Over six decades, has sculpted an extraordinary body of work that covers an astonishing range of characters — from kings and popes to madmen and tortured souls. There's a precision to his craft that feels almost surgical, an ability to sink so deeply into a role that you forget you’re watching a performance. Yet, what makes Hopkins so endlessly captivating isn't just his technical mastery. It’s the human vulnerability that flickers beneath even his most formidable characters.

With this in mind, this list ranks the actor's must-see movies. Whether he's playing historical figures with thunderous gravitas or inhabiting fictional worlds with quiet introspection, .

"I cannot play this role anymore." A movie with renewed relevance after the passing of , dramatizes the real-life transition between (Hopkins) and the future Pope Francis (), through a series of fictionalized conversations that explore belief, doubt, and the heavy burdens of spiritual authority. Both actors are fantastic. Here, l, offering a portrait of a man wrestling not only with the future of the Catholic Church but with his own conscience.

On paper, The Two Popes might sound like a stiff chamber piece, but really, it's something warmer, more personal, and quietly profound. Much of this is due to the skillful direction from , the mind behind City of God. The movie is a decent starting point for those curious to learn more about Pope Francis; indeed, it's seen a 417 percent increase in viewership on Netflix since news broke of the pontiff's death.

"Give us, us free!" One of's less iconic period pieces, is an epic courtroom drama about a group of Africans who rebel against their captors aboard the slave ship La Amistad. At the heart of the legal battle is Hopkins as , the former U.S. president and seasoned lawyer enlisted to defend the men's right to freedom. , presenting Adams as a man who carries the weight of history on his shoulders.

The film is sometimes too much of a dry history lesson (and one that doesn't always stick 100 percent to the facts), and occasionally too one-dimensional. Nevertheless, while Spielberg's approach can lean toward the conventional and oversimplified, Amistad remains an important and worthwhile movie. At the very least, the performances are unassailable. Hopkins is stellar, as are , , and .

"If you happen to pass by 84 Charing Cross Road, kiss it for me? I owe it so much." This quiet drama features Hopkins as Frank Doel, a reserved London bookseller who begins a transatlantic correspondence with Helene Hanff (), a spirited writer from New York. Through their letters, spanning two decades, a tender friendship blossoms, rooted in a shared love for literature. The movie was based on a play, and it has the minimalist, dialogue-driven structure of a theater piece.

, playing the character with a careful mix of stoicism and gentle humor. He allows the character's emotions to simmer beneath the surface. His restrained dignity makes for a wonderful counterpoint to Bancroft's irreverent energy. The stars significantly elevate the material, making nostalgic, bittersweet, and deeply emotional. It's the kind of movie that bookworms are likely to fall in love with.

"Only connect." Adapted from a classic novel, is a lush drama featuring Hopkins as Henry Wilcox, a wealthy, conservative businessman whose life becomes entangled with the idealistic Schlegel sisters. They are played brilliantly by and . As Wilcox becomes more involved with the Schlegels, especially the compassionate Margaret, we see his defenses slowly erode.

Hopkins never rushes this evolution, allowing the character’s stiffness to soften naturally, making his moments of warmth feel genuinely earned. In the process, he turns what could have been a cardboard character into a strikingly real figure. Hopkins aside, It becomes a portrait of a country on the brink of transformation, capturing both the beauty of its traditions and the suffocation of its hierarchies. The performances are terrific across the board, with Thompson taking home that year's Best Actress Oscar.

"She lives beyond the grace of God, a wanderer in the outer darkness." 's feverish, operatic adaptation of is a feast of gothic excess, with as Jonathan Harker and as the legendary bloodsucker. Hopkins dives headfirst into the madness as Professor Abraham Van Helsing. , making the monster hunter both an unorthodox scholar and a fearless warrior against the undead.

Indeed, Hopkins' Van Helsing is unpredictable, swinging between grim determination and darkly comic outbursts, which perfectly matches the film’s heightened, almost delirious tone. As a whole, the movie is certainly flawed, with certain stretches really trying the viewer's patience. But the performances from Oldman and Hopkins are great, and the visuals are always interesting and engaging. Every shadow, every blood-red curtain, every in-camera trick of forced perspective and double exposure is a tribute to early cinema's magic.

"Why, why, why do you always have to pretend?" is another book-based drama from Howards End director . Hopkins plays Stevens, an English butler who has dedicated his life to unwavering service, only to confront the emotional cost of his devotion. Set between the world wars, the film follows Stevens as he reflects on decades of loyalty to Lord Darlington (), a man whose political sympathies grow increasingly suspect.

Both the movie and 's Booker Prize-winning novel are excellent, full of suppressed longing and unspoken romance. Once again, , their relationship a heartbreaking dance of missed opportunities (both received Oscar nods for their efforts). Hopkins, in particular, never overplays the tragedy. He internalizes Stevens' regrets, letting them quietly seep through his polished exterior as the story unfolds. On the directing side, Ivory's careful storytelling balances elegance with unease, translating this challenging tale gracefully to the screen.

"Well, what shall we hang? The holly, or each other?" In , Hopkins makes an early career impact as Richard the Lionheart, playing opposite legends like and . The movie is a ruthless family drama set during Christmas 1183, where King Henry II (O'Toole) must choose an heir among his three sons. Hopkins plays Richard as a warrior prince both eager for power and weighed down by complex familial betrayals, particularly in his strained relationship with his father and brothers.

While maybe not all that well-remembered now, , boasting a wicked dissection of power and domestic strife. The script is simply killer; a cascade of scathing one-liners and intellectual swordplay. The performers all rise to the occasion with committed performances, Hepburn taking home Oscar gold for hers. But even in an ensemble filled with thespian firepower, Hopkins' Richard commands attention.

"I feel as if I'm losing all my leaves." Hopkins won his second Academy Award for his staggering work here as Anthony, an elderly man grappling with dementia. Told from Anthony’s disoriented point of view, immerses the audience in his confusion, fear, and fleeting moments of clarity. , capturing not just the mental deterioration but the man's lingering flashes of charm, pride, and vulnerability.

This is one of the most complex performances of Hopkins' career, and that's saying something. He oscillates between rage, tenderness, and heartbreak, often within a single scene. , as Anthony's daughter Anne, offers a quieter but equally profound portrayal of sorrow and helplessness. The movie emphasizes their struggles aesthetically, shifting sets, blurred timelines, and slippery identities to create a waking nightmare of confusion and fear. Not for nothing, The Father has already been canonized as one of the best films of the 21st century so far.

"I am not an animal! I am a human being!" Hopkins turns in a compassionate performance in 's haunting version of , playing Dr. Frederick Treves, the Victorian surgeon who discovers and cares for (), the severely deformed man shunned by society. Hopkins gives Treves quiet dignity, portraying him as a man torn between professional curiosity and genuine human concern. His guilt and moral complexity are revealed as the story rolls along.

Opposite Hurt’s astonishing portrayal of Merrick, , navigating a world of exploitation and prejudice with growing empathy. Together, they make the movie emotionally shattering, assisted by the impressive makeup effects (directly prompting the creation of the Oscar for Best Makeup) and the striking, memorable visuals. The monochrome palette, beautifully shot by cinematographer , drapes the story in a mournful beauty, as if we are leafing through old photographs.

"A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti." Claiming the top spot on this list is, perhaps unsurprisingly, . Despite appearing on screen for less than twenty minutes, as the cultured yet monstrous cannibal psychiatrist. His unnervingly calm voice, piercing stare, and precise diction make every scene with Lecter pulse with tension.

Before The Silence of the Lambs, Hopkins was a respected stage and character actor, but far from a household name. However, his work utterly changed that, making him the benchmark for cinematic villainy. He utterly dominates the film, making Lecter magnetic, sinister, yet disturbingly charming — the kind of monster who can politely terrify you without raising his voice. His psychological chess match with 's Clarice Starling is one of the most compelling dynamics in movie history.

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