Steven Spielberg Fought to Stop an ‘E.T.’ Sequel

Steven Spielberg fought to stop a sequel to E.T. the Extra-Terrestrial being made.

As a seasoned movie reviewer, I must say that before embarking on the enchanting journey of E.T., the beloved alien movie, Steven Spielberg had already left indelible marks in cinema history with masterpieces like Jaws, Close Encounters of the Third Kind, and Raiders of the Lost Ark. However, he admitted that his influence was not enough to halt the studio’s plans for a sequel until E.T.’s massive success gave him the leverage to ensure a second film would never grace the silver screen.

At the TCM Classic Film Festival: New York Pop-Up x 92NY event, Spielberg stated, “It was a tough win that I had to fight for since I possessed no rights.

Prior to E.T., I possessed some rights, but they were quite limited. To be precise, I didn’t have the power to halt the production of a sequel or any adaptations, remakes, or other commercial uses of the intellectual property, as control over such matters is known as ‘the freeze.’

“I didn’t have that. I got it after E.T. because of its success.”

He mentioned the possibility of a follow-up: “I wasn’t keen on making a sequel. I toyed with the idea briefly – just enough to test if I could come up with a story – and the only idea that came to mind was a book titled The Green Planet, written by the author who penned the original, which would be set in E.T.’s home.

Initially, we planned to visit E.T.’s residence to witness his lifestyle firsthand. However, I believe the story of E.T.’s life would have been more effectively told in a book rather than on screen.

“I have no intention ever of seeing E.T. anywhere outside of this proscenium.”

As a passionate cinephile, I can’t help but assert that ‘E.T.’ feels like my own creation. You see, the idea originated from my mind. To set the record straight, I’d like to clarify that this wasn’t Steven Spielberg’s story, nor was it Peter Benchley’s. This tale, simply put, was mine.

After completing several challenging projects, I didn’t expect this film to be tough to produce, but it turned out to be a deeply resonant idea that stirred my emotions. This concept simply emerged in my mind.

At the gathering, Steven Spielberg appeared alongside Drew Barrymore, his co-star from E.T., who was just six when the film debuted in 1982. She reminisced about discussing the possibility of a sequel with the director.

She recalled: “You mentioned, ‘There won’t be an E.T. sequel.’ I believe I was eight at the time. I recollect thinking, ‘That’s disappointing, but I understand.’

As a film enthusiast, I firmly believe this decision was well-considered. It’s not hard for me to grasp its logic. Now, the question arises: what comes next? Comparing it to the original might be inevitable, but leaving something flawless in solitude to be scrutinized seems less than ideal. The reasoning behind it all just feels so sound.

Every Steven Spielberg Movie, Ranked

36. 1941 (1979)

Following the successive hits of Jaws and Close Encounters of the Third Kind, Spielberg aimed to demonstrate his versatility by venturing into comedy. However, one might question whether he truly succeeded with 1941, as it appears… perhaps he didn’t? A chaotic, slapstick farce, the film humorously portrays the panic that swept across Southern California following the Japanese attack on Pearl Harbor in December of 1941.

The ensemble cast boasts a dozen talented actors including Dan Aykroyd, John Belushi, John Candy, Warren Oates, Christopher Lee, Tim Matheson, Robert Stack, Slim Pickens, Treat Williams, even Toshiro Mifune as a Japanese sub commander. Yet, not a single compelling character emerges from this star-studded lineup. The humor becomes increasingly frantic as the film progresses, with Spielberg seemingly grasping for laughs. A director’s cut extends the movie by over 30 minutes, but it seems that a shorter runtime would have been more beneficial. At the very least, 1941 offers a valuable lesson: even exceptional artists can create a catastrophe under the right circumstances.

35. Something Evil (1972)

In his early Hollywood years, Steven Spielberg directed a TV horror film that could have laid the groundwork for ‘Poltergeist’ a decade later. The story revolves around a family relocating from the city to a rural house which may have a hint of Satanic possession. This production was Spielberg’s immediate successor to ‘Duel’, and given that context, it can be seen as underwhelming. While there are a few swiftly edited scenes, overall it aligns with typical TV movie content. Nevertheless, some of Spielberg’s recurring themes – such as the loss of innocence and families battling supernatural perils to their wellbeing – are already present in their early stages.

34. The BFG (2016)

As a movie critic, I found myself captivated by the enchanting world of “The BFG,” a colossal character who harvests dreams from a mystical tree and showers humanity with them. It’s no surprise that this gentle giant caught the eye of Steven Spielberg, a cinematic titan whose vision has ignited the imaginations of countless cinephiles like myself.

However, while there is a certain affinity between us – the big friendly movie-goers and the big friendly giant on screen – the story itself failed to captivate me with its sense of urgency or excitement. The film’s core message, encouraging dreams, is a noble and beautiful concept. But when it lulls audiences into a state of slumber rather than inspiring them, it falls short of reaching its full potential.

33. Savage (1973)

In this television movie titled ‘The Bitter Suite’, Martin Landau plays a tenacious journalist probing the death of a woman connected to a judge who’s been selected for the Supreme Court. This film was one of Steven Spielberg’s final productions for television before he delved completely into cinematography. The storyline is straightforward and, considering it was developed during the height of Watergate, appears somewhat outdated. However, Spielberg does manage to incorporate some appealing visual effects, such as when an assassin tracks his target in a shadowy TV studio through dim lighting.

32. Hook (1991)

The movie “Hook,” directed by Steven Spielberg, is a film that, although not wholly successful, holds intrigue when viewed in relation to his other work. Spielberg can be likened to the mythical figure Pan, and much like many of his more compelling films, “Hook” revolves around themes of orphans, parenthood, and lost childhood innocence. However, this film is often bewildering and excessively lengthy. It seems to carry a message, but it’s unclear if it ever fully conveys it. There’s an endearing concept in the storyline where Robin Williams’ character, Peter, rediscovers his childlike innocence and immaturity through fatherhood; nevertheless, the process of his transformation back into Peter Pan is perplexing at best. One saving grace is the entertaining portrayal of Dustin Hoffman as the cartoonishly wicked Captain Hook amidst the disarray.

31. Always (1989)

Steven Spielberg has typically excelled when remaking films, with several others ranked higher on this list. However, his least successful attempt is “Always,” a repetitive adaptation of Victor Fleming’s “A Guy Named Joe.” In this film, Richard Dreyfuss portrays a reckless firefighter pilot who passes away and then guides his girlfriend as she becomes involved with another man. Dreyfuss and Spielberg were reportedly avid fans of the original, having worked together on “Jaws,” which is evident in their affection for the story. Unfortunately, this story revolves around aspects that Spielberg isn’t particularly skilled at, primarily spiritual themes and deep romantic relationships. While there are many discussions about forest fires in “Always,” the movie itself moves at a painstakingly slow pace. It’s unusual for Spielberg to showcase his weaknesses rather than his strengths in a project like this.

30. Ready Player One (2018)

1. In essence, Ready Player One is a chaotic blend of self-praise, criticism, ode to ’80s kitsch, and critique of its die-hard fans – essentially, it’s a confusing yet intriguing jumble. If anyone else had directed it, it would probably be unbearable to watch. However, Spielberg manages to keep it engaging, and at times, breathtakingly stunning. (The Shining sequence stands as one of the highlights from the last decade of Spielberg’s career.)

2. Here’s a reminder for future reference: If I ever find myself leading a malevolent tech corporation in a bleak, post-apocalyptic world, refrain from leaving passwords openly displayed on Post-It Notes within reach of any office visitor. That’s just inviting potential problems!

29. The Lost World: Jurassic Park (1997)

In a departure from his usual style, Steven Spielberg’s career only includes one sequel not related to Indiana Jones, which is The Lost World. This film seems more like a cash grab than a well-thought-out project. Jeff Goldblum reprises his role as Ian Malcolm, the main character from Jurassic Park, although some other cast members make brief appearances. In the first movie, Ian Malcolm was portrayed as a brilliant mathematician; however, in this film, he makes a questionable decision to return to an island filled with dangerous dinosaurs – one of many instances where intelligent characters in the Jurassic Park/World series make decisions that strain credulity. It’s no surprise that Spielberg opted not to direct Jurassic Park III or any subsequent movies following this trend. While I appreciate the addition of dinosaur gymkata to the Jurassic Park universe, the rest of the movie is disorganized.

28. Indiana Jones and the Kingdom of the Crystal Skull (2008)

Harrison Ford appears genuinely enthusiastic to wield Indiana Jones’ whip once more, and there are several standout moments – such as an exhilarating motorcycle and car chase across a university campus – that might lead one to argue this installment surpasses its infamous reputation as a catastrophic failure. Nevertheless, it doesn’t quite live up to that expectation, and the majority of the climax is a regrettable letdown. The film’s ending, in particular, is a mess, with Shia LaBeouf’s self-absorbed character Mutt Williams – a name that’s as disastrous as it sounds! – leaping from vine to vine like Tarzan, while Cate Blanchett battles swarms of computer-generated fire ants. The most disappointing aspect, however, is that the film commits a sin that Steven Spielberg has seldom been accused of: It looks drab and artificial.

27. War Horse (2011)

Steven Spielberg is renowned for directing some exceptional films and TV shows about World War II, but his venture into World War I with ‘War Horse’ was not as successful. This film, inspired by a widely acclaimed novel and its Tony-winning stage adaptation, tells the story of a horse during wartime who gets passed from one person to another. Structurally, it resembles an anthology movie since Joey, the colt, is initially sold away from his dear owner Albert (played by Jeremy Irvine), then falls into the British army and finally into German hands. The end product is a bit of a compromise; while it’s visually stunning, the horse’s title character remains somewhat detached throughout.

26. Amistad (1997)

In its time, “Amistad” stands out, carrying all the elements of its era. Nowadays, it’s most enjoyed for its exceptional cast delivering top-notch performances. Notable mentions go to Djimon Hounsou as a renowned slave revolt leader, Matthew McConaughey, Chiwetel Ejiofor, Morgan Freeman, Stellan Skarsgard, and particularly Anthony Hopkins, who brings something unique as John Quincy Adams, making it quite engaging. The exception to this praise is Anna Paquin, who fortunately doesn’t seem to have her major scene as the Queen of Spain readily available on YouTube.

25. The Terminal (2004)

Over the past 20 years, Steven Spielberg has broadened his creative horizons, experimenting with various genres and styles. In “The Terminal”, he endeavors to blend the heartfelt humanism of Frank Capra and the wacky, physical humor of Jacques Tati. Remarkably, this fusion proves more successful than anticipated, though the outcome may not rank among Spielberg’s most powerful works. An intriguing choice was casting Tom Hanks, a symbol of quintessential American altruism, as a clumsy Eastern European man stuck at JFK Airport due to his country’s downfall. Initially, this decision might seem misguided, but upon viewing the film, it becomes clear that Spielberg employs Hanks’ image to convey America as a nation of immigrants, implying that authentic American values are not automatically conferred by one’s birthplace.

24. The Color Purple (1985)

Was it fitting for Steven Spielberg to take on the task of adapting Alice Walker’s Pulitzer Prize-winning novel about African American women at the turn of the 20th century? Maybe not. Yet, the film he produced did justice to its origin story with compelling characters and powerful performances by Whoopi Goldberg and Oprah Winfrey. Moreover, this movie demonstrated Spielberg’s potential for tackling weightier subjects than he had previously in his career, paving the way for even more significant and serious projects in the future.

23. Munich (2005)

Munich challenges the themes presented in Steven Spielberg’s early films, which often portrayed straightforward battles between good and evil. The story revolves around a dedicated Mossad agent (Eric Bana), who takes on an under-the-table mission to avenge the murder of Israeli athletes during the 1973 Summer Olympics. However, this act of vengeance does not bring about resolution, and both the agent and his team are left grappling with the morality of their task, as well as the guilt they may be projecting onto their targets. The idea that “an eye for an eye” originates from the Old Testament does not automatically make it a just act.

Munich explores the senselessness of war and raises intriguing questions about the difference between justice and revenge. Despite featuring one of the most absurd sex scenes in cinema history, the film is ultimately a thought-provoking and exciting historical drama.

22. The Sugarland Express (1974)

In Spielberg’s initial full-length film, there appears to be a deliberate attempt to capitalize on the acclaim he received for his earlier work, “Duel,” as a skillful director of automotive action. The story revolves around a woman, portrayed by Goldie Hawn, who orchestrates her husband’s (William Atherton) escape from prison with the intention of reclaiming their son from foster care. This sets off a high-speed chase across the state of Texas, punctuated with some of Spielberg’s most humorous scenes and an impactful conclusion. Although his craft was still unpolished at this stage, it was evident that Spielberg was destined for greatness, even in these early days.

21. Duel (1971)

In a nutshell, “Duel,” a TV movie from back then, is a lean and thrilling tale featuring Dennis Weaver as an ordinary man who unintentionally angers the driver of a colossal truck in the Mojave Desert. This enraged trucker pursues him relentlessly across the desert after a minor highway incident. As a reminder, always yield to potentially psychotic tanker truck drivers!

The movie is essentially a masterclass in maintaining tension with very few characters involved. Although it’s brief, the suspense it creates is simply remarkable. Steven Spielberg, who was only 25 when he directed “Duel,” had already proven himself as one of the world’s top action directors. And that was just the beginning for him.

20. Empire of the Sun (1987)

The second half of “Empire of the Sun” has an unexpectedly whimsical feel, especially considering it’s set in a prison camp and doesn’t quite align with the harshness of the initial half or the film as a whole. The early scenes in Shanghai, followed by young orphan Jamie navigating his deserted neighborhood post-war, showcase some of Spielberg’s most poignant visuals. (The sequence where Jamie deduces his family’s fate from traces of powdered makeup on the floor… truly remarkable.) Add to that arguably the best child acting performance ever, and you get a film that, despite its flaws, is often overlooked. (Fun fact: The young talent who delivered this standout performance was none other than Christian Bale. I wonder where he ended up. He certainly showed promise!)

19. Lincoln (2012)

In contrast to Spielberg’s usual action-packed movies, one might assume that a film about the Civil War from him would be grandiose. However, “Lincoln” presents our 16th President not as a visionary, but as a shrewd political tactician navigating multiple conflicting interests within the government to push through the 13th Amendment and end slavery in the U.S. for good. Not only does this film offer an enlightening history lesson, but it also showcases Daniel Day-Lewis’s award-winning portrayal of Lincoln in the leading role.

18. The Post (2017)

In this context, “The Post” forms part of a loosely connected trilogy with “Lincoln” and “Bridge of Spies,” all directed by Steven Spielberg and featuring Tom Hanks. This trilogy illustrates Spielberg’s interpretation of contemporary American values through historical lessons. The film is an engaging journalism thriller, addressing the timely issue of gender inequality in the corporate world. Despite films about journalists and business deals often being dry and visually uninteresting, Spielberg manages to breathe life into “The Post” with dynamic camera angles and a constantly moving camera. Some of his sound transitions are remarkable; an early scene seamlessly blends the sounds of gunfire from a Vietnam jungle to a helicopter on an Army base to a man typing frantically on a typewriter. He transforms what could be a very static film about people talking into something dynamic and captivating.

17. Indiana Jones and the Temple of Doom (1984)

The “Temple of Doom” film can be given some recognition for not simply duplicating the plot of “Raiders of the Lost Ark 2”, as many might expect. Instead, it delved into darker themes, featuring ominous villains who perform gruesome acts such as extracting hearts from their victims and even a scene where Indiana Jones temporarily falls under mind control and becomes evil. This film was so intense that it contributed to the establishment of the PG-13 rating by the MPAA. While some racial humor in the movie may seem outdated today, its special effects and stunts continue to impress. Notably, the opening musical number in Club Obi-Wan hints at Spielberg’s long-standing desire to direct a musical film.

16. Close Encounters of the Third Kind (1977)

In “Close Encounters,” some of Spielberg’s most impressive career moments are showcased, particularly the scenes at Devils Tower. However, I feel that it falls slightly short compared to his other masterpieces due to Spielberg’s characterization skills not being fully developed at the time. The film tells the story of an electrician (Richard Dreyfuss), who becomes fixated on UFOs after one hovers over his truck. His obsession leads to his wife and children leaving him, only for him to then embark on a journey to meet the aliens. Interestingly, the narrative seems to forget that Roy had a wife and kids once he sets off to find the extraterrestrials.

With Spielberg’s maturity as a director coming years later, it is possible that “Close Encounters” could have been a more impactful and thought-provoking film. In fact, Spielberg himself seems to share this sentiment, as he has made adjustments to the film over the years, first with a special edition in 1980, and then a director’s cut in 1998, which included additions or removals of certain scenes.

15. Indiana Jones and the Last Crusade (1989)

Despite the fact that Sean Connery was merely 12 years older than Harrison Ford in reality, the idea of casting Sean Connery as Indiana Jones’ father was a brilliant move, and their on-screen partnership was exceptional. In Last Crusade, which is among Spielberg’s closest attempts at a buddy cop movie, the bond between them was particularly strong. Although it may be the most humorous of the four Indiana Jones films, Last Crusade is also the most heartfelt and personal installment in the series. Once again, Spielberg explores the theme of strained father-son relationships and the inexorable passage of time, resulting in a surprisingly emotional storyline.

14. West Side Story (2021)

The 1961 film adaptation of “West Side Story” is often considered a timeless masterpiece; it garnered an impressive ten Academy Awards, among them Best Picture. Steven Spielberg’s remake surpasses the original in nearly every aspect. The acting is more impactful, the casting is superior, the dialogue is more incisive, and the social critique is more poignant. He has crafted a musical that resonates as if it were penned about contemporary society, rather than 1950s New York City – far removed from Renaissance Verona.

13. A.I. Artificial Intelligence (2001)

The story you see here, which explores the connection between humans and sophisticated computer life, is a unique blend – initially nurtured for decades by Stanley Kubrick, it was later passed on to Spielberg following his death in 1999. Spielberg then wrote the script himself, inspired by Kubrick’s preferred direction, resulting in a film that seems to align well with Kubrick’s original vision. This movie is more somber and chilling than many others on this list, which adds to its intrigue. The blend of Kubrick’s analytical approach to artificial intelligence with Spielberg’s emotional elements makes it captivating.

12. War of the Worlds (2005)

As a passionate movie enthusiast, I’d say the initial two-thirds of this film are some of Steven Spielberg’s most chilling masterpieces, ranking among the scariest films made in the last two decades. (It seemed like he took all my fears and compressed them into 70 minutes – thanks, Spielberg, I didn’t need another sleepless night!). The relentless speed and terror-inducing visuals were almost too much to bear – and they apparently were because the ending felt like a different movie that was less frightening and less somber.

Despite its roots in H.G. Wells’ original tale, it doesn’t quite align with the rest of the narrative. Tom Cruise isn’t necessarily playing against type here; he’s still the guy who runs a lot and does heroic deeds, despite his working-class background as a dock worker. However, Cruise usually portrays characters that are more confident and less troubled by issues like divorce and poor fatherhood, and he manages to bring depth and authenticity to this role. And yes, he runs convincingly well too.

11. The Adventures of Tintin (2011)

Despite not resonating with audiences and critics in 2011, The Adventures of Tintin now appears as if it was Spielberg’s final masterful Indiana Jones movie. It’s a thrilling, globe-trotting adventure film filled with breathtaking set pieces and comical relief that feels like riding a roller coaster without brakes. Working with motion capture technology for the first time, Spielberg directed Tintin with unbridled enthusiasm, as if an artist who had been painting only bluescapes for 30 years was finally given a full spectrum of colors to work with.

When critics dismissed the stunning action sequences and sweeping cinematography simply because they were digital, what they were really acknowledging is that Spielberg’s genius at three-dimensional visual storytelling made such a complex achievement seem effortless.

10. Bridge of Spies (2015)

Critics might label “Bridge of Spies” as “traditional,” given its leisurely pace, extended runtime, and understated visuals. However, traditional storytelling methods can be the ideal approach for depicting timeless values. Following on from his work in “Lincoln,” Spielberg again employs historical events to convey his distinctive portrayal of American heroism. In this instance, Tom Hanks, a symbol of everyday morality in Hollywood, plays the role of a modest insurance attorney tasked with defending a Russian spy (Mark Rylance). Despite being set during the 1950s and ’60s, “Bridge of Spies” carries a message that is strikingly relevant to contemporary political matters. The film also features a delightful assortment of eccentric characters reminiscent of those found in a Coen Brothers’ movie. Interestingly, the Coens themselves collaborated with Matt Charman on the scriptwriting process.

9. Minority Report (2002)

In another insightful prediction by Steven Spielberg, this time touching on the trade-off between civil liberties and security, is cleverly woven into an engaging action film. Tom Cruise plays a police officer working in a pre-crime division who is falsely accused of a murder that has yet to occur. Is it possible to be wrongfully accused for a crime not yet committed? That’s the intriguing brainteaser at the core of Minority Report, as Cruise fights to prove his innocence before he supposedly commits the crime. While Spielberg’s forecasts about 21st-century technology in the movie aren’t exactly spot on, the concept of targeted advertising, which has already come true, is a striking example that occurred around three decades ahead of schedule.

8. Schindler’s List (1993)

The groundbreaking historical drama “Schindler’s List,” directed by Steven Spielberg, won him his first Best Picture Oscar and second Best Director prize. This film, centered around Oscar Schindler, a German entrepreneur, recounts the story of how he saved hundreds of Jewish lives during World War II by keeping them employed in his factories, putting himself at great risk to his wealth and life. Remarkably, even with its powerful portrayal of the Holocaust’s atrocities, it might not be Spielberg’s finest production from 1993.

7. Jurassic Park (1993)

Is it necessary for me to explain why ‘Jurassic Park’ is an excellent film, or is this obvious? By the way, let me express my enthusiasm for ‘The Godfather’. It’s a fantastic movie too!

6. E.T. The Extra-Terrestrial (1982)

The criticism of excessive emotionality in Steven Spielberg’s work was once widespread, as if the ability to move an audience deeply was a flaw. However, one might argue that the emotional resonance in “E.T.” is indeed overly emotional, but only because it stands among the greatest films at eliciting tears in movie history. Beyond being a powerful exploration of a lost youth, “E.T.” tells the story of two such characters – E.T. and his human friend Elliott (Henry Thomas) – as they grapple with finding their place in a world that can be cruel and harsh. Is it overly sentimental? Perhaps. But to this day, the smell of Reese’s Pieces still brings back memories that make me reflect on happier times, causing a single tear to roll down my cheek.

5. Saving Private Ryan (1998)

I typically don’t adhere to the approach of film criticism championed by Pauline Kael, which involves watching a movie only once. In fact, I’ve rewatched approximately half of the films on this list multiple times. However, there are instances where repetition is essential due to my memory being strong but not infallible.

Despite having watched Saving Private Ryan just once – during its premiere in 1998 at the Strathmore Cinemas in Matawan, NJ, which is now closed – I can recall significant portions of it vividly. The harrowing Normandy invasion, Goldberg’s poignant death scene, Hanks’ somber delivery of “earn this,” a phrase that resonates as if it were ever possible to truly earn such sacrifice. Leaving the theater, I was physically shaken. Since then, I haven’t felt compelled to watch it again; the experience remains etched in my memory even after all these years.

4. The Fabelmans

Initially, critics argued that young Steven Spielberg was more style over substance; he excelled at cinematography and editing for dramatic effect, but lacked the depth to develop themes, ideas, and characters. However, “The Fabelmans” demonstrates his growth and hints at the underlying personal and emotional layers in his early films, which often depicted troubled families and solitary children. In this remarkable blend of self-mythology and self-reflection, Spielberg shares his journey to stardom while creating a profoundly empathetic portrayal of his parents, brilliantly portrayed by Michelle Williams and Paul Dano.

3. Catch Me If You Can (2002)

In a unique blend, “Catch Me If You Can” stands as both one of Steven Spielberg’s most effortlessly enjoyable flicks and a profound examination of solitude and family. It boasts an exceptional ensemble cast: Leonardo DiCaprio portraying the cunning con artist Frank Abagnale Jr., Christopher Walken as his tormented father, Jennifer Garner and Amy Adams as two of Frank Jr.’s romantic interests, and Tom Hanks as the relentless, humorless FBI agent Carl Hanratty.

The cat-and-mouse game between Hanratty and Frank, with Frank’s continuous tricks and disguises, is equally amusing and heartrending. Both characters are so isolated that their unending chase becomes the sole constant in their lives, symbolized by their annual Christmas phone calls. (To add to its melancholic charm, “Catch Me If You Can” might just be the saddest Christmas movie since “It’s a Wonderful Life.”) If you don’t find this film enchanting, I have a knock-knock joke for you…

2. Raiders of the Lost Ark (1981)

The Indiana Jones series successfully combined George Lucas’ penchant for nostalgic entertainment and Steven Spielberg’s exceptional talent for creating action-packed scenes and chases. This unique blend resulted in four Indiana Jones movies so far (including a TV show), but the original Raiders of the Lost Ark stands out as the best, offering an unparalleled adventure experience filled with memorable setpieces. While not Spielberg’s most emotionally resonant film, if you had to choose one to preserve for future generations, it might be Raiders of the Lost Ark – simply because it would bring endless enjoyment every time it’s watched.

1. Jaws (1975)

As a movie enthusiast, I must confess that the film “Jaws” left an indelible mark on Hollywood. It revolutionized production and distribution methods alongside the iconic “Star Wars,” setting new standards for future films. Yet, it’s not just its historical significance that makes it stand out; it’s the depth, terror, grit, and intelligence that set it apart from countless imitations over the decades. In essence, it’s a melancholic tale of a group of troubled individuals chasing down and slaying a fish, driven by its insatiable hunger.

Steven Spielberg has undoubtedly created more grandiose films since then, with bigger budgets, stellar casts, and advanced special effects. However, nothing he’s made matches the sheer perfection of “Jaws.” From each shot to every cut, from every music cue to every line, and every close-up on Roy Scheider’s fear-stricken face, there’s an undeniable sense of precision.

2025-01-28 20:57