly sentimental comedy-drama. The story revolves around an alcoholic author who, after his artistic inspiration has deserted him and following his wife’s death, relocates to a small town. There, he finds himself living next door to the vibrant Virginia Madsen and her charming three daughters. As the plot unfolds, it leans heavily on the charm of its actors and the tiresome predictability of the narrative. While older audiences might lament the lack of Hollywood films that resonate with their experiences, they deserve much more than this mediocre offering.

19.
Alex and Emma (2003)

At this point, you might find yourself questioning Reiner’s intentions, as the film appears to be a typical romantic comedy where a writer (Luke Wilson) must complete a novel within 30 days to settle a Mafia debt. He brings in a stenographer (Kate Hudson) to jot down his ideas, and they perform this joint creation. Although it seems Reiner aimed for a storytelling exploration similar to “The Princess Bride“, the lack of chemistry between the leads and Reiner’s underwhelming execution make the movie feel far from captivating. Rest assured, this film won’t stir any longing for traditional romantic comedies.

18.
The Story of Us (1999)

In a departure from the iconic romantic comedy “When Harry Met Sally” where Reiner skillfully explored the journey of falling in love, “The Story of Us” aims for something arguably more challenging and less common in films: a portrayal of a long-married couple grappling with relationship difficulties. Unlike its predecessor, this comedy-drama is not only devoid of its contemporaneous insights about love, but also lacks the captivating characters we found in Harry and Sally. Instead, Bruce Willis and Michelle Pfeiffer portray a TV-esque married couple, their tale unfolding through flashbacks as we witness the ups and downs of their relationship over time. For years, Reiner had a golden touch, but “The Story of Us” marked the third consecutive disappointing film for him, serving as another indication that his once impressive knack for addressing universal themes was fading.

17.
And So It Goes (2014)

As a film enthusiast, let me share my thoughts on one of those movies that left me feeling a bit underwhelmed – “And So It Goes,” a movie starring the brilliant Michael Douglas. In this picture, he portrays a realtor with a gruff demeanor, a character who, surprisingly, became hardened due to the loss of his wife. The story takes an intricate turn as Douglas’s character discovers an unexpected granddaughter.

Just like every movie character in such a predicament, redemption finds its way into his life. However, the plotline, with its labyrinthine twists and turns, felt less than captivating. The title, much like the movie, is as generic as they come.

In this film, Diane Keaton plays Douglas’s neighbor, another widow who lends a helping hand in raising the granddaughter. As fate would have it, she finds herself developing feelings for this prickly character.

Sadly, “And So It Goes” casts two immensely talented actors into a fluffy, overly cute comedy that shies away from the raw emotions and profound insights one would hope for.

16.
Rumor Has It (2005)

If you aim to create a movie that evokes “The Graduate”, it’s crucial to match the effort and avoid the production issues this film encountered. Unfortunately, despite the resemblance to “The Graduate”, “Rumor Has It” seems more interested in being a lighthearted comedy rather than exploring the original’s intelligent themes. Jennifer Aniston plays an obituary writer for the New York Times who uncovers her grandmother’s possible connection to Mrs. Robinson, and subsequently develops an affair with a character loosely based on Benjamin Braddock (played by Kevin Costner). However, don’t expect “Rumor Has It” to live up to the brilliance of “The Graduate”. Instead, it appears to serve merely as a vessel for a forced and uninspired humor, despite boasting an impressive cast including Mark Ruffalo. So, avoid making comparisons to “The Graduate”, as “Rumor Has It” seems to offer little of its depth or wit.

15.
Ghosts of Mississippi (1996)

The film under discussion is renowned for prompting Godfrey Cheshire’s insightful commentary on 90s movies portraying the civil-rights era: “Future generations looking to these films for an understanding of America’s fight for racial justice during that time will be shocked to find out that these battles were led by resolute white men.” This film is particularly problematic, featuring Alec Baldwin courageously pursuing the trial of Medgar Evers’ assassin, while Whoopi Goldberg offers her support. It’s a disappointingly shallow portrayal of this subject matter, and unfortunately, for Reiner during this time, his production was behind schedule: These types of movies were becoming less popular. An unusual consequence: Twenty years later, James Woods’s intense portrayal of a rabid racist bears a striking resemblance to the real James Woods.

14.
Spinal Tap II: The End Continues (2025)

After a long wait of 41 years, the sequel to the iconic comedy was finally produced. Yet, the passage of time feels palpable throughout. The original cast members are back, with a surprising number still alive, but the spontaneous humor from the initial film appears rusty and exhausted in this follow-up. The movie struggles to maintain momentum with many plot points left unexplained (the cheese affair between Nigel and his wife remains puzzling), and most jokes seem like repetitions of the original, albeit slower. The film limps through its 78-minute runtime, and it seems that everyone is relieved to move on. It’s less a bad movie than one that barely qualifies as a film at all. Interestingly, Paul McCartney is the comic highlight of the movie. His extended portrayal of himself offering unsolicited advice to the band members offers a much-needed dose of dry wit; it would be great if McCartney were given his own Curb Your Enthusiasm-style series.

13.
Flipped (2010)

It seems like wading through Reiner’s collection of films to find the good ones can feel quite time-consuming, doesn’t it? Interestingly, some of the conventional romantic comedies he worked on might not compare favorably, but there is a heartfelt coming-of-age tale in ‘Flipped’, revolving around the innocent crush of two students from elementary to middle school. The movie exudes such sincerity that it’s hard not to like it – it’s as sweet and sunny as a summer day, almost daring you to find fault with it. However, Reiner appears to have shed any sharpness he once possessed during the ‘Stand by Me’ era, and this childhood narrative seems overly safe and sanitized. In essence, ‘Flipped’ isn’t exactly terrible, but it leaves a rather forgettable impression.

12.
Shock and Awe (2018)

A compelling topic poorly executed, “Shock and Awe” follows Reiner’s trend of delving into real-life political dramas. Similar to “LBJ”, this journalistic thriller stars Woody Harrelson as Jonathan Landay, a Knight Ridder reporter who, alongside James Marsden’s character Warren Strobel, uncovers the deceptions perpetuated by the George W. Bush administration in the lead-up to the Iraq invasion. If you see “Shock and Awe” as much about 2018 as it is 2003, then you’re aligned with Reiner’s noble film. However, despite strong performances from Harrelson and Marsden, the movie falls short compared to classics like “All the President’s Men” and more recent releases such as “The Post”. (Reiner’s characters acknowledge their resemblance to Woodward and Bernstein.) Despite the cast and crew’s dedication to the material’s urgency, the film’s unremarkable execution weakens its impact. In fact, “Shock and Awe” serves primarily as a reminder of how disheartening it can be to navigate the chaos of a False News era.

11.
Being Charlie (2016)

In simpler terms, “Being Charlie” is a deeply personal film by director Rob Reiner, focusing on a privileged Hollywood teenager named Nick Robinson, battling addiction issues. After repeatedly fleeing rehab centers, he encounters a special girl at one of them. Interestingly, the script was co-written by Reiner’s son, Nick. The movie explores Charlie’s challenging relationship with an overly supportive mother and an absent father, who in the film is running for governor instead of directing movies as in reality. During these tense family moments, the film truly shines. However, it often veers away from these compelling scenes to focus on a familiar love story. Despite this, Reiner appears to be making a genuine effort to bring something new, which is commendable.

10.
LBJ (2017)

Back in 2016, I found myself captivated by two distinct films that delved into the aftermath of the assassination of President John F. Kennedy. First, there was “Jackie,” a deeply personal and tense portrayal of the tragedy as seen through the eyes of Jackie Kennedy, brilliantly played by Natalie Portman. Fast forward to around the same time, and we had “LBJ,” a film that cast Woody Harrelson in the role of Lyndon B. Johnson, Kennedy’s vice-president, who grappled with feelings of underappreciation from his commander-in-chief before finding himself thrust into the spotlight following the assassination.

“LBJ” didn’t hit theaters until nearly a year after “Jackie,” but they make for compelling companions, both offering unique perspectives on how key figures in the Camelot tale navigated the dichotomy between Kennedy’s public image and their own personal experiences. Unfortunately, “LBJ” is a rather typical modern biopic, primarily focusing on a specific period – Kennedy’s assassination and Johnson’s efforts to pass Kennedy’s Civil Rights Act. Despite Harrelson’s energetic portrayal of the 36th president, the film doesn’t quite manage to create a fully captivating portrait.

“LBJ” seems to have been produced on a budget, as evidenced by its somewhat shoddy period production design and makeup. The film carries an air of sincerity reminiscent of an educational video intended for middle-schoolers. However, what keeps “LBJ” from being completely forgettable is its intriguing exploration of the legislative process, akin to the portrayal in “Lincoln.” Yet, I found myself questioning how another director might have approached this material.

9.
The Bucket List (2007)

Even though Reiner’s sentimental style may seem overly emotional, he can still produce a successful film, especially when given two of the most captivating actors in cinema history. This comedy, featuring Jack Nicholson and Morgan Freeman as terminally ill men fulfilling their life aspirations before they pass away, paved the way for the popular genre of comedies about older adults (although it’s worth acknowledging Grumpy Old Men came first). While the film has its touching moments, there’s no doubt that these two performers deliver their comedic and charming roles exceptionally well. It’s also noteworthy that, besides a brief appearance in James L. Brooks’ 2010 comedy flop How Do You Know, this movie marks Nicholson’s last major performance on screen, which was eleven years ago.

8.
Stand by Me (1986)

For Stephen King, author of “The Body,” the novel upon which this movie is based, “Stand by Me” held a personal significance, as aspects of the story were inspired by his own childhood experiences. Similarly, for director Rob Reiner, who shared with Variety in 2016, “Stand by Me” marked his first venture into something deeply personal. He further explained, “It had a touch of melancholy and humor, and it was more reflective. I thought, ‘If people don’t appreciate this, they won’t like what I enjoy doing.’”

After releasing comedies such as “This Is Spinal Tap” and “The Sure Thing,” Reiner found a connection with the emotional depth and nostalgic tone of “Stand by Me.” Among his early films, it can be argued that this bittersweet adaptation about a group of boys (Wil Wheaton, River Phoenix, Corey Feldman, Jerry O’Connell) on a quest to find a dead body, most accurately represented Reiner’s own sensibilities.

Although there are wiser and more profound films about childhood, “Stand by Me” will always hold a special place in the hearts of those who grew up in the ’80s – a fitting tribute to a film that cherishes the past with such warmth.

7.
The Sure Thing (1985)

One of the initial ’80s sex comedies that offered a more tender approach instead of the explicit humor found in films like “Revenge of the Nerds,” “The Sure Thing” showcased Rob Reiner’s innate ability to maintain sincerity throughout his work. Set in the story of a teenager (John Cusack, who was just 16 when he was cast), the film follows him as he journeys to California in search of a guaranteed romance but instead finds himself falling for his fellow traveler (Daphne Zuniga). The movie is a charming and straightforward comedy, yet Reiner’s ambition prevented it from becoming overly sentimental. Cusack was an ideal choice for the role too, perfectly embodying the evolution of ’80s romantic comedies.

6.
Misery (1990)

In early 1990, just before ‘Misery’ was set to be released, Reiner remarked that he had been working on it while ‘Harry Met Sally’ was gaining popularity, and people would constantly tell him to keep making similar films. He often wondered what they would think when ‘this’ movie came out, referring to ‘Misery’. After a period of lighter movies, he decided to take on the challenge with ‘Misery’, a dark comedy by Stephen King about a successful author (James Caan) and his dangerous fan (Kathy Bates). This was a time when it seemed like Reiner could effortlessly transition from one genre to another. To this day, ‘Misery’ remains relevant for its exploration of the complicated bond between artists and their audience, who often prioritize their own needs. Kathy Bates’s award-winning performance in ‘Misery’, which was the only Oscar won by a Reiner film, showcases both her wit and monstrous side.

5.
The American President (1995)

The movie that signified the closing chapter of Rob Reiner’s successful period as a director of widely-appreciated crowd-pleasers was “The American President.” In this film, Reiner collaborated again with Aaron Sorkin, the writer from “A Few Good Men,” to present an adult, romantic story about a widowed president (Michael Douglas) falling for an ardent environmental activist (Annette Bening). This type of polished nonsense was once handled exceptionally well by Reiner. “The American President” is as much a dream about progressive politics as it is about the idea that love can overcome all obstacles, but it’s executed with such intelligence and subtlety that you suspend disbelief. In a series of roles portraying oily, morally questionable characters, Douglas took a break to play the most charming, optimistic president in movie history. He and Bening share an old-school Hollywood charm. As for Sorkin, his blend of personal and political insights would lay the foundation for his next significant work, the TV series “The West Wing,” which elevated Martin Sheen, who played the chief of staff in this film, to the role of the President.

4.
A Few Good Men (1992)

In a surprising twist, Reiner, known for both mainstream humor and dark adaptations, found himself in an uncommon role: the seasoned Hollywood craftsman. This was the man who could spin a classic tale, complete with big-name stars and a heartwarming, though somewhat cheesy, courtroom finale. While Aaron Sorkin’s script may have been far from reality – this was more a cinematic portrayal of the military – Reiner wisely delegated the flamboyant, attention-grabbing scenes to Tom Cruise, Demi Moore, and especially Jack Nicholson, stepping back to let them shine. The result? A purely fictitious, yet utterly addictive and unstoppable piece of entertainment.

3.
When Harry Met Sally (1989)

In the 80s and 90s, Rob Reiner experienced much success with numerous films, but none quite matched the cultural significance of “When Harry Met Sally.” Other movies by Reiner are known for their catchy dialogue and iconic moments, but this poignant romantic comedy resonated deeply with the timeless, universal anxieties associated with dating. The debates between Harry (Billy Crystal) and Sally (Meg Ryan) in this bittersweet romantic comedy still spark lively discussions today.

The film was significantly influenced by Reiner’s friendship with late screenwriter Nora Ephron, who drew upon her friend’s romantic misadventures to create the characters. Set in New York City and featuring sharp, intelligent banter reminiscent of Woody Allen films, “When Harry Met Sally” stood out as a sophisticated, mature love story amidst an ever-growing sea of teen comedies and emerging blockbusters.

The film showcased Reiner’s knack for crafting delightful, intelligent, funny, and romantic movies that were always well-executed. Although there is no distinct directorial style evident in “When Harry Met Sally,” it remains a vibrant, smart, hilarious, and endearing film that skillfully navigates its subject matter at all times. If you think creating such a movie is effortless, take a closer look at how challenging it became for Reiner later on – or consider the struggles faced by other filmmakers to achieve the same level of success.

2.
This Is Spinal Tap (1984)

Starting from humble beginnings, Reiner’s groundbreaking directorial debut, “This Is Spinal Tap,” emerged as an improvised mockumentary about a struggling metal band on the brink of collapse. While it may be unnecessary to explain why this film is funny, its impact cannot be overstated – it not only created a genre but also introduced a spontaneous comedy style that has since dominated Hollywood. Instead, let’s focus on the film’s unexpected depth and sincere emotion.

The characters of David St. Hubbins (played by Michael McKean), Nigel Tufnel (Christopher Guest), and Derek Smalls (Harry Shearer) could have been portrayed as mere misogynists for comedic effect, but their sweet naivety, inflated sense of entitlement, and tender vulnerability transform them into tragically grand figures.

In the role of Marty Di Bergi, the puzzled documentarian following Spinal Tap on their American tour, Reiner delivers a brilliantly understated performance. When watching “This Is Spinal Tap,” take note of his acting: he never acknowledges or exaggerates the humor, making the absurdity around him even funnier.

1.
The Princess Bride (1987)

As a devoted cinephile, I must admit that Reiner excels in ways he often fails to in his less impressive films: he skillfully preserves a genuine, benevolent perspective of the world, walks the fine line between sentimentality and authenticity, and infuses it all with a witty, world-weary twist. He’s the small-town romanticist who adored Bob and Ray, but when he strays from this innate instinct, the outcomes are almost unbearable to watch. However, when he hits the mark, like in the masterful The Princess Bride, it’s nothing short of flawless. This movie is a unique exploration of storytelling that both subverts and celebrates the very concept, nodding at the cheesiness of fairy tales while remaining enamored with them – a satire of the Happily Ever After tale and yet a shining example of the genre. The fact that it features around ten timeless characters, including an extraordinarily moving portrayal by Andre the Giant, is merely another layer to its incomparable appeal. To not rank this at the top? Absurdly inconceivable.

Grierson & Leitch frequently discuss films and also have a podcast centered around cinema. You can keep up with them by following them on Twitter, or visiting their website.

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2025-09-13 19:58