The 14 best Angelina Jolie movies

While Girl, Interrupted is widely regarded as an uneven film with a shaky grasp on mental illness, Jolie’s performance articulates the shallow charm and cold calculation of a clinical sociopath with total aplomb. Jolie is a jittery force of nature in her limited screen time, making such an impact on Logan director James Mangold’s film that she completely overshadowed poor Winona Ryder’s attempted comeback performance. The actress would receive her first (and to date, only) Academy Award for her work as Lisa Rowe, the role that launched her into superstardom. 

Jolie is suitably imperious as Maria Callas in a biopic that captures the American-Greek opera diva in her final days in Paris. Marshalled by Spencer director Pablo Larraín, the actress employs her star power to capture a woman who is grieving a lost era. Despite the undernourished ego, brittle smiles and wavering self-confidence, she remains a star through-and-through. An old-school A-list turn, it’s the perfect match of character and actor.

Not to be mistaken for the George C Scott-starring horror classic, Clint Eastwood’s Changeling stars Jolie as Christine Collins, a character based on a real-life woman of the same name whose nine-year-old son, Walter Collins, went missing without explanation in 1928. Jolie’s moving performance earned her an Academy Award nomination for Best Actress in a psychological drama that divided audiences, and put off critics, but nonetheless features one of her most devastating turns. 

Jolie has been sweltering on the sidelines for some time before she broke out in a huge way courtesy of this HBO original film about the rise and tragic death of model Gia Carangi. Jolie inhabits the trouble starlet with ease, positing her as at once perfectly at home in the tumultuous world of ’70s fashion, and an utterly alien force of chaos. It’s an underseen tour-de-force biopic performance that still ranks among her best work. 

This attempt to give Jolie her own Mission Impossible-style action franchise fell flat, through little fault of her own. As Evelyn Salt, a former CIA officer accused of turning information for the Russians, she displays all the radiant stoicism and ass-kicking verve the role requires, but the movie takes itself far too seriously while indulging in too many clichés. Still, there are glimpses of what could have been, such as the scene in which Jolie controls a police car from the backseat by repeatedly tasing the cop behind the wheel.

Doug Liman’s action comedy sparked a thousand tabloid stories, but all the behind-the-scenes action between Jolie and Brad Pitt tends to overshadow the fact that Mr & Mrs Smith is a rock-solid piece of slam-bang escapism. Liman takes what he learned from The Bourne Identity and puts it to kinetic use across the bullet-riddled spy romp. It helps, of course, that the stars' chemistry translates smolderingly to the screen. In hindsight, the bits where they’re trying to kill each other may have stemmed from their real-life relationship too.

The film that launched a parade of Disney-villain origin stories, Maleficent brings a sympathetic eye to Sleeping Beauty’s evil queen, with Jolie rocking the iconic horns and exuding a chilly menace to give the kiddies nightmares. The CG additions, like the film itself, are gorgeous and creepy – and often startlingly real. But what really carries the movie is Jolie, who slips into the role of the glamorous antihero seamlessly. At least that’s the case with Maleficent. The less said about the sequel the better.

It’s not easy to stand out in a voice cast that also features Jack Black, Dustin Hoffman and Ian McShane. But in the first instalment of this series paying animated tribute to Chinese martial arts flicks, Jolie brings an audible toughness to the role of Master Tigress, leader of animalistic kung-fu masters the Furious Five. The gravitas she brings to the role plays a crucial counterpoint to Black’s bumbling goofiness. 

After Jolie snagged her Oscar for Girl, Interrupted, Hollywood had no idea what to do with her, so it tossed her into the types of middlebrow paperback thrillers typically reserved for Ashley Judd, among them forgettable hits The Bone Collector and Taking Lives. Mike Newell, however, knew how to bottle the lightning of Jolie’s more playful side, pairing her with John Cusack, then-beau Billy Bob Thornton and Cate Blanchett for this talky, oddly endearing tale of feuding air-traffic controllers. It’s proof that Jolie can do great things when she’s given more to do than smolder and act erratically, and her jagged edges here point to an untapped comedic potential few, if any, have seized upon since. 

The pseudo-tech plot of this thriller is antiquated to say the least – and that Jolie’s character, Kate, has disastrously cropped hair and goes by the hacker moniker ‘Acid Burn’ doesn’t help viewers take this extremely ’90s thriller more seriously. But for what it lacks in realism, Hackers brings in aesthetics – it’s a slick, stunning portrayal of ‘90s computer nerds trying to (what else?) save the world.

Marvel’s follow-up to Avengers: Endgame was a disappointment but as is her way, Jolie elevates her (sadly limited) scenes through presence alone. In an overstuffed cast, Jolie breaks through the narrative clutter as Thena, a superhuman warrior capable of making weapons appear out of thin air, who suffers from a psychological condition that causes her to lash out against her own allies. She plays the role with both swagger and vulnerability – if there’s reason to anticipate a sequel, it’s the hope that she’ll be given more to do. 

Jolie was an inspired choice to bring the iconic video game heroine to life, nailing both the pseudo-intellectualism and the acrobatic gunplay of a character who is essentially a buxom Indiana Jones. But Jolie seems to be having fun in the tight trousers, rocking an appropriately wonky English accent and rubbing elbows with real-life dad Jon Voight. If only the film (or its sequel) was having as much fun as its lead, perhaps Tomb Raider could have beat the videogame curse. 

Jolie plays Franky Cook, a commander of a Royal Navy aircraft carrier in this diesel-punk film that reimagines 1939 as more technologically advanced than the present but in a way that remains nostalgic for that (actual) era. Oh, and it co-stars a digital recreation of Laurence Olivier. Confused? Don’t worry – just look into Angelina’s good eye (the other is covered with a patch) and go along for the surreal ride.