Every Seann William Scott Movie Ranked

It's really more a question of who isn't in the notoriously bad "Movie 43" rather than who is, so perhaps it was inevitable that Seann William Scott would pop up. Featuring a host of A-listers, the 2013 anthology movie presents several interconnected short films linked by the encompassing concept that they're all movie pitch ideas from Charlie Wessler (played here by Dennis Quaid). The real Wessler produced the much-maligned film, memorably described as "the 'Citizen Kane' of awful" by critic Richard Roeper.

Scott and his "Dukes of Hazzard" co-star Johnny Knoxville play roommates Brian and Pete in the segment titled "Happy Birthday," where the pair fall afoul of a potty-mouthed leprechaun (Gerard Butler) and his equally obscene brother (also Gerard Butler). In a film that consistently plums the depths of poor taste, Scott's segment is undeniably one of the worst — its only saving grace is that he and Knoxville do have good on-screen chemistry. "Movie 43" has little to no redeemable qualities, but at least it had the sense to cast Scott and Knoxville as a couple of blockheads, given their proven experience in similar roles.

The remake that no one was asking for, "The Dukes of Hazzard" took its inspiration from the '70s TV show, yet it bore very little resemblance to the original series. Here, cousins Bo (Seann William Scott) and Luke (Johhny Knoxville) — along with their younger relative, Daisy (Jessica Simpson) — strive to protect their family's land and the wider county from corrupt lawmakers. While the plot doesn't sound dissimilar to an episode of the hit show, the film tends to favor endless car chases and overly gratuitous shots of the famous short shorts over anything more meaningful.

The result is something that feels incredibly shallow, and not even the natural chemistry of Knoxville and Scott can save it. It's hard to fathom that anyone in 2005 was crying out for a new version of "The Dukes of Hazzard," and the whole thing feels like a wasted exercise, a shameless attempt to capitalize on an existing property with little thought given to its purpose.

Seann William Scott may have made his name in comedies, but his later career has seen him take on more serious dramatic roles, like in this Keanu Reeves-produced 2019 drama. In "Already Gone," Scott plays Martin, the abusive stepfather of Robinson (Tyler Dean Flores). Tired of living in fear, Robinson runs away with his stepfather's girlfriend, exotic dancer Keesha (Justine Skye), who had also been subject to Martin's abuse.

Robinson and Keesha may seem like unlikely companions, but they find in each other the hope of overcoming their shared traumas ... or so we might think. The film is pretty bleak — even after it leaves Martin behind to focus on the teen's burgeoning romance — but it ultimately fails to be interesting enough to leave an impact. Martin remains a looming threat throughout, and his reappearance towards the end of the film provokes an interesting conversation on the codependency of abusive relationships, but the film doesn't take the time to examine this. While proof that Scott is capable of taking on meatier roles, he isn't given enough time to cement this, and the result is a film that is as forgettable and fleeting as the title would suggest.

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A film that sells itself on "that person's name is funny" should come with the lowest of expectations anyway, but even so, 2007's "Mr. Woodcock" manages to be even more disappointing than you would anticipate. Seann William Scott plays John Farley, a bestselling author who is shocked to learn that his mother (Susan Sarandon) is marrying his high school gym teacher, Mr. Woodcock (Billy Bob Thornton). As a boy, John was one of the many students victimized by Woodcock, and this experience spurred him to write motivational books about overcoming past traumas.

In better hands, "Mr. Woodcock" had the potential to explore the long-term impact of bullying and how this shapes a person in their adult life, while still reveling in the absurdity of your mom dating your former teacher. Instead, it features an abundance of crass humor and phallic jokes, as John and Woodcock compete in a series of challenges to try and knock the other down a peg or two. There is some reconciliation between the pair at the end, but it skips over the notions of generational trauma and toxic masculinity in favor of unnecessary posturing. Perhaps we're expecting a little too much from a film that has a crude joke in its title, but it is nonetheless disappointing.

There's a strange trend in Seann William Scott's career that sees him star in a multitude of copycats that pale in comparison to the movies that inspired them, from "Bulletproof Monk" trying and failing to be "The Matrix" to every post-1999 raunchy comedy imitating "American Pie." This places Scott in the unfortunate position where he is starring in films that are already on the ropes and many of the jokes are already wearing thin. Such is the case with 2009's "Balls Out: Gary the Tennis Coach," a film that shamelessly piggybacks on the goodwill of surprise hit, "Dodgeball: A True Underdog Story." Scott plays the janitor-turned-tennis coach Gary, who is tasked with training up a bunch of aspiring young tennis players.

There are elements of the underdog story that do succeed, but it is lacking the crucial element that made "Dodgeball" work: likable characters and good humor. Like so many of Scott's other films, "Balls Out" is supremely stupid and puerile, with a lack of consistent jokes. Adding kids into the mix offers the opportunity to be endearing and uplifting, but "Balls Out" instead relies on gross-out gags with no heart to provide the balance.

Not to be confused with the 2000 comedy starring Seann William Scott's "American Pie" co-star Jason Biggs, "American Loser" is a low-budget black comedy that sees Scott branch out a little from the one-dimensional loudmouths he was known for. Jeff (Scott) may have been brought up in a wealthy household, but that doesn't seem to stop him from doing everything possible to screw up his own life. Relying on his mom (Deirdre O'Connell) for money, Jeff battles alcoholism before eventually getting sober — but even then, he can't seem to catch a break, and his life becomes one mishap after another. When Jeff meets Lynn (Gretchen Mol), however, he finds his purpose and seeks to make a better life for them both.

As a figure of ridicule trying to prove his worth, Jeff becomes a surprising emblem for Seann William Scott himself, and "American Loser" provides the actor with the chance to show he has more depth than his previous roles have afforded him. While the film is lacking in nuance, it is nonetheless a surprisingly enjoyable tragicomedy.

Largely due to "Scream" in 1996, teen slasher movies enjoyed a resurgence in the decade that followed, and "Final Destination" remains one of the best examples. Alex (Devon Sawa) is moments away from his flight leaving the airport when he experiences a terrifying premonition: The plane is going to explode and kill everyone on board. After creating a scene, Alex — along with some of his classmates and a teacher — is removed from the plane, and they watch in horror as the premonition is proven true. Not realizing the consequences of their actions, the group tries to carry on as normal, but death soon catches up with them.

Seann William Scott plays Billy Hitchcock, one of Alex's fellow students who is caught up in the tussle and taken off the plane. Not only does Scott have the best reaction to seeing the plane crash, but he also has one of the most iconic death scenes, narrowly avoiding being hit by a speeding train before being decapitated by a piece of shrapnel. "Final Destination" doesn't reinvent the wheel, but unlike most slashers, this film is without a masked killer, which gives it an air of unpredictability and some ridiculously inventive kills. Like "Scream," "Final Destination" proved it had a good enough premise to justify several sequels, with the most recent installment released in 2011 and "Final Destination 6" rumored to be in the works.

Seann William Scott doesn't seem like the most obvious choice to play a serial killer, but maybe that is what makes the concept of this horror mystery so appealing. From the outside, Evan (Scott) appears to have a great life, holding a steady job as a social worker with a wife and a new infant son. Beneath the seemingly ordinary façade, however, he hides a dark and twisted streak. Through his work with vulnerable kids, Evan embarks on a bloodthirsty revenge mission, seeking out and killing the adults responsible for abusing them.

Produced by Blumhouse, "Bloodline" has a thoroughly nasty streak that perfectly contrasts with the fact that Evan is behaving like a Robin Hood grim reaper, playing the quintessential antihero by striking off those who have committed heinous acts themselves. While critical reactions were mixed, many agreed that Scott's performance was the standout element of the film. Variety's Dennis Harvey said it "confirms that Scott shouldn't have stopped starring in movies when he aged out of the cinematic frat house."

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As is the case with almost every movie in the View Askewniverse – the world created by Kevin Smith — there is the sense that "Jay and Silent Bob Strike Back" is one big inside joke that not everyone is allowed in on. If you are in on it, however, this film will tick all the boxes. It sees Jay (Jason Mewes) and Silent Bob (Kevin Smith) in a meta-adventure — via some of the other View Askew movies — to stop Hollywood from making a movie about them.

Seann William Scott pops up along the way as animal activist, Brent. In what you can only imagine is a deliberate move on Smith's part, Brent chastises Jay for his foul language and the vulgar way he talks to the girls he is with — in direct contradiction to Scott's potty-mouthed roles — before being tricked into making a lewd confession regarding sheep. Scott's role in "Jay and Silent Bob Strike Back" is little more than a cameo, but it is worthy of inclusion for so pointedly putting him in the role of the goody-two-shoes.

Whether it is "Jay and Silent Bob Strike Back" or "Super Troopers 2," Seann William Scott has consistently proven that he only needs one scene to make a big impact. Perhaps the best example of this comes in 2003's "Old School" when Scott has a memorable interaction — and mullet — in a scene with Will Ferrell. The film focuses on three 30-something best friends who relive their college days after attorney Mitch (Luke Wilson) moves into a new place following the breakdown of his relationship.

The concept of "Old School" is great in and of itself, but when you also have comedic heavy-hitters like Will Ferrell, Vince Vaughn, and director Todd Phillips involved, you know you're onto a winner. As well as all the raunchy, immature antics, the film also gives us something to ponder regarding the idea of lost youth and how the desire to go back to the glory days can deter one from maturing. Crucially, it is really dumb and very funny ... and Scott's mullet is arguably worth the admission alone.

Whereas Seann William Scott's face could be seen everywhere in the '00s, these days he seems to be much more selective with his roles. They may not be as high profile, but he's taking on much more interesting and gritty characters, as evidenced by his appearance in 2023's "The Wrath of Becky." This sequel to the 2020 film "Becky" sees the titular teenage girl (Lulu Wilson) embarking on a bloody revenge mission after a group of incels attack her home and steal her dog.

Your brain might immediately leap to "John Wick," and you'd be on the right path, as "The Wrath of Becky" seems to delight in having a similar premise to that movie. However, where "John Wick" has evolved into a sprawling action franchise, this movie keeps things simple, and the result is something that is gory, fun, and incredibly cathartic. The star of the show is Lulu Wilson, but Scott is genuinely convincing as the ringleader of the extremist "Noble Men" group. Perhaps, like fellow '90s and '00s star Brendan Fraser, we could be on the brink of a Seann William Scott renaissance. If this film is anything to go by, then that's a really good thing.

"American Pie" has its critics and it is unquestionably of its time, but "American Pie" was a huge cultural touchpoint in the late '90s, launching a revival of the raunchy teen sex comedy in a big way. Jim (Jason Biggs), Kevin (Thomas Ian Nicholas), Oz (Chris Klein), Finch (Eddie Kaye Thomas), and Stifler (Seann William Scott) are on the brink of adulthood, but there's a huge problem: All of them (except Stifler) are virgins. With their hormones and libidos raging, the film explores the ups and downs of the group's conquests.

Often led — or perhaps misled — by Stifler's interjections, the unlucky-in-love quartet desperately tries to woo the girls at their school. Stifler is usually on the periphery of the main action, but he steals the film with some of the crassest and most outrageous lines. This was Scott's breakout role, one which — for better or worse — became the reason the actor was predominantly typecast in similar characters for the majority of his career. Nevertheless, this film and this character — whom Scott reprised in three of its sequels — are what many still associate with Scott, and there is something to be said for that to continue to be true all these years later.

As hockey fans will know, fighting is an intrinsic and entertaining part of the game, and there are often players who are selected as much for their scrapping abilities as their proficiency on the ice. Based on the true story of Doug Smith, "Goon" sees Seann William Scott take on the role of nice-but-tough Doug Glatt, whose mean right hook propels him from the bar to the rink. It is a film that pulls no punches and is surprisingly brutal and bloody in places. Yet it also manages to be incredibly endearing, transcending the clichés of the sports movie genre to become something completely different.

Despite favorable critic reviews, "Goon" bombed at the box office. However, it is still widely regarded as Scott's best performance, perfectly balancing crudeness with heart, and evoking genuine sympathy. Doug is not necessarily the easiest character to portray, and is certainly a distance away from some of Scott's more one-dimensional characters. As well as having to convincingly play Doug as a tough-as-nails enforcer, Scott also has to portray his softer side — one that is polite and easy to root for — and he sells this completely.