Filmmaker Francis Ford Coppola is one of the most respected and acclaimed American directors of all time – here’s every movie he made, ranked from worst to best. With a career spanning five decades, Coppola has made a number of iconic films. The Italian-American filmmaker is known for his epic, stylistically ambitious projects that often go over budget. Francis Ford Coppola is, without a doubt, one of the most significant filmmakers of the New Hollywood era, also known as the American New Wave. New Hollywood filmmakers include the likes of George Lucas, Brian De Palma, Steven Spielberg, Martin Sorcese and Stanley Kubrick.
The best New Hollywood directors opened up a whole new way of making movies, emerging from the 60s counter culture with such films as Easy rider, Bonnie & Clyde, the graduate, The Deer Hunter, And Taxi driver. However, this era would end with the massive commercial failure of films like Michal Cimino’s Heaven’s gateAnd Coppola’s own One of the heart. Since its peak in the 1970s, Francis Ford Coppola’s films have suffered a steady decline in popularity. However, the following decades of his filmography are still full of classics. Even his low-budget, experimental films maintain a strong cult following.
23
Jack (1996)
The Robin Williams movie does not have a cohesive tone
JackReleased in 1996, is certainly one of Francis Ford Coppola’s most baffling films. A strange blend of the 1988 film Great (starring Tom Hanks) and The interesting case of Benjamin ButtonIt tells the story of Jack Powell, a boy who ages at four times the rate of normal children. In this Robin Williams movie, the prolific actor plays a ten-year-old in the body of a 40-year-old, and the result is somewhat unsettling.
The film is a tonal mess that never quite overcomes the strangeness of its premiseAlthough Coppola does try to accentuate the absurdity of it all with pathos. Additionally, the movie has a lackluster script that fails to utilize the genius comedic abilities of the late Robin Williams.
22
Dementia 13 (1963)
The director’s first film was thrown together in a dangerous way
Dementia 13 was Francis Ford Coppola’s very first feature film. The thriller produced by Roger Corman was written by Coppola and tells the story of a widow who decides to travel to her husband’s family castle in Ireland to secure a place in his will. Corman told Coppola to make a rip-off of Alfred Hitchcock’s black-and-white movie Psycho Use the leftover money from one of his last films.
Dementia 13 is a low-budget production made over nine days, and, for the most part, it shows. The kills are completely forgettable, leading to an uneven ending. On top of the narrative problems, The Coppola movie is riddled with distracting visual continuity errorsAnd the script cannot decide whether the name of the castle is “Castle Howard” or “Castle Halloran”.
21
Finian’s Rainbow (1968)
Coppola’s musical failed to capitalize on its biggest strength
One of Coppola’s lesser known works, Finian’s rainbow, is a 1968 adaptation of a stage musical. The filmmaker reimagines the classic Hollywood musical for a contemporary audience, leaning towards the socio-political preoccupations of the 60s. Finian’s rainbow is about an Irishman, played by Fred Astaire, who steals a leprechaun’s gold and proceeds to bury it in Rainbow Valley, believing it will multiply due to its proximity to Fort Knox. Finyon and his daughter become involved in local politics when the racist Senator Billboard Rawkins tries to buy up the land where the treasure is buried.
Finian’s rainbow is an awkward attempt to combine a Broadway musical with political commentaryBut it ultimately falls flat. The movie never finds its footing, even in its more enjoyable moments. The framing cuts off Fred Astaire’s feet, weakening one of the most enjoyable parts of the movie – the dancing icon.
20
Megalopolis (2024)
This sci-fi movie has too many ideas to pack into 2 hours and 14 minutes
Almost four decades after originating the idea, Coppola released MegalopolisAn unreasonably long movie that doesn’t live up to expectations. In an alternative version of New York City of the 21st century, called New Rome, the film follows an architect named Cesar Catilina, who tries to rebuild the city after a crisis, but faces resistance from Mayor Franklin Cicero. The sci-fi epic flopped terribly at the box office, which has not been a financial issue since Francis Ford Coppola funded Megalopolis himself.
Looking at Megalopolis, the lack of oversight is abundantly clear. The narrative feels bloated and unedited because of frequent tangents. The movie focuses so heavily on world-building that it fails to create likable characters. Megalopolis Has a pretentious tone that is off-putting in such a deeply flawed movie. Ultimately, Coppola’s sci-fi epic is dripping in self-indulgence, which makes it painful to watch.
19
You’re a Big Boy Now (1966)
This rom-com is a fun watch that doesn’t move beyond genre conventions
Coppola’s second feature film, You’re a big boy nowis a comedy that adapts the eponymous novel by David Benedictus from 1963. Relocated from London to New York, the film follows 19-year-old Bernard Chanticleer as he tries to emancipate himself from the grip of his overbearing parents. The film is an absurdist sex comedy, which deals with the romantic adventures of a young man who lives in New York.
With its modern production and solid performances, You’re a big boy now is a strong early effort from Coppola. The film adheres to the conventions of the romantic comedy genre, making it less adventurous than the director’s other movies. But despite its simplicity, it’s still fun to watch, and it’s a vital time capsule of early rom-coms.
18
Gardens of Stone (1987)
Coppola’s military drama does not rise to the level of Apocalypse Now
Francis Ford Coppola’s 1987 military drama, Game Gardens of StonesAppearing as a spiritual follow-up to the director’s classic Vietnam epic, Apocalypse now. The adaptation of Nicholas Proffitt’s novel of the same name follows a hardened war vet, played by James Caan, who is assigned to “The Old Guard” in Fort Myer, Virginia. This is the Honor Guard of the United States. it. Army and provides ceremonial guard for the funerals of fallen soldiers.
The film becomes a solemn, heartfelt requiem for a meaningless war and the many who lost their lives. unfortunately, Game Gardens of Stones is weakened due to the shadow of its predecessor. The film lacks the ambition of Coppola’s previous war flick And it might be better if it was released next to Coppola’s magnum opus.
17
Twixt (2011)
Coppola’s surreal fantasy borrows elements from his previous films
By far one of Coppola’s most bizarre, surreal and experimental works, tweaked was the last film of the great filmmaker before he took a hiatus, waiting 13 years to release his next film, Megalopolis. The story goes down on down on his luck novelist Hall Baltimore (Val Kilmer) when he tries to solve a murder in a small town where he was signing books. After that, a story is divided between reality and fantasy.
Although it is probably the Coppola work with the least mainstream appeal, It contains a number of his signature stylings, and references to previous works (his own as other classics) and to his own life (notably, the tragic death of his son, Gian-Carlo). It’s a strange cinematic experience, but one that’s also very rewarding for Coppola’s completion.
16
The Godfather Part III (1990)
The third instillation is much less impactful than the first two Godfather movies
While The Godfather Part III Certainly a step down from the previous two installments, the film is not without its merits. Coppola never wanted the film to be the third film in a trilogy, he saw it more as an epilogue. In fact, his original title for the film (and the title taken by his final cut of the film) was The death of Michael Corleone. Just as Part II links the Corleone family’s business to the Cuban Revolution in the 1950s, The Godfather Part III Continue the tradition by tying Michael’s storyline to the papal scandals of the late 70s and early 80s.
It is clear that for Coppola, the films were never just the story of an Italian-American mobster; The filmmaker is much more interested in the point of convergence of many themes (morality, religion, family) in the American experience. As such, despite Coppola’s regrettable decision to cast his daughter Sofia Coppola as Mary, the film serves as a fitting conclusion to the Corleone family tragedy.
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15
The Rainmaker (1997)
The rainmaker fills the audience with righteous indignation
Coppola’s 1997 adaptation of The rainmaker Stands out among the plethora of other John Grisham adaptations from the 90s. The movie stars Matt Damon as Rudy Baylor, a young law school graduate who goes up against an insurance company in the David vs. Goliath story. Although not necessarily as stylistically or narratively ambitious as Francis Ford Coppola’s other movies, The rainmaker emerged as a surprisingly effective legal drama about America’s failing insurance infrastructure.
The script’s humor helps to balance out the heavy themes, but it never feels like it makes light of the serious. The characters are also easy to relate to, deepening their impact on the audience. Finally, the power struggle in the movie makes The rainmaker Emotionally resonant.
14
The Cotton Club (1984)
Coppola reunites with his Godfather team for a less impressive movie
After the financial failure of his last few films, The Cotton Club sees Coppola reunited with his Godfather team, writer Mario Puzo and producer Robert Evans. The film marks the director’s return to modern gang violence as he tells the story of Michael “Dixie” Dwyer (Richard Gere), a musician who becomes a Hollywood star. Dixie soon finds herself caught in the crossfire of a gang war.
Similar to much of Coppola’s work in the 80s, He is perhaps more interested in making The Cotton Club a jazz-infused movie than in developing the intricacies of the plot. Therefore, the story is missing. The narrative flaws can also be attributed to the fact that the production company forced him to cut down his movie so that it would focus on the storylines of white characters instead of black characters (via Term). yet, The Cotton Club Still manages to offer an engrossing look at 1930s Harlem, and the director’s cut that Coppola released in 2019 fixes many of these issues.
13
Youth Without Youth (2007)
The drama leans into the weird premise while asking existential questions
In 2007, Coppola adapted Romanian author Mircea Eliade’s 1976 novel, Youth without youth. The film is a strange and mystical drama about a Romanian professor (played by Tim Roth) who, after being struck by lightning in 1938, finds himself destroyed. He then fled to Switzerland, pursued by Nazis, after developing psychic powers. Once there, he encounters a reincarnation of the love of his youth.
Youth without youth Marks the director’s return to filmmaking after a decade-long absence, and It is undoubtedly one of the most baffling and philosophically ambitious independent dramas of the 2000s. (Along with Coppola’s own tweakedof course). Youth without youth Lands in the middle when it comes to Coppola’s films, not because it’s lacking, but because the director’s other films stand out in terms of quality, story and style.
12
The Outsiders (1983)
Coppola’s SE Hinton adaptation is a staple of teen 80s movies
The aliens is Francis Ford Coppola’s first adaptation of an SE Hinton novel. The aliens Book and movie tell the story of two “Lubricate” who run away after killing a member of a rival gang. The film features an ensemble composed of young, up-and-coming actors such as Matt Dillon, Diane Lane, Emilio Estevez, Tom Cruise, Rob Lowe, and Patrick Swayze.
Through his enchanting depiction of Oklahoma’s dusty streets, dark moonlit nights and blue skies, Coppola crafts a sad coming-of-age story about a rebellious generation lost in crime and violence. The characters capture the angst of being a teenager without feeling overblown. Additionally, Coppola’s direction style in The aliens is praised for authentically presenting the story rather than manipulating audiences as many dramas do.
11
Tetro (2009)
Tetro revisits the theme of family dynamics
with TetroFrancis Ford Coppola returns to his roots with an intimate story about sibling rivalry and family legacy. The film follows Benny (Alden Ehrenreich) and his attempts to reconnect with his estranged older brother, “Tetro” (Vincent Gallo). The film’s focus on a sibling relationship and its black and white cinematography are reminiscent of Coppola’s earlier film, Rumble fishWhile the musical backdrop brings to mind One of the heart.
in this sense, TetroWhat Coppola has written feels very much like a return to many of the filmmaker’s signature themes and aesthetic interests. It’s clear how passionate he felt about the movie. On top of that strength, the film thrives because of the incredible performances of Vincent Gallo and Alden Ehrenreich.
10
One of the Hearts (1981)
Coppola’s romance shines because of its stunning visuals
One of the heart is perhaps one of the most visually stunning entries in Coppola’s filmography. It was also one of the filmmaker’s biggest flops and is the film that ended Coppola’s string of critical and commercial successes in the 1970s. One of the heart was published in 1982 and was not well received by critics who found the story lacking.
The movie follows Frannie (Teri Garr) and Hank (Frederic Forrest), an unhappily married couple who each experience a dream-like night of idealized romance away from the other. Hank ends up wandering the streets with a circus performer, and Franny spends the night with a charming waiter. Coppola uses the beautiful lights and bustling streets of Las Vegas as the backdrop for this stunning cinematic fairy tale.
9
Bram Stoker’s Dracula (1992)
The raunchy, violent comedy embraces campaigns
While many adaptations of Bram Stoker’s classic tend to strip the story down to its most basic gothic elements, Coppola revels in the campy excess of it all, drawing inspiration from exploitation thrillers. There is a lot of blood, gore and violence. sad, Bram Stoker’s Dracula was released in 1992 to somewhat mixed critical reception. While many applauded the film’s ambition and old-school approach to visual effects, others were put off by its weird tone and over-the-top atmosphere.
Despite the critical reception, Bram Stoker’s Dracula falls between the middle and the top when ranking Coppola’s movies. Gary Oldman’s performance, in particular, is a standout of the film. Coppola directed the actor to embody the Dracula myth as boldly as possibleresulting in a truly unique and unforgettable incarnation of the classic character.
8
Peggy Sue Got Married (1986)
Coppola’s teen comedy captures nostalgia for the 1950s
Peggy Sue got married is the story of the titular Peggy Sue Bodell (played by Kathleen Turner) who cheats on her 25-year high school reunion and finds herself transported back to her high school days in 1960. Predictable magical-realist comedy born of a gimmicky premise , Francis Ford Coppola’s focus on the melancholy nostalgia of it all really elevates the story.
Coppola wants the viewer to really feel what it was like to be a teenager in the 50sNot just laughing at the uncomfortable situations in which Peggy Sue finds herself. These are the elements that the film emphasizes.
7
The Rain People (1969)
The drama touches on important feminist themes
The rain people is certainly one of Coppola’s most underrated and Anderson films. Made in 1969, three years before the director would gain fame and acclaim with The godfather, The rain people is a minimalistic and grounded road movie that follows Natalie Ravenna (Shirley Knight) who decides one day to leave her husband, setting off on a road trip in her station wagon.
The film certainly fits in with the late 60s, New Hollywood indie dramas like Easy riderHowever Where The rain people Stands out in its intimate and emotionally poignant depiction of feminist issues. Throughout her journey, Natalie desperately tries to figure out her place in the world, a search for identity that unfortunately ends in tragedy.
6
Rumble Fish (1983)
Rumble Fish is one of Francis Ford Coppola’s most intimate movies
Rumble fish is clearly a passion project for Francis Ford Coppola. The filmmaker co-wrote the screenplay with SE Hinton, the author of the novel on which the film is based, and it was shot back-to-back with Coppola’s other Hinton adaptation, The aliens. While retaining much of the same cast (with the addition of Mickey Rourke as Motorcycle Boy), Rumble fish Differs significantly in tone and style from The aliens.
The coming-of-age drama is shot in black and white and features a quirky, experimental musical score By Stewart Copeland of the Police. The original story is depicted as a loose thread that Coppola uses to construct an avant-garde, atmospheric dream about youth and family.
5
Tucker: The Man and His Dream (1988)
The Preston Tucker biopic is a takedown of capitalism
Coppola’s loving depiction of the life of Preston Tucker, an entrepreneur set on designing his own car that comes into conflict with the “Big Three automobile manufacturers,“On the surface is a reasonably by-the-numbers Hollywood biopic, but beneath the dynamic and stylized period aesthetic lies a deeper message about Coppola’s own struggles in the film industry.
finally, Tucker: The Man and His Dream is a bleak indictment of capitalism’s tendency to protect the rich and crush individual creativity and passion. Interestingly, the movie resonates more decades after its release than it did initially, reflecting modern cynicism and anti-capitalist mentalities.
4
The Conversation (1974)
Coppola’s slow-burn thriller offers incredible performances
Coppola The conversation From 1974, is a thriller that launched the post-Watergate wave of American conspiracy movies (followed by films such as All the President’s people, The parallax viewAnd Three days of the condor). The film follows a surveillance expert who finds himself embroiled in a political conspiracy of some kind when his sound recordings reveal a murder. The conversation is, in some sense, a remake of Michelangelo Antonioni’s 1966 classic Blow-upExcept with health surveillance instead of photography.
The film is a masterful portrait of a nation divided by the kind of paranoia that takes root when you can no longer trust the authorities. While Francis Ford Coppola’s filmmaking is brilliant, it is perhaps Gene Hackman’s performance as Harry Caul that really carries the film’s slow-burn narrative. The conversation In an edge-of-your-seat thriller that only became more relevant with time.