I cannot believe it has taken me this long to compose a list of the best films directed by Steven Spielberg. He is one of the main reasons I love movies, if not the primary reason. I remember going back as far as watching the Indiana Jones films and realizing that they had helped spark my lifelong affinity for cinema.
I have always loved what Spielberg brings to his films: fast-paced sequences, clever camera blocking, striking use of lighting, and, of course, humor. While there are a few films in his filmography that lack some of these qualities, Spielberg has predominantly made the kind of films audiences genuinely want to see. I am certainly part of that audience.
Rather than ranking these films against one another, I decided to present them in chronological order of release. Ranking one Spielberg film above another simply did not feel fair, given the breadth and variety of his career.
Raiders of the Lost Ark (1981)
I think I may have worn out my old VHS copy of this film. Raiders of the Lost Ark is truly one of the greatest adventure films ever made. Harrison Ford is unbeatable as the iconic Indiana Jones, an archaeologist and full-time adventurer whose charisma carries the film from beginning to end.
Spielberg directed the film for his friend George Lucas, who created the character and developed his backstory. I remember reading that Spielberg initially viewed the project as something of a “B-movie,” although it certainly did not turn out that way. Instead, Raiders of the Lost Ark became the highest-grossing film of 1981 and one of the most influential adventure films in cinematic history.
E.T. the Extra-Terrestrial (1982)
It is nearly impossible not to love E.T. the Extra-Terrestrial. Whether you are a child or an adult, the film has a remarkable ability to connect with its audience. Sometimes I find myself wishing that something from another world could come to us with the same kind of heartfelt message.
This is another film I watched repeatedly while growing up. You simply cannot go wrong with the iconic bicycle chase leading into the film’s climax, especially when paired with John Williams’ unforgettable score. Few filmmakers have ever been able to capture childhood wonder quite like Spielberg.
The Color Purple (1985)
The Color Purple is one film I almost always forget was directed by Spielberg because it feels so different from much of his other work. The film carries a predominantly somber tone, yet its overall message is ultimately one of hope and resilience.
Whoopi Goldberg delivers a remarkable performance, leaving much of her comedic persona behind. I also remember reading about Spielberg’s initial hesitation to direct the film. Producer Quincy Jones originally approached him, but Spielberg felt that a person of color should direct the story. Jones reportedly responded, “You didn’t have to be an alien to direct E.T.” Well played, Jones.
Indiana Jones and the Last Crusade (1989)
Without a doubt, Indiana Jones and the Last Crusade is my favorite adventure film of all time. The pairing of Harrison Ford and Sean Connery also ranks among the greatest on-screen duos in movie history.
Spielberg struck gold with this film. The performances, screenplay, action sequences, and unforgettable score by John Williams all work together beautifully. It manages to be exciting, funny, heartfelt, and adventurous without losing sight of what makes the Indiana Jones character so enduring.
Jurassic Park (1993)
I remember Jurassic Park being my favorite film when I was a kid, and I was fortunate enough to see it on the big screen when it was originally released. Years later, I had the opportunity to experience it in theaters again in 3-D.
The film features another iconic John Williams score, one so recognizable that you can probably hear it playing in almost any establishment associated with film. Jurassic Park is also incredibly quotable, particularly thanks to Jeff Goldblum’s memorable one-liners. “Do you think they’ll have that on the tour?” remains one of my favorites.
Schindler’s List (1993)
I do not usually cry while watching films, but Schindler’s List is a rare exception. When I was younger, before I had developed much of an appreciation for cinematography, I wondered why a film made in the 1990s would be shot in black and white. Now, I see it as one of Spielberg’s most effective creative choices.
The liquidation of the Kraków ghetto is a prime example. The image of the little girl in the red coat provides a powerful visual symbol and represents a turning point for Oskar Schindler, played brilliantly by Liam Neeson. Schindler initially arrives in Poland hoping to profit from the war, but he gradually develops sympathy for the Jewish people and becomes determined to save as many lives as possible.
Schindler’s List is a remarkable film, and it is clear that the subject matter was deeply challenging for Spielberg. Nevertheless, the result is an extraordinary piece of filmmaking that remains one of his most important works.
Saving Private Ryan (1998)
Many war films have attempted to capture the horrors and psychological trauma that soldiers experience on the battlefield. However, Saving Private Ryan could arguably be said to present those horrors from an almost first-person perspective.
The opening sequence on Omaha Beach alone makes me feel as though I am there alongside the soldiers. Spielberg’s direction places the viewer directly in the chaos, confusion, and brutality of combat. It is a captivating and deeply affecting film, with remarkable performances from Tom Hanks and Matt Damon, among many others.
Minority Report (2002)
Minority Report is my favorite Spielberg film. I love virtually everything about it. From its futuristic visuals to its performances and atmosphere, the film consistently knocks me back in my seat.
I usually think of films set in the future as straightforward science fiction, but Minority Report feels much closer to film noir. Tom Cruise plays John Anderton, a police officer who leads PreCrime, a specialized unit capable of arresting people before they commit murder. However, Anderton goes on the run after discovering that he is a future murderer. His experience causes him to question the stability, morality, and validity of the entire PreCrime system.
I have seen this film numerous times, and it still gives me a thrill every time I watch it. Spielberg’s ability to combine futuristic technology, noir conventions, action, and philosophical questions makes Minority Report endlessly rewatchable.
Munich (2005)
I think Munich does not get talked about nearly enough. The film dramatizes the aftermath of one of the most heinous acts of terrorism in Olympic history: the 1972 Munich massacre, in which members of the Israeli Olympic team were taken hostage by the Palestinian militant group Black September.
Eric Bana plays Avner Kaufman, an Israeli agent tasked with assassinating individuals believed to have been responsible for orchestrating the attack. As the mission progresses, however, the boundaries between justice, vengeance, and morality begin to blur.
This is a beautifully made film, featuring exceptional camerawork, cinematography, and another chilling score from John Williams. More importantly, Munich raises a difficult question: Does vengeance actually heal the wounds it is intended to address, or does it simply pass guilt and suffering on to someone else?
The Fabelmans (2022)
The Fabelmans is a semi-autobiographical film inspired by Spielberg’s own childhood and his journey toward becoming a filmmaker. For that reason alone, it feels like mandatory viewing for Spielberg fans. It can also be a wonderful experience for film lovers in general, as the story centers on a young man’s growing love for cinema and his discovery of what filmmaking means to him.
It is a deeply touching film with excellent performances throughout. Judd Hirsch, despite having a relatively brief appearance, is particularly memorable. The final scene featuring David Lynch portraying the legendary filmmaker John Ford is a delight!
I was surprised by the casting, since I had primarily known Lynch as the creator and star of Twin Peaks. His appearance provides a satisfying conclusion to the film and serves as a fitting final touch to Spielberg’s deeply personal story.
I could tell that Spielberg had a great deal of fun making The Fabelmans, as I imagine he has with many of his films throughout his career. In many ways, the film feels like a love letter to filmmaking itself—and perhaps to the very medium that inspired Spielberg to become one of its greatest practitioners.
Happy watching!
