Keanu Reeves is one of the most extraordinary movie stars of the past several decades, as he has managed to earn both legitimate praise and ironic appreciation. Although he began appearing in heartthrob roles just as the “Brat Pack” era began its decline, Reeves would become one of the definitive action stars of his generation alongside Tom Cruise and Wesley Snipes. In between his major sequels, Reeves still found a way to take on ambitious projects from acclaimed filmmakers, such as Taylor Hackford’s unusual legal thriller “The Devil’s Advocate” and Nancy Meyers’ charming romantic-comedy “Something’s Gotta Give.”
Despite facing a brief recess in his career after a series of critical disappointments in the first half of the 21st century, Reeves launched a major comeback when the “John Wick” franchise gave him another opportunity to show his merits as an action star. Reeves is clearly passionate about both the character and the opportunity to do his own stunts, but he has also shown a remarkable degree of self-awareness about his own reputation. Between cameoing as himself in “Always Be My Maybe” and voicing Shadow in “Sonic the Hedgehog 3,” Reeves could never be accused of taking himself too seriously. Here are the ten best Keanu Reeves movies, ranked.
Reeves is often a more daring actor than he is given credit for, as he has lent his credentials to more than a few risky projects that sadly weren’t heralded as mainstream successes. After proving that he could be a slimy, abusive southerner in Sam Raimi’s supernatural drama “The Gift,” Reeves ventured into a trippy science fiction mystery even wilder than “The Matrix” when he took part in Richard Linklater’s unusual animated adaptation of Philip K. Dick’s “A Scanner Darkly.” Although he would take on smaller roles, such as a tricky motel owner in the graphic horror satire “The Neon Demon” and an outdated action figure in “Toy Story 4.”
Reeves also seemed to anticipate the new direction that the industry was headed when he starred in the DC Comics film “Constantine,” which may have been a bigger success had it come out in the aftermath of the “superhero boom.” It’s always been unusual that Reeves is associated with blockbuster fare, as his breakout role came in the form of Gus Van Sant’s understated drama “My Own Private Idaho,” which co-starred the late great River Phoenix. That being said, even Reeves’ supposedly “lesser” films, such as “Chain Reaction” and “The Night Before,” are still worthwhile as guilty pleasures.
Although he is often most closely associated with his work within the action and comedy genres, Reeves has certainly shown an affinity for more classical literature, as evidenced by his appearance as the villainous Don John in Kenneth Branagh’s entertaining adaptation of William Shakespeare’s “All About Nothing.” There have been many attempts to modernize the work of Shakespeare by changing the context or setting, but “Much Ado About Nothing” is a very loyal translation that takes advantage of the inherently melodramatic nature of the source material.
In a film that is centered on the lustful feelings of excited young protagonists, Reeves is perfectly cast as the downbeat, sinister half-brother of Denzel Washington’s Don Pedro, who secretly plans to start a scandal that will result in tragedy. Considering that Branagh, Emma Thompson, and many other members of the ensemble are chewing the scenery with their full-throttled performances, Reeves’ more subdued work is equally impressive. It’s also admirable that Reeves was able to give a fully-fleshed depiction of one of the most inexplicable cruel characters in Shakespeare’s entire library. Considering how inherently likable Reeves is, it’s pretty amazing that he was able to disappear into the role of a complete monster with no redeeming qualities.
Although it was released during a “golden age” for teen comedies, “River’s Edge” was a very dark coming-of-age film that centered on a group of adolescents struggling to cope with the death of one of their close friends. “River’s Edge” rejects any semblance of idealism by showing the bleak, laborious lives that these young people lead, and how the rare moments of romance are their only escape from the crushing mundanity of their existence. While the villainous turn by Crispin Glover as the murderous teenage boy Layne is perhaps the most shocking aspect of the film, Reeves is at his most subdued and emotional as the emotionally tormented slacker Matt.
Matt is unlike most of Reeves’ other characters; he’s a bit of a jerk to his family, doesn’t have any grand ambitions, and would rather shrink on his responsibilities than have any serious confrontations. It’s a character that could have very easily felt like a bland protagonist, but Reeves adds so much pathos to the role that it is easy to get wrapped up in his self-progression. “River’s Edge” is a moody, creepy true crime thriller that nearly crosses into pure horror at some points, and Reeves is at his most heartbreaking as a young person who is unfortunately saddled with bearing witness to the unspeakable.
Based on one of the most incendiary and controversial works of classic literature, Stephen Frears’ brilliant adaptation of “Dangerous Liaisons” features one of the best ensemble casts of any film in the 1980s. Glenn Close earned an Academy Award nomination for Best Actress for her performance as the seductive aristocrat Marquise de Merteuil, and John Malkovich did some of the best work of his entire career as her ruthless rival, Vicomte de Valmont. However, Reeves was still quite memorable as the charismatic young man Le Chevalier Danceny, who begins to court the haplessly innocent maiden Cécile de Volanges (Uma Thurman).
Reeves was the ideal casting choice to play a simplistic, yet easily susceptible heartthrob who could be led down a disreputable path if he believed his actions to be honorable. Although he has occasionally drawn criticism for being obtuse and brittle with his performances, Reeves’ mannerisms are perfect for Danceny, who is not prepared for the mental mind games involved in aristocratic intrigue. “Dangerous Liaisons” is able to shift between being gut-bustlingly hilarious and absolutely heartbreaking at a moment’s notice, and Reeves succeeded in the difficult task of playing the one character in the film who is entirely noble in his intentions.
It would be very easy to judge “Bill & Ted’s Excellent Adventure” on its premise alone, as the idea of two teenage wannabe rock stars that travel back in time to meet historical figures is admittedly rather ridiculous. That being said, “Bill & Ted’s Excellent Adventure” is far more clever than it has ever received credit for, as each scenario is packed with subtle historical references and brilliant visual gags. The film is able to fluctuate between high and low humor thanks to the effortlessly charismatic performances by Alex Winter and Reeves, who are the perfect avatars for this good-spirited, optimistic amalgamation of coming-of-age comedy and historical farce.
The key to the success of the “Bill & Ted” franchise is the characters’ inherent goodness. While the two stars of “Wyld Stallyns” might not be the brightest bulbs, their ability to find the most interesting way to navigate through the perils of history speaks to an enormous amount of creativity and faith. Although much of the humor in the film is very tongue-in-cheek, the dynamic between Reeves and Winter is entirely authentic, making it no surprise that the pair are good friends in real life. While “Bill & Ted’s Excellent Adventure” is the best installment in the series, “Bill & Ted’s Bogus Journey” was a surprisingly subversive sequel that allowed both Reeves and Winter to play multiple parts, and “Bill & Ted Face The Music” was an immensely satisfying conclusion that paid off the multi-decade wait that fans had experienced.
“Parenthood” is a deceptively brilliant film that navigates the complexities of adolescence, marriage, and romance in a far wiser way than most attempts to make “authentic” stories about real people. Although it could have easily felt like a work of melodrama, “Parenthood” exposes Ron Howard’s deep affinity for people, and his ability to showcase the beauty of generational experiences. It is a film that is filled with great performances from legends like Steve Martin, Dianne Wiest, and Tom Hulce. However, Reeves gives one of his most realistic performances ever as the wannabe racecar driver Tod Higgins, who falls in love with Julie (Martha Plimpton).
Reeves is often at his best when he’s playing an inherently good guy forced into a difficult situation, and “Parenthood” allows him to be messy, yet entirely lovable. It is clear that Tod has not entirely developed into manhood and may not entirely be prepared to marry Julie when they are both so young. Still, he is so brimming with kindness that it’s impossible not to root for him. Although Joaquin Phoenix would go on to become one of the best actors of his generation, he got some serious acting lessons from Reeves when he appeared in “Parenthood” as Garry, the younger brother of Julie who gets some surprising advice from Tod.
There have been countless adaptations of the iconic novel, but Francis Ford Coppola’s gorgeous version of “Bram Stoker’s Dracula” draws out the epic, gothic vibes of the source material. Unabashed in its classicalism, Coppola’s film depicts Gary Oldman’s version of the titular vampire as a deeply wounded nobleman whose quest for love and vengeance allows him to survive generations of warfare. Reeves is memorable as Jonathan Tucker, the young solicitor whose proposed marriage to Mina (Winona Ryder) is thwarted when Dracula rears his ugly head.
The role of Harker has been a notoriously challenging one, as he is among the least interesting supporting characters in this epic story of love and betrayal. However, Reeves is able to add a sense of vulnerability to the role that makes him easy to invest in. Harker is both trying to retain his employment and care for the woman he’s dedicated his life to but is not prone to violence in the same way that Professor Abraham Van Helsing (Anthony Hopkins) and Quincey Morris (Billy Campbell) are. The romantic chemistry between Reeves and Ryder is also essential to the film’s success. None of the gruesome moments of body horror would be as impactful if it were not for the joyous embraces between Tucker and Mina.
In the aftermath of 1988’s all-time classic “Die Hard,” there were many attempts to repeat the same formula in other films focused on a heroic action hero facing off against a gang of bad guys within a confined location. “Speed” may have been ostensibly seen as “Die Hard on a bus,” but the 1994 action classic proved to be a thrilling masterpiece of a summer blockbuster in its own right. “Speed” learned the right lesson from “Die Hard” because the stakes were personal, and Reeves’ performance as the Los Angeles cop Jack Traven was every bit as captivating as Bruce Willis’ iconic turn as John McClane.
The brilliance of Reeves as an action star is that he is entirely believable as a competent hero who was still vulnerable. Although Reeves is able to show the bravery and strategic mind that Traven has when he is tasked with saving people in an unprecedented situation, he also shows that he is not a superhero, and is still not entirely sure if his plans will pan out in his favor. “Speed” is a surprisingly straightforward film that benefits from the tension that comes from its limited setting, as Reeves’ electrifying chemistry with Sandra Bullock is just as exhilarating as any of the epic explosions.
Often misunderstood, yet still unparalleled in its craftsmanship, “Point Break” is a masterpiece of action cinema that both embraces its inherent absurdity and develops layered relationships between its characters. Kathryn Bigelow is a filmmaker who is often drawn to stories about men’s inability to express their feelings in a healthy way, and “Point Break” serves as an epic cat-and-mouse game between Reeves as the headstrong FBI Agent Johnny Utah, and Patrick Swayze as the daredevil bank robber known as “Bodhi.” The physicality that Reeves showed in “Point Break” is astounding, as the viewer is allowed to experience every rush of adrenaline and devastating setback that Utah faces.
Although much of the film coasts on its vibes, Utah is not a static character, as he is forced to question whether Bodhi’s unusual philosophy is preferable to the non-nonsense protocol of the FBI. Reeves delivers ridiculous lines of dialogue with a straight face, but it’s still hard not to be moved by the climatic final moments in which Utah is forced to abandon his pursuit of the enemy he has grown a surprising affinity for. “Point Break” may be treated as the butt of a joke or viewed in an ironic context, but it’s proof of Reeves’ undeniable prowess as a movie star that the film continues to be a beloved cult classic.
The line “I’m thinking I’m back” in “John Wick” is the most self-referential piece of dialogue in Reeves’ entire career, as it signified that he was aware that he had just scored an opportunity to regain his status as a generational action star. Seemingly coming out of nowhere to redefine what action cinema would look like for the foreseeable future, “John Wick” combined eastern kung fu cinema, the neo-noir thrillers of the 1970s, comic book style worldbuilding, the epic scope of a crime drama, and a cheeky sense of humor reminiscent of Buster Keaton into a spectacle of revenge and mayhem that hinged on Reeves’ performance as the titular assassin.
It’s unlikely that anyone but Reeves could turn this character into a lovable sweetheart, whose ability to wreck shocking violence upon ruthless villains is all inspired by the heartbreak he felt after losing the love of his life. Although “John Wick” is able to take advantage of the persona that Reeves has entertained, it’s also a deeply felt, emotional performance that brings surprising depth to a character who is often short on words. Every line that Reeves speaks is impactful, and the knowledge that he has done a majority of his own stunts makes it all the more entertaining. “John Wick” is also one of the rare franchises that has retained a consistency of quality. All three sequels have been creative expansions of the world that featured even more great action and emotional moments from Reeves.
“The Matrix” is one of the most influential science fiction films of all time, as it managed to take the classical philosophy of resisting a totalitarian, capitalistic future and retrofit it for the Internet age. Although “The Matrix” has one of the deepest mythologies of any modern franchise, the first installment in the series is a very personal story about the transformation of Reeves’ character Neo from a lowlife hacker into “The One,” a prophesied hero who is destined to save the individuality of the human race.
Reeves is forced to be the audience’s avatar in the film, as he is able to react to the revelations about the future with the same shock, disgust, and awe as members of the audience did when they questioned whether they were living in a simulation. Reeves then had to make Neo’s radical transformation feel authentic, as the film diligently showed how the character overcame his own anxieties to take ownership of his destiny. Although Neo is a hero who finds the triumphant nature within his humanity, Reeves still delivers a death-defying physical performance that culminates in one of the greatest hand-to-hand combat sequences ever made. “The Matrix” is both a film that shows the depth of what cinema was capable of and confirms that Reeves had a unique weight as an actor that could not be replicated.
