Ranking Every Ron Howard Feature Film From Worst To Best

When it comes to directors with impressive resumes, none are quite as fascinating as Ron Howard. Howard has dipped his artistic toes into many cinematic ponds: Oscar-winning dramas, all-out comedies, extravagant fantasies, and more. Plus, Howard has worked with some of the most talented individuals in the businesses, including Tom Hanks, George Lucas, Tom Cruise, Russell Crowe — the list just goes on and on. With his ability to take risky projects and turn them into crowd-pleasers, Howard has proved he's more than just the guy who played Richie on "Happy Days."

Yet, with such an impressive filmography (and we're not even counting his documentaries, TV work, or shorts), it can be hard to decide which movies of Howard's to watch. But have no fear — this list is here to solve such a dilemma. Starting with the not-so-great and going all the way to the best-of-the-best, let's take a look at the feature-length narrative films that have made Ron Howard the powerhouse director he is today. 

Howard's most recent feature film, "Hillbilly Elegy" is a book-to-movie adaptation based on the bestselling memoir by J.D. Vance. The story depicts J.D.'s life through significant events, detailing the drama within his Appalachian family, including his mother (Amy Adams) and grandmother (Glenn Close). While the film features a cast full of powerhouse performers, Howard doesn't know the correct way to bring this unique family to life on the big screen without making it cringeworthy.

With over-the-top performances that make the characters feel like condescending stereotypes and result in one-dimensional portrayals, "Hillbilly Elegy" is an almost cartoonish take on what otherwise could have been a captivating story to watch on screen. As it is, it comes across like a parody of an Oscar-winning film inside of a Christopher Guest sketch. With talent like Glenn Close leading the charge, it's frustrating to see the potential in "Hillbilly Elegy" fall to the wayside.

Despite its length, it seems like Hollywood can't find any new angles on "Moby Dick." "In The Heart of the Sea," in which Howard (along with screenwriter Charles Leavitt) adapts Nathaniel Philbrick's non-fiction book about the event that inspired Herman Melville's classic novel, is an exception. However, while that story might sound fascinating, Howard drives this cinematic ship into some ultimately bland waters.

Slogged down by its clumsy pacing, Howard seems more interested in the human struggle of the ship's crew, as opposed to what most audiences want to see in a movie like this: grand, exciting, whale-sized naval adventures. Even Chris Hemsworth and Cillian Murphy's impressive talents can't make up for Howard's dull approach. "In The Heart of the Sea" should be just as appealing to viewers as it was to Melville, but Howard's movie, while visually striking, doesn't have the grandeur the subject material deserves.

Released in 2003, "The Missing" stars two unique talents (Cate Blanchett and Tommy Lee Jones) in a movie that is way below their and Ron Howard's abilities. The story, based on true events, revolves around a renegade group of Native Americans who steal young girls and sell them into slavery. Yet, unlike other similar tales of ladies in need of rescuing, this revisionist Western leaves it up to a woman, her estranged father, and her youngest son to save her teenage girl from harm.

While Howard tries to push the plot in a modern direction, "The Missing" ultimately fails due to its lackluster approach to an otherwise interesting story. And while it's nice to inject a female perspective (and empowerment) into a genre that desperately needs it, "The Missing" is an example of a movie that — yet again — doesn't have the confidence or focus of Howard's best work, resulting in a sometimes frustrating piece of cinema.

The second of Howard's Dan Brown adaptations, "Angels & Demons" is another Robert Langdon yarn full of religious imagery, mystery, and ridiculous information dumps. But what makes "Angels & Demons" significant in this trilogy is its inclusion of an over-the-top battle between the Illuminati and the Catholic Church. And while Howard does spice up this movie in comparison to its predecessor, the end result is as odd as the first installment.

Although "Angels & Demons" has more likable qualities than "The Da Vinci Code," including an even better cast and stronger pacing, it still suffers from the same issue as all of Howard's Dan Brown movies: there's too much. Too much exposition, too much focus on scenes between characters without any chemistry, and too much questionable CGI. It's commendable that Howard put a bit more effort into making this one entertaining, but "Angels & Demons" is far from a home run.

With its sweeping visuals and lush romantic aesthetics, "Far and Away" has quite a legacy. Not only is it remembered for its 140-minute runtime, but it also stars the then-real life couple Tom Cruise and Nicole Kidman. And while the stars' off-screen relationship didn't last, the timeless quality of their on-screen chemistry in this movie never seems to fade.

Yet, if you push Cruise and Kidman's fantastic teamwork aside, what "Far and Away" is left with is a clunky three-act structure, some hilariously questionable Irish accents, and subplots that grind the film to a halt. Still, it's delightful to see how much Howard thrives making lush period dramas, especially during the film's memorable battle sequences. Although it's a flawed effort, Howard's achievements here outweigh the film's clumsier elements.

Pairing Howard with his frequent '80s collaborator Michael Keaton, "Gung Ho" is a comedic look at what happens when an American auto manufacturing plant is acquired by a Japanese company. A business deal that seems like a great move at first slowly becomes a test of cultural differences for everyone involved. The result? A film that has its heart in the right place, yet focuses (like many movies of the '80s do) on the "weird" behavior of its Asian characters.

Sure, there's no denying that Ron Howard's signature blend of quirky yet sweet storytelling ultimately works. However, "Gung Ho" is yet another example of how Hollywood went out of its way to make Asians ridiculous caricatures in the '80s. And although the film contains a fantastic performance by Gedde Watanabe, who elevates the questionable script, that doesn't save this movie from becoming even more dated as the years go on.

The first of Howard's three collaborations with Michael Keaton, "Night Shift" is a movie with an odd premise but an equally fun payoff. The story revolves around two morticians, one a timid employee (played by Howard's "Happy Days" co-star, Henry Winkler), and the other his charismatic co-worker (Keaton) who wants to take risks and shake up the establishment. His plan? To start a side hustle by running a prostitution ring out of the morgue. As one could guess, this results in some ridiculous, sitcom-level hijinks.

Although definitely not as good as many of Howard's future films, "Night Shift" is a great place for the then-young director to jump into the world of comedy. "Night Shift" doesn't contain the same laser sharp timing and focus of Howard's other laugh-a-minute productions, but the movie (written by Lowell Ganz and Babaloo Mandel) does show off Howard's budding talent in some wacky, off-beat, and ultimately memorable ways.

Released before reality TV shifted into its current form, "EdTV" tells the story of a simple guy, Ed (played by Matthew McConaughey), who gets picked to be the focus of a documentary TV series that details every moment of his life. The film then follows the public's fascination with Ed's romances, family, and the silly (yet ultimately truthful) drama that comes from becoming an entertainment fixture.

Though at its core it's a traditional rom-com, "EdTV" is a unique little movie that predicted trends in pop culture in fun and innovative ways. Although it might not be as thought-provoking as the "The Truman Show," which has a similar premise and came out around the same time, Ron Howard presents a quirky look at the TV industry that should be recognized more for its successes than its failures. Sure, at times, "EdTV" is a bit too ridiculous for its own good, but deep down, it's a movie that took some fascinating risks, ones that Howard should be remembered for.

Alongside a star-studded cast of Hollywood greats, Michael Keaton leads "The Paper," a fast-paced comedy-drama centered around the world of competitive journalism. The plot focuses on the murder of a group of businessmen visiting New York City, and examines the chaotic lives of those who cover the story for a tabloid paper. When the reporters discover that a police cover-up might be taking place behind the scenes, an already wild day gets even wilder.

Written by David and Stephen Koepp, there's a sharp and biting edge to "The Paper," one that Ron Howard captures with great excitement from start to finish. At times, "The Paper" feels a little a bit like Aaron Sorkin-lite, yet like any great Ron Howard movie, there's a humble aspect to the story's emotional core that's hard to dismiss. While "The Paper" might not be the most groundbreaking movie about journalism, it certainly is one of the most entertaining.

With an unlikely cast full of incredible character actors, "Cocoon" definitely ranks among Howard's most memorable films. Its plot focuses on a group of senior citizens who gain youthful energy because a group of aliens left cocoon-like structures at the bottom of their pool. There's a little bit more to it than that, of course, but the heart of the movie is what Ron Howard does best — a celebration of all of the characters' humanity.

Despite a somewhat out-there premise, the magic of "Cocoon" is in the performances that Howard captures. From Brian Dennehy's mysterious yet warm work to the hilarious and good-hearted talents of Don Ameche, Wilford Brimley, and Hume Cronyn, every actor in "Cocoon" really goes above and beyond, elevating what could have been a very silly movie. Howard makes it impossible not to fall for these characters and get swept up in the story at hand. The presentation of the aliens is very '80s, the musical score by James Horner is delightful, and there's an obvious charm to "Cocoon" that will never truly fade. 

Released amid Hollywood's fantasy craze of the '80s, "Willow" is a film full of risks that, for the most part, pay off. It tells the story of a prophecy in which a baby girl will take down the likes of an evil queen. However, she needs help from some unlikely heroes, including a roguish swordsman (Val Kilmer), a cursed sorceress (Patricia Hayes), and a young magician named Willow (Warwick Davis). Together, they form a party and, alongside other creatures and warriors, work together to defeat Queen Bavmorda (Jean Marsh) before she gains full power.

With a story by George Lucas, "Willow" works because it mixes the most conventional and unconventional aspects of fantasy stories and presents them in a delightfully unusual package. Even though "Willow" suffers from a lengthy runtime and some awkward pacing, Ron Howard ultimately triumphs. He provides a charming balance of adventure, thrills, comedy, and genuine emotion, creating one of the most under-appreciated films of all time.

Focusing on the drag-out world of Formula One racing, "Rush" is easily the biggest hidden gem on Howard's filmography. The biographical film tells the story of the rivalry between James Hunt (played by Chris Hemsworth) and Niki Lauda (Daniel Brühl), two drivers who competed against each other during the 1976 racing season. Although some fans might think that "Rush" is too sports-oriented, under Howard's guidance this becomes a movie that transcends the genre's usual faults.

With excellent cinematography by Anthony Dod Mantle, Howard captures the thrills of Hunt and Lauda's races as if we, the audience, are right in the middle of the action. As equally energetic are the magnetic performances of both Hemsworth and Brühl, who prove that they are more than just the blockbuster stars most people know them as. When blended with excellent editing and a '70's aesthetic, "Rush" epitomizes Ron Howard at his best and most confident as a filmmaker.

The movie that really made Ron Howard's film career, "Apollo 13" is a cinematic treasure. It tells the true story of the famous 1970 NASA mission, which ended only two days after blastoff due to a failed oxygen tank. With its endearing payoff, absolutely jaw-dropping depictions of space travel, and a memorable performance by longtime Howard collaborator Tom Hanks, "Apollo 13" is one of those once-in-a-lifetime movies.

To say that Ron Howard stuck the landing with this project — pun very much intended — would be a huge understatement. From the execution of its most intense sequences to the more intimate moments between its ragtag group of heroes, Howard perfectly captures the American pride that makes this story so powerful. Even for the most skeptical of filmgoers, it's near impossible not to fall under the spell of this earnest, classic piece of cinema. "Apollo 13" feels like a movie made in a bygone era, one that Howard clearly understands in the most genuine and passionate of ways.