More so than any other New Hollywood director, Francis Ford Coppola's filmmaking career has been one of phases.
In the 60s, he was another up-and-comer ready for the industry boom that would catapult him to greatness; in the 70s, he dominated cinema with a series of epic classics, giving the movies their best decade of artistic vision; in the 80s and 90s, he pushed himself to new limits with varying levels of success; and in the 00s, he came back with a vengeance after a long absence, hoping to experiment with the craft like never before.
Each era of Coppola's career is radically different and easily distinguishable from the last. But one thing that has always been the same is his daring. Coppola has always made the films he wanted, whether they were destined to fail or not, with many of them following the similar theme of an outsider looking in on the American Dream.
Coppola's films are known for their scope, their influence and - unfortunately - their inconsistencies. For this list, we're taking a look at the veteran filmmaker's long and frequently marvellous career, and attempting to figure out which of his movies is the best of them all.
Ignoring his regrettable and forgotten film debut - the soft core Tonight For Sure (1962) - here's every Francis Ford Coppola movie ranked worst to best.
23. Jack (1996)
After Jack was released to viciously negative reviews in 1996, Coppola went on record to say he thought the film was both "sweet and amusing." Watching it all this time later, though, it makes you wonder how the director of The Godfather was roped into making a painfully distasteful comedy about a 10-year-old (Robin Williams) who ages faster than other kids.
Jack is basically like Big, only it somehow features even less tact and disturbing character interactions, particularly when it comes to the women (Jennifer Lopez, Fran Drescher) who move in and out of his life with bizarre innuendoes and inappropriate lingering.
Try as he might, Williams' usual levels of charm are woefully miscast here, and Coppola's hope of creating a "sweet and amusing" film about childhood is simply dead on arrival.