35 Greatest Diane Keaton Movies Ranked Worst To Best

Diane Keaton has been in a plethora of films, but saying that doesn't truly describe her talents. Whether she was working in comedy (her bread and butter) or drama, odds are, a film was elevated by her presence.

Of course, not every movie stands as one of the greats, and even the greatest actors have one or two duds cluttering up their IMDb page. Sadly, Keaton is no exception, and her filmography is filled with movies that don't exactly use her talents to improve them in any real way. Not every film can be "The Godfather." Sometimes, an actor has to take on a role to pay the bills ... at least, we hope that was her reason for signing onto "Look Who's Talking Now."

Keaton has dominated her craft for over 50 years, and most of her movies are incredibly well done. The films on this list are the greatest she's been in, listed from worst to best. With so many movies straying into "Fresh" territory on Rotten Tomatoes, there won't be many duds here. They are ordered by how high the film is judged but also weighed against Keaton's part in them. For that reason, you might not find "The Godfather" trilogy in the places you assume — they're top-tier films, but was that because of Keaton? Let's find out.

In "Smother," Diane Keaton takes on the role of Marilyn Cooper, an overbearing mother who shows up on her son's door (dogs in hand), asking if she can stay at his place. Of course, this happens on the same day he (Dax Shepard) loses his job and finds his wife's cousin also taking up residence in his home. Despite all the inconveniences and horrible timing, he lets everyone stay. He soon learns that his mother left his father after he cheated on her, leaving everyone ... smothered by their abrupt and horribly inconvenient situations.

The movie's attempts at humor ultimately fall flat. The film is billed as a comedy but fails at adding anything new to the genre (including any noteworthy laughs). The critical consensus is that "Smother" is a dud, with most reviews noting Keaton's ability to elevate an otherwise forgettable film. The reviews ensure most will avoid donating 92 minutes of their life to watch what amounts to some decent performances by the cast, as they muddle their way through a poorly-written attempt at a tired trope in a genre overflowing with much of the same.

Diane Keaton plays Bridget Cardigan, a woman who finds herself back on the job market after her husband loses his job. Despite her upper-crust lifestyle, she lands a job as a janitor. That would have been the end of the story had she not found work at the Federal Reserve Bank of Kansas City, Missouri. She soon spots a weakness in the bank's security. With the help of her two friends, Nina (Queen Latifah) and Jackie (Katie Holmes), they steal a fortune in old bills marked for destruction. It all ends when their expensive taste results in trouble with the tax man, Al Capone style.

As heist films go, "Mad Money" lacks any shred of plausibility. While that's not entirely necessary, it would have helped move the plot forward. Instead, the audience is left with the unenviable task of trying to root for the main characters through unfunny situations, ridiculous plot points, and unrealistic stakes. "Mad Money" is another of Keaton's low-grade movies in her recent career, and she manages to add a sliver of charm to an otherwise unappealing film.

In "Mrs. Soffel," Diane Keaton plays Kate Soffel opposite Mel Gibson's Ed Biddie. Kate is married to a prison warden while Ed is on death row, awaiting his execution for murder alongside his brother Jack (Matthew Modine). Eventually, Kate and Ed meet inside the prison during one of Kate's Bible readings, and they fall for one another. This leads to a secret affair inside the walls of the prison, but with Ed's execution looming, Kate decides to help Ed and Jack escape custody so they can make a go of it in Canada.

The writing in "Mrs. Soffel" isn't terrible, and it puts a lot of focus on the nature of the two leads. Is Kate truly falling for Ed, and is he only using her as his one chance to get out of a death sentence? It's a sort of maddening 'will they or won't they' narrative that struggles with the film's period setting. Critics and audiences weren't too impressed with "Mrs. Soffel," with Vincent Canby of The New York Times calling it a "very strange and maddening movie, being a fascinating tale that's nowhere as provocative as it first promises to be," but offered up positive notes for Gibson and Keaton's performances.

"Hampstead" centers around Emily Walters (Diane Keaton) and Donald Horner (Brendan Gleeson), both residents of the same London neighborhood of Hampstead. Despite living close to one another, they couldn't be from more different worlds. Emily's home is posh, while Donald's is more of a ramshackle cabin than a proper home. Unfortunately, Emily can no longer afford her flat, so she's on the hunt for something to do. When Donald's home is threatened by real estate developers, Emily pounces on a new cause, but she finds something else entirely.

There are thousands of movies that pair two people from different worlds as they fall madly in love with one another. Many are memorable, while others are easy to forget. Compared to another British romantic comedy based upon a London neighborhood, "Hampstead" is no "Notting Hill." Still, it's not a bad movie in and of itself. The film offers Keaton a role she's familiar with: a kooky, lovable girl next door. While this performance doesn't rise to the level of her work in the 1970s, Keaton manages to shine opposite the crotchety grump next door who Gleeson expertly brings to life.

"Father of the Bride II" features a whole-cast return from the original following its success a few years earlier. In this entertaining sequel, George Banks (Steve Martin) has finally gotten used to the idea of his daughter being married following years of denial. His world is turned upside down when she announces that she's pregnant, and you can bet George isn't ready to be a grandfather. That thought is pushed back when his wife Nina (Diane Keaton) announces that she, too, is pregnant. Instead of planning a wedding, the sequel is all about baby showers, converting rooms, and preparing for births, which you know are happening at the same time.

As sequels go, "Father of the Bride II" isn't bad, and the movie works despite the overabundance of clichés. Keaton is her usual charming self, and she plays the understanding/grounded mother with aplomb, just as she did in the first movie. The only reason this movie doesn't land higher on the list is that it's essentially a rehashing of the previous film. Many of the gags that worked the first time around are back with a vengeance, so if you loved "Father of the Bride," there's a good chance you'll love the sequel.

"50 Shades of Grey" impacted the zeitgeist in various ways, but most importantly, it provided the inspiration for "Book Club." The film is about a group of women — brilliantly cast women — whose lives are turned on their heads when their book club takes on the aforementioned novel. As it did in real life, the book inspired many of the women to rekindle old flames, but more than that, it prepared them for the next chapter in their lives. Diane Keaton is joined by an all-star cast, including Candice Bergen, Jane Fonda, and Mary Steenburgen. 

Critics didn't love the movie, which Andrea Gronvall of the Chicago Reader described as "Stale jokes and cringe-inducing sight gags punctuate this creaky romantic comedy." "Book Club" is what it attempts to be, and while some of the jokes seem as if they were written by a middle schooler, It's not a bad movie. That said, critic Andrew Galdi described it as "Geriatric "Sex and the City,"" and to be fair, it doesn't try to be anything else. "Book Club" definitely appeals to a target demographic, but it's equally enjoyable seeing so many amazing actresses share the screen, even if the content is a bit crass.

"The First Wives Club" pairs so many brilliant actors into one movie that it's hard to believe it didn't do better with critics. Keaton plays one of three so-called "first wives" alongside Bette Midler and Goldie Hawn, all of whom meet after 30 years at a friend's funeral. When they commiserate over the fact that all of their husbands left them to be with younger women, they come together to do whatever they can to make their ex's lives a living hell. If they can't live with them, they'll make them wish they never left! 

The underlying theme of "The First Wives Club" is fairly straightforward: middle-aged women's worth doesn't evaporate as their hair turns grey and their desirability wanes. It's not a bad concept, and the movie does well enough with three comedic legends leading it. Still, their penchant for hijinks as they plot revenge takes away from the theme in a way that underserves the desired demographic. In the end, "The First Wives Club" serves as an homage to films like "9 to 5" and "Thelma & Louise" but falls just shy of emulating their success.

In "Baby Boom," Diane Keaton plays J.C. Wiatt, a fast-moving New York City businesswoman who devotes all of her time to work. When a relative dies, Wiatt is made the caretaker of an infant girl. Not only does she not want a child in her life, but she has no time to spare outside her career. J.C. loses her boyfriend and then her job, which she leaves behind as she relocates to Vermont — as far removed from NYC as she could get — to start a new life. It takes time, but she develops baby food that elevates her prospects, offering her great success, a family, and a life she never knew she wanted.

"Baby Boom" is a fun and family-friendly jaunt into the world of female empowerment and the real-world discrimination women meet in the business world when they choose to have a family. The film centers around the concept that a woman can have it all: a great job, a wonderful family, and the respect she deserves. "Baby Boom" is an empowering and well-scripted comedic romp that displays Keaton's inimitable charm and comedic chops in a way that presents as a genuine and relatable story.

Diane Keaton takes on the role of Theresa in "Looking for Mr. Goodbar," a sexual thriller that features Richard Gere and Tom Berenger. Theresa teaches deaf children by day and cruises bars at night, looking for random strangers to sleep with. Theresa's preferences lean toward the dangerous as each sexual encounter is more treacherous, endangering her life for the thrill she seeks each night. The violence and danger depicted throughout the film establish a level of trepidation as events build to an unforgettable climax that leaves the audience shaken by what they've seen.

"Looking for Mr. Goodbar" is one of Keaton's earliest and best roles. Her ability to command the audience's attention through repellant situations makes for a compelling watch. The settings in the movie help establish a bleak environment that highlights the tone of the characters in such a way that keeps eyes glued to the screen. This film is all about the dangers a woman faces when she crosses from a life of conservative sexual encounters to a more liberated stance of sexual freedom. It masterfully plays with the audience's expectations as Keaton gives a daring and fearless performance from beginning to end.

"Crimes of the Heart" is centered around three Southern sisters, Lenny, Babe, and Meg, played by Diane Keaton, Sissy Spacek, and Jessica Lange, respectively. They were raised by Old Grandaddy after their mother committed suicide, and they couldn't be more different from one another. When one shoots her abusive husband, they're all drawn back to their home in Hazelhurst, Mississippi, where the stories of their eccentric lives shock and entertain one another. As time passes, their differences pull them closer together. Despite the dysfunction in their own lives, the sisters find ways of being there for one another in ways they'd been incapable of prior to the shooting.

All three of the leading ladies in the film are absolutely astounding as they chew up the scenery throughout the film. If there was a single issue with the movie, it would be Keaton's Southern accent, which could use some work. Setting that aside, Keaton's performance as Lenny is heartfelt and extraordinary. The focus on character is center-stage in a comedy adapted from a play of the same name. Each actor shines as they make their way through the story about love, loss, and acceptance.

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"Marvin's Room" teams Diane Keaton with Meryl Streep and Leonardo DiCaprio in a drama that deals with family drama, loss, and coming together. Streep's Lee and Keaton's Bessie are sisters who've been apart for decades, as they are as different from one another as possible. Both women's lives played out in entirely different ways. While they've had little interest in seeing one another, they're brought back into each other's lives when their father becomes sick and bed-ridden. Realizing he needs round-the-clock care, the sisters return to Florida, where they hash out their differences and come closer when the truth of Bessie's own medical condition rises to the level of their father's.

Keaton offers an emotional performance and is brilliantly cast in an ensemble featuring an exceptional early role for DiCaprio as well as an excellent performance by Robert De Niro, who plays Dr. Wally. The amazing cast isn't the only aspect of "Marvin's Room" keeping viewers in their seats, as the family's grievances air out to keep the audience engaged. Streep and Keaton's emotional story and incredible performances are particularly poignant, in a film that earned the latter one of her many Academy Award nominations for Best Actress.

The final chapter in Francis Ford Coppola's masterpiece story about the Corleone family brings closure to the story in unsuspecting ways. As Michael Corleone (Al Pacino) finds himself getting older and in charge of an organization that isn't easy to maintain, he makes moves to separate his family from the world of organized crime. Unfortunately, his compatriots aren't eager to let the Corleones out of the mafia. In particular, Michael's nephew Vincent (Andy Garcia) wants to carve out his own piece of the Corleone empire while simultaneously chasing Michael's daughter Mary (Sofia Coppola), leading to conflict and confrontations Michael hoped to avoid.

The third "Godfather" film is almost universally considered the dud of the trilogy. Still, where it falls short in its narrative, it makes up for it with a number of impressive performances (and a really bad one). Keaton's return as Kay Adams is just as good as her other performances. Still, even she couldn't elevate the standing of this intended masterpiece. Ultimately, fans weren't as impressed with "The Godfather, Part III" as they were with its predecessors. It's hardly a bad movie by any measure, but it had a lot to live up to, making it all but impossible to meet the audience's expectations. 

In "Manhattan Murder Mystery," Larry Lipton (Woody Allen) and his wife Carol (Diane Keaton) find it difficult to adjust to the life of empty nesters. After becoming close to neighbors Paul and Lillian House, the couple's focus shifts from their absent son to new friends. After Lillian unexpectedly dies, they grow suspicious of Paul and come to the conclusion that he must have killed her. As their curiosity mounts and common sense takes a back seat to the idea of calling the police, they investigate. Before long, they're caught in hilarious and perilous situations as the mystery deepens, casting Paul in a dangerous light. 

"Manhattan Murder Mystery" is Allen's homage to Alfred Hitchcock's "Rear Window," though told through a far more comical lens. Both stories follow the same narrative, but in wildly different ways, as Allen's focus on the funny takes center stage to the eponymous enigma. The film was the first collaboration between Allen and Keaton since 1979. While it would be their last, it proved once again that the former couple's on-screen chemistry didn't suffer from their parting years before; instead, it aged like a fine wine.

"The Godfather" details the life of Michael Corleone (Al Pacino), a veteran back from the battlefields of World War II who finds it difficult returning to his mafia family. He's soon caught up in familial politics and conflict and slowly joins the family business. He dates and later marries Kay Adams (Diane Keaton), all while ensuring that she doesn't get too close to his business.

"The Godfather" consistently ranked incredibly high on "Greatest Movies Ever Made" lists, and it's no slouch here. The only reason it sits where it does is due to Keaton's role, which isn't to say she's not outstanding in the film — she is. It's just that she plays a supporting role to Pacino, so one of the greatest films ever made doesn't inch higher than this spot. Despite this, Keaton puts on a memorable performance as Adams, a woman who doesn't fully understand what she's getting herself into by marrying Michael. She jumps into his world and suffers the consequences as the story continues.

Michael Brandon plays Mike, a man preparing to marry Susan (Bonnie Bedelia), but things go off the rails when their respective families bring their drama to the festivities. Gig Young plays Susan's father, Hal, a man who's having an affair. Susan's sister's needy desire for attention detracts from her own, and Mike's brother Richie (Joseph Hindy) and his wife Joan (Diane Keaton) are having their own marital problems. The ever-present notion of infidelity and divorce hangs over what should be Mike and Susan's celebration of their love, but family drama can't help but make a mess of things.

"Lovers and Other Strangers" is Keaton's first feature film, so it would be reasonable to assume it doesn't fare as well as some of her more developed work. In reality, it's one of her highest-rated movies, as far as the critics are concerned, so it stands as a testament to her skills as an actor. Keaton is mesmerizing in her performance despite her lack of experience. Had her role been more significant, there's little doubt "Lovers and Other Strangers" would be at the top of this list. Still, the film lands near the top, given her role and how amazingly she nailed it.

In "Play It Again, Sam," Woody Allen plays Allan Felix, a neurotic film critic who falls into a pit of depression after his wife leaves him. He becomes obsessed with "Casablanca" as he idolizes Humphrey Bogart's Rick Blaine and his ability to woo women. His friends Dick (Tony Roberts) and Linda (Diane Keaton) push him to find someone else to share his life with, but it's difficult for Allan. He's overanxious, and every time he does anything to try and impress a woman, it blows up in his face, making the would-be romantic fall back into depression — all as he begins to realize he has feelings for Linda but can never have her.

"Play it Again, Sam" is Woody Allen's love letter to Humphrey Bogart and, more specifically, "Casablanca." Allan is Rick in that he falls in love with a married woman. In the end, he has to let her go, making "Play It Again, Sam" a good approximation of "Casablanca," but without all the Nazis. It's a classic love story with a ton of comedy mixed in, and it's one of Keaton's best performances as the desirable female friend a hapless romantic like Allen could never be with, leaving him alone but improved by the end of the film.

"Love and Death" features Woody Allen as Boris, a Russian villager who has feelings for his cousin Sonja (Diane Keaton). He doesn't make these feelings known and must admire her from a distance. Boris' life is thrown upside down when he's forced into the Russian Army, which is fighting the French during the Napoleonic Wars. Boris isn't the bravest of soldiers, but some accidental hijinks make him into a hero. This brings forth the attention of Sonja, but her interests lie in assassinating Napoleon. She hatches a scheme as the two would-be-lovers come together in unexpected and hilarious ways.

"Love and Death" is one of Keaton's highest-rated films, and it's easy to see why. This comedy classic is easily one of Allen's funniest films, and Keaton shines in it. The film is ambitious, featuring a lot of shooting in France and Hungary. The various anachronisms spread throughout the 19th century period piece only elevate the hilarity, as the viewer watches a lovelorn coward elevated to high standing and become intertwined in an assassination plot against Napoleon. The only one who could have pulled off such a feat is Allen, and he's only able to do it well, thanks to Keaton.