Gary Ross is one of the most fascinating filmmakers of the 21st Century. While certain directors like Quentin Tarantino and Wes Anderson have developed such unique stylistic qualities that any of their new projects instantly bear the hallmarks of their past work, Ross seemingly fluctuates between different genres and tones with ease. The five films that he has directed thus far are all completely different; many film fans may be surprised to connect the dots and realize that they all came from one creative mind. Ross’ filmography includes one of the most charming fantasy dramedies of the 1990s, a biopic that earned many Academy Award nominations, the first installment in one of the biggest young adult franchises, a historical drama featuring Matthew McConaughey, and a reboot of a classic heist series.
While it’s impressive that some directors have essentially established their own genres, it’s equally notable that Ross has been able to fluctuate between different styles with such ease. Few filmmakers have the chance to work on such a versatile slate, and Ross has shown that he approaches each new challenge with the same commitment. While he recently discussed the resonant themes of his major dystopian franchise, Ross sadly does not have any upcoming projects as a director, as he chose not to helm any sequels. Here is every Gary Ross film, ranked worst to best.
5 Free State of Jones
Free State of Jones should have been a gripping, emotional historical epic worthy of serious award season attention, but instead it’s an overlong, dull flop that doesn’t harness the true power of an incredible true story. It’s sad that the film is so flawed, because it tells an essential and fascinating story that few people were aware about prior to its release; set within the Civil War, Free State of Jones explores the life of the farmer Newton Knight (McConaughey), who led an independent colony in Mississippi against the Confederacy. Jones opposed slavery and swear loyalty to the Union.
While this is a great premise, Ross chooses to focus on Knight’s entire life rather than just a few critical events. While the early scenes he shares with his wife (Keri Russell) aren’t poorly acted, they’re just not as essential; similarly, an entire section after the end of the war when Knight protests for the right of all citizens to vote regardless of race feels like it should have been the basis for an entirely different movie.
Even more distracting are sequences that flash to Newton’s great-grandson, Davis Knight, in the 1940s when he’s put on trial for his mixed race heritage; these cuts are so awkward and unsubtle that they feel like the cutaways from Family Guy. In all likelihood, Free State of Jones would have made a much better miniseries, as the film feels like its skimming through the highlights of history rather than actually unpacking it.
4 Ocean’s Eight
The Ocean’s franchise is a very odd one. While the original 1960 film is certainly iconic thanks to the involvement of the Rat Pack, it’s not a very well-made project, and coasts on the charm of Dean Martin instead of actually developing a compelling heist and execution. Steven Soderbergh’s 2001 remake was far superior in every way, and his 2004 sequel Ocean’s Twelve is an underrated gem that explored the nature of star power through a meta narrative. Ocean’s Thirteen is a more mainstream comedy, but it’s so much fun that it feels like it’s of the same quality as its two predecessors.
Warner Bros. was desperate to rework the franchise in some way, and Ocean’s Eightwas positioned as a spinoff that focused on Danny Ocean’s (George Clooney) younger sister Deborah (Sandra Bullock), who assembles her own team of women thieves to work a new con. In reality, there’s really no need for a connection with the Ocean’s brand at all; Ocean’s 8 could have just been another heist movie based on an original story, as they’re such a common genre in of themselves.
Unfortunately, the references to the original trilogy only weaken the film, and feel like desperate events to remind the viewer of something familiar. The strange decision to kill Danny off screen and have Deborah reflecting on this just feels disastrous, and it detracts from giving the new characters interesting things to do. Cate Blanchett, Sarah Paulson, and Mindy Kaling in particular give really fun performances that barely get any screen time; what adds insult to injury is an extended section during the ending featuring James Corden. It’s sadly a waste of a great cast.
3 The Hunger Games
The Hunger Games is one of the few young adult franchises after Harry Potter that actually delivered, even though the films were uneven in quality. Francis Lawrence took over the series for the final three installments, which was probably for the best considering that Ross didn’t really capture the tone. His film is quite dark and intense, but doesn’t delve as deeply into the satirical elements. It’s oddly a film that wants to luxuriate in the action sequences while it condemns them, and the shocking level of violence doesn’t hit home emotionally when the performances from Jennifer Lawrence and Josh Hutcherson are so flat.
2 Seabiscuit
Seabiscuit is one of the most forgettable Best Picture nominees of the 21st Century; in a year when it was contending against The Lord of the Rings: The Return of the King, Mystic River, Master and Commander: Far Side of the World, and Lost in Translation, it’s clearly an oddball. The film isn’t bad, as the story itself is very interesting and tells an inspirational true story about the power of one victory for a small community. Ross does a great job capturing the period aesthetics, and the result is an enjoyable, yet not very memorable biopic.
1 Pleasantville
Pleasantville is simply a delight. The nostalgic romantic comedy follows a brother (Tobey Maguire) and sister (Reese Witherspoon) that are transported to the world of a 1950s sitcom, only to insert significant changes when they’re exposed to the antiquated rules of the world. It’s a charming, layered satire of 1950s values that explores societal stigmas in a gentle and endearing way.
This story originally appeared on Movieweb
