Brad Pitt's 10 Best Movies
In this week's Total Recall, we count down the best-reviewed work of the Fury star.
Today he's one of the most bankable movie stars in Hollywood, and one of the few actors audiences will pay to see no matter what sort of role he's playing -- whether it's action, drama, or comedy the script calls for, having Brad Pitt's name above the title is about as close as anyone can come to a guarantee for a hit film. Not so long ago, however, Pitt was just another good-looking dude with enough gumption to work his way into a steady stream of TV shows and bit parts in movies. He's come a long way, for sure, and to celebrate his latest starring role -- in David Ayer's Fury, opening this weekend -- we decided the time was right for a brand new Brad Pitt edition of Total Recall.
On the surface, it looks like just another buddy cop movie -- in fact, with its "retiring detective partnered with unorthodox rookie" setup, it could have been a Lethal Weapon ripoff. Of course, as we all now know, David Fincher's Seven brought its own dark twist to the genre, plunging the viewer into a bottomless pit of sorrow, rage, and moral decay -- and ultimately refusing to help them climb out at the end. With Fincher's amped-up direction, Darius Khondji's gripping cinematography, and mesmerizing performances from Morgan Freeman and Kevin Spacey, Pitt could conceivably just shown up to take a paycheck without damaging Seven too much, but instead, he helped take it to another level, using his youthful good looks -- and his character's mounting horror and confusion -- as a painful visual analogy for the brutal loss of innocence and compassion suffered by everyone in the film. Though some critics took issue with Seven's constant gloom and grisly violence, most scribes echoed the sentiments of Netflix's James Rocchi, who called it "a harrowingly bleak vision that haunted me in the theatres and made my flesh slick with fear even on this recent re-viewing."
9. Fight Club
He started the 1990s on a hot streak, but by the end of the decade, Pitt was suffering through a bit of a slump, appearing in a string of critical dogs (Seven Years in Tibet, The Devil's Own, Meet Joe Black) whose box office tallies reflected their disappointing reviews. But just when the naysayers were ready to write him off as an expensive hair model who couldn't break a movie, Pitt rebounded with Fight Club, a reunion with Seven director David Fincher that paired Pitt with Edward Norton in an adaptation of Chuck Palahniuk's hit novel. Though some critics found the film's overpowering violence and homoerotic overtones repugnant (New York Magazine's Peter Rainer, for one, dismissed it as "the squall of a whiny and essentially white-male generation that feels ruined by the privileges of women and a booming economy"), most writers responded to Fight Club's social criticism and thought-provoking themes. In the words of ReelViews' James Berardinelli, it's "a memorable and superior motion picture -- a rare movie that does not abandon insight in its quest to jolt the viewer."
Critics have a reputation for turning up their noses at escapist fare, but when it's done right, most scribes have no problem saying so -- as they did in 2001, with the Certified Fresh Ocean's Eleven. A loose remake of the 1960 Rat Pack feature of the same name, Eleven blended the original with the nod-and-a-wink light touch of The Sting, giving its high-wattage cast free rein to essentially goof off for 116 minutes -- and audiences, who hadn't been treated to a real all-star caper since 1984's woeful Cannonball Run II, turned out in droves. Pitt's turn as the food-obsessed Rusty Ryan gave him an opportunity to flash the pearly whites and old-fashioned Hollywood cool that he'd played down in recent projects such as Seven Years in Tibet or Fight Club, and helped charm critics like Rolling Stone's Peter Travers, who wrote, "forget Oscar, Ocean's Eleven is the coolest damned thing around."
An adaptation of Norman Maclean's semi-autobiographical book of the same name, A River Runs Through It arrived on screens with a pretty stellar pedigree -- director Robert Redford had won an Academy Award for his first effort, 1980's Ordinary People, cinematographer Philippe Rousselot (who would win his own Oscar for River) was highly regarded for his work in French cinema, and musician Mark Isham brought his Grammy-winning talents to the Oscar-nominated score. The result, as you might imagine, was a visually sumptuous film -- one whose stunning vistas bowled critics over even as they yawned through its languid pace and shrugged at its simple presentation of a Montana family's multi-generational dynamic (as TV Guide wrote, "it's hard to get excited by fisherman casting their lines into the water"). Still, in spite of its lack of flash, River afforded Pitt an early opportunity to work with some tremendously talented individuals, and proved he was more than just the cowboy-hatted hunk he portrayed in Thelma & Louise. Caryn James of the New York Times was suitably impressed, writing, "here are two things I never thought I'd say: I like a movie about fly fishing, and Robert Redford has directed one of the most ambitious, accomplished films of the year."
By the time Thelma & Louise was released in 1991, Brad Pitt had been around for a few years, notching roles on the big screen (blink-and-you'll-miss-him appearances in No Way Out and Less Than Zero, as well as topline billing in the low-budget horror flick Cutting Class) and surfacing repeatedly on television (most notably via recurring gigs on Dallas, Growing Pains, and Fox's quickly canceled Glory Days). However, it was his turn as J.D., the impeccably coiffed, frequently shirtless con man who fleeces Thelma and Louise, that put Pitt over the edge, turning him from a somewhat familiar face into a bona fide sex symbol. It was a performance so well-regarded -- albeit mainly by Pitt's solidly female target demographic -- that not even Johnny Suede and Cool World could keep him from imminent superstardom. Of course, it didn't hurt that Pitt's breakout role came as part of a movie that inspired waves of praise from critics like Matt Brunson of Creative Loafing, who wrote, "this beautifully realized picture remains a trenchant, almost mystical slice of Americana."
Nothing gets a cineaste's anticipation humming like news of a new Terrence Malick film -- and since Malick is nothing if not deliberate, we had plenty of time to hum over Tree of Life. Originally announced in the wake of Malick's 2005 effort The New World, it tumbled down the release schedule throughout 2009 and 2010 before finally bowing in May 2011 -- all 139 inscrutable minutes of it. The product of Malick's progressively harder-to-contain ambition, Life took viewers from the dawn of life to the 21st century, leaving plenty of room for solid acting from Pitt and Jessica Chastain -- as well as hosannas from critics like Salon's Andrew O'Hehir, who deemed it "a noble crazy, a miraculous William Butler Yeats kind of crazy, alive with passion for art and the world, for all that is lost and not lost and still to come."
4. 12 Monkeys
Though his film roles to that point had, for the most part, required him to do little more than look good, Pitt's turn in the Terry Gilliam-directed 12 Monkeys -- coming on the heels of his eye-opening appearance in Seven earlier in the year -- proved that he not only had good taste in scripts, but the talent to back it up. As the institutionalized activist Jeffrey Goines, Pitt tapped into a nervous energy he'd never been asked to draw on, holding his own against Bruce Willis and helping the twisty dystopian sci-fi thriller become one of 1995's biggest surprise hits. Though it would be some time before Pitt starred in another movie that earned this kind of critical affection, after 12 Monkeys, the critics knew he wasn't just another pretty face. As Desson Thomson of the Washington Post wrote, "Willis and Pitts's performances, Gilliam's atmospherics and an exhilarating momentum easily outweigh [its] trifling flaws."
Generally speaking, an actor doesn't get many chances to play a character named Aldo -- and an actor also doesn't have many opportunities to work with Quentin Tarantino. So when Tarantino came to Pitt with the role of the cheerfully violent Nazi-hunting Lieutenant Aldo Raine in Inglourious Basterds, he clearly knew better than to say no. The result was a tense, colorful, funny, and terribly bloody World War II revenge fantasy that set loose a terrific ensemble cast (including Christoph Waltz and Michael Fassbender) in a spellbinding parallel dimension. Argued the Miami Herald's Rene Rodriguez: "Inglourious Basterds transcends the war genre to become its own kind of unique picture: A bloody blast of pure movie bliss."
2. True Romance
Take Christian Slater, an Arquette, and the guy who directed Beverly Hills Cop II, and nine times out of 10, you probably aren't going to get a film that tops any sort of critically themed list, let alone one that inspires a writer like Peter Canavese to crown it "a hall of fame guy's movie" -- but the exception proves the rule, and 1993's True Romance is that exception. Slater and Patricia Arquette are the stars of this cult classic action flick, which boasts a Tarantino script and noteworthy supporting turns from (among others) Dennis Hopper, Val Kilmer, Gary Oldman, Christopher Walken, and Bronson Pinchot; it's Brad Pitt's few minutes as the epically stoned Floyd, however, that steal the show, sprinkling a few much-needed belly laughs between the bursts of gunfire. Such was Floyd's influence that he served as the inspiration for 2008's Pineapple Express. And for good reason: Not only was he industrious enough to figure out an exciting new use for an empty honey container, he was cool enough to threaten a room full of shotgun-wielding Mafia henchmen with death. (We never said he was smart.)
As a (freakishly entertaining) by-the-numbers account of how the Oakland A's used newly adapted metrics to turn conventional baseball wisdom on its head, Michael Lewis' Moneyball seemed like one of the least cinematic bestsellers to have its film rights optioned by a major studio -- and after directors David Frankel and Steven Soderbergh departed the project, it looked like it might be destined for the scrap heap. But with Bennett Miller behind the cameras and Pitt lending his rumpled charisma to the role of A's GM Billy Beane -- not to mention an Aaron Sorkin screenplay -- it ended up being not only a six-time Academy Awards nominee, but a $110 million box office hit. "Baseball fans know this story," admitted USA Today's Claudia Puig, "but Miller puts it all in fascinating context. This is a thinking person's baseball movie, a more complex version of the inspirational sports story."
In case you were wondering, here are Pitt's top 10 movies according RT users' scores:
1. Fight Club -- 96%
2. Se7en -- 95%
3. Snatch -- 94%
4. True Romance -- 93%
5. Twelve Monkeys -- 88%
6. Inglourious Basterds -- 87%
7. Legends of the Fall -- 87%
8. Interview with the Vampire -- 86%
9. Moneyball -- 86%
10. A River Runs Through It -- 84%
Finally, here's a young Pitt making a pitch for Levi's: