Ben Affleck Turns 50: From ‘Gone Girl’ to ‘Justice League’, His 15 Best Performances
By
Clayton Davis
A promising actor then a tabloid punchline and now an accomplished, Oscar-winning filmmaker, Ben Affleck has run the gamut of labels in Hollywood.
With the nostalgia of “Bennifer” roaring back in the past year, there’s some comfort in knowing the industry still believes the talented actor, director, writer and producer is worthy of attention.
To celebrate Ben Affleck’s 50 years around the sun, Variety ranks his 15 best film performances of his career.
Unfairly written off as the “other guy” next to childhood best friend Matt Damon at first, Affleck has more than proven himself to be one of our most capable and talented artists. Having already reflected on Affleck’s position following the releases of Ridley Scott’s “The Last Duel” and George Clooney’s “The Tender Bar” in the Variety piece titled, “The Miseducation of Ben Affleck,” it’s clear that the California native, later turned Massachusetts staple, isn’t going anywhere.
Looking through his career, you must divide it into multiple chapters. The Affleck legacy begins with his stint as a childhood actor, landing roles in Burger King commercials and the PBS children’s series “The Voyage of the Mimi” in 1984.
While studying and directing student films at Occidental College in Los Angeles, he began making the rounds in ‘90s classics such as “Buffy the Vampire Slayer” (1992), “School Ties” (1992) and “Mallrats” (1995). However, the big break came when Affleck and Damon wrote the drama “Good Will Hunting” (1997), directed by Gus Van Sant. The film grossed over $225 million at the box office, making the pair household names. For their writing efforts, the duo won the Oscar for best original screenplay, with the film winning the long overdue Robin Williams his first Academy Award statuette.
All great stories aren’t devoid of hiccups and speed bumps experienced along the way. While Affleck landed roles in the best picture winner “Shakespeare in Love” (1998), he also was admonished by critics for his turns in uneven features such as “Phantoms” (1998), “Pearl Harbor” (2001), and everyone’s favorite punching bag, “Gigli” (2003). It wasn’t until his turn as the “Superman” actor and star George Reeves in “Hollywoodland” (2006) which gave his most vocal critics a reason to stop and acknowledge that the actor can soar with the right material.
The career metamorphosis continued when he stepped behind the camera with his directorial debut “Gone Baby Gone” (2007), which earned Amy Ryan a nom for best supporting actress. “The Town” (2010) followed, earning Jeremy Renner a supporting actor mention, then, most significantly, “Argo” (2012), which won the Academy Award for best picture.
Affleck also continued to challenge himself with auteur filmmakers like Terrence Malick in “To the Wonder” (2012), David Fincher in “Gone Girl” (2014) and Gavin O’Connor with “The Accountant” (2016) and the masterful “The Way Back” (2020).
And who can forget his work in the #SnyderVerse? Entering the world of DC Comics as Bruce Wayne, a.k.a. Batman in “Batman v Superman: Dawn of Justice” (2016), “Justice League” (2017) and the four-hour counterpart version “Zack Snyder’s Justice League” (2021), his fanbase expanded significantly (alleged bots aside).
Next on the horizon for Affleck will be a small role in Kevin Smith’s “Clerks III,” due out in September and reprising his role as the Caped Crusader in “Aquaman and the Lost Kingdom” with Jason Momoa, due out in 2023. However, his most anticipated work will be stepping into the director’s seat once again for an untitled Nike period drama for Amazon Studios. He co-writes and stars with an ensemble that includes Damon, Jason Bateman, Viola Davis, Chris Messina, Marlon Wayans and Chris Tucker.
Director: Adrian Lyne Writer(s): Zach Helm, Sam Levinson (based on “Deep Water” by Patricia Highsmith) Distributor: Hulu
The scene that proves it: “Just you and me? Why is that awkward? I’m just fucking with you.”
Adrian Lyne has been the godfather of erotic thrillers (i.e., “Fatal Attraction”) and while the once planned theatrical release of “Deep Water” didn’t live up to all the expectations, the hypnotizing sexual tension between Affleck and Ana de Armas is well worth the price of a Hulu subscription.
Director: Joe Carnahan Writer(s): Joe Carnahan Distributor: Universal Pictures
The scene that proves it: Meeting the Tremor Brothers.
As a Las Vegas bail bondsman hired to bring Buddy Israel (Jeremy Piven) back to his next court appearance, Affleck sports a mustache goatee looking to get the job done with his buddies Pistol Pete (Peter Berg) and Hollis (Martin Henderson), whose left only with a thumb after they encounter the Tremor Brothers, led by the eldest Darwin (Chris Pine). It’s brief, but Pine using his mouth for his twangy ventriloquist act is still somewhat remarkable.
Director: John Frankenheimer Writer(s): Ehren Kruger Distributor: Miramax Films
The scene that proves it: “The Pow-Wow safe.”
Yes, I’m well aware that the crime-heist thriller “Reindeer Games” was a box office failure that was critically-panned and tends to bum many cinephiles out because it marks the final directorial outing of John Frankenheimer, best remembered for his classics “Birdman of Alcatraz” (1962), “The Manchurian Candidate” (1962) and his television limited series “George Wallace” (1997).
Nonetheless, Affleck is delightful as a recently released prison inmate Rudy Duncan. The latter assumes the identity of his cellmate Nick Cassidy (Gary Sinise) to meet up with his smokin’ hit romantic pen pal Ashley (Charlize Theron) before getting wrapped up in robbing a casino. It’s not long before Affleck can sell the far-fetched storyline with his lovable charm and add the dim-witted appeal for a dude who doesn’t understand what’s going on just as much as the audience doesn’t.
Director: Zack Snyder Writer(s): Chris Terrio, Zack Snyder, Will Beall (based on characters from DC Comics) Distributor: HBO Max / Warner Bros.
The scene that proves it: “Be very careful with the next thing you say…”
Affleck’s transition into the Batsuit was far better than many expected when “Batman v Superman: Dawn of Justice” (2016) was released. While the movie’s narrative execution fell well below expectations, Affleck was a consistent high point, even if he did yell the most eye-rolling line, “why did you say that name?”
When “Justice League” (2017) faced a similar fate, the eventual release of the #SnyderCut showed how pleasant and methodical he could be as Bruce Wayne and Batman.
Director: John Madden Writer(s): Marc Norman, Tom Stoppard Distributor: Miramax Films
The scene that proves it: “What is the play and what is my part?”
The crafts and cast do the heavy lifting, but Affleck is a ravishing piece of it. It can be challenging to stand out when Geoffrey Rush, Colin Firth and Tom Wilkinson are also getting their moments to shine. He succeeds.
Coming off the best picture nomination for “Good Will Hunting” (1997), Affleck followed it up with John Madden’s period dramedy “Shakespeare in Love,” famously winning best picture over his buddy Matt Damon’s co-starring war film “Saving Private Ryan.”
Director: George Clooney Writer(s): William Monahan (based on “The Tender Bar” by J.R. Moehringer) Distributor: Amazon Studios
The scene that proves it: “Okay, two rules…”
As the surrogate father to young J.R. Moehringer (played by Tye Sheridan) in George Clooney’s coming-of-age drama, Affleck changes it up for himself playing a wise and inspirational figure. He also has lovely moments with Lily Rabe, who plays his cancer-stricken sister.
Director: Ben Affleck Writer(s): Chris Terrio (based on “The Master of Disguise” by Antonio J. Mendez and “The Great Escape: How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran” by Joshuah Bearman) Distributor: Warner Bros.
The scene that proves it: “There are only bad options. It’s about finding the best one.”
As the CIA agent who launched a dangerous operation to rescue six Americans in Iran, Affleck uses the dynamic talents of his talented cast members, such as Alan Arkin, Bryan Cranston, John Goodman and Scoot McNairy, allowing his reserved and stoic demeanor to speak volumes. Most known for getting the shaft in the best director category, the film still went on to win best picture. Affleck accepted the prize with co-producers George Clooney and Grant Heslov.
Always worth noting that while we can still give adoration to Affleck’s acting chops, this is a story of a Latino hero Tony Mendez. This role could have been played by any of our skillful Latino actors, who continue to compose less than 5% of the actors and roles seen on screen.
Director: Kevin Smith Writer(s): Kevin Smith Distributor: Miramax Films
The scene that proves it: “I love you, and not, not in a friendly way although I think we’re great friends…”
Joey Lauren Adams plays Alyssa Jones, a role that has the actress in all of her wicked acting splendor. Sharing the screen with Affleck as Holden and Jason Lee as Banky, two best friends and comic book authors, the pair’s friendship is tested once the former falls for Alyssa. Affleck’s chemistry with each of them individually is the glue that keeps the entire film intact.
Director: Gus Van Sant Writer(s): Ben Affleck, Matt Damon Distributor: Miramax Films
The scene that proves it: “You know what the best part of my day is?”
“How do you like me now?” Chuck yells at Clark, the Harvard jerk at the bar after his best friend admonishes him about life, originality and what he could have learned with $1.50 in late fees at the public library.
Mathematical janitorial genius Will Hunting (Matt Damon) harbors a painful past while trying to figure out his uncertain future. After his beloved Skylar (played by the Oscar-nominated Minnie Driver) leaves for medical school, it’s a beautiful and eye-opening conversation with his best friend Chuck, played by Affleck, that reveals the path for him to move forward. Talking about those few seconds between the car and knocking on his door does all the wonders to allow the film to execute one of the most beautiful movie endings of the ‘90s.
“He ain’t home.”
Affleck and Damon’s Oscar win is still, and always be, permanently deserved.
Director: Ridley Scott Writer(s): Nicole Holofcener, Ben Affleck, Matt Damon (based on “The Last Duel: A True Story of Trial by Combat in Medieval France” by Eric Jager) Distributor: 20th Century Fox (now 20th Century Studios)
The scene that proves it: “It’s the quality that most recommends you. But do not let your loyalty blind you.”
In the divisive Ridley Scott epic that tells the story of the legendary duel between Jean de Carrouges (Matt Damon) and Jacques Le Gris (Adam Driver), Affleck is having the time of his life playing the sex-crazed royal Pierre d’Alençon. While the movie’s three-part narrative perspective works better than others, the middle chunk from Driver’s views is dominated by Affleck, which was as shocking to see at the time as it is writing it today. It’s always worth noting that the movie is worth the watch for Affleck and Jodie Comer, but is a breathing example of why “trigger warnings” should be utilized in film now.
Director: Allen Coulter Writer(s): Paul Bernbaum Distributor: Focus Features
The scene that proves it: “Kevin, why would you want to do something like that?”
Coulter’s murder mystery theory is far from perfect, which is probably what makes Affleck stand out so much. He carries the entire film on his broad shoulders. He’s able to walk the fine line between the stiff complexities of a fallen actor best known for playing the hero that stands for “truth, justice, and the American way.” The man flies high.
Director: Kevin Smith Writer(s): Kevin Smith Distributor: Lionsgate
The scene that proves it: “He gave them more than he ever gave us. He gave them a choice.”
In the arsenal of New Jersey filmmaker Kevin Smith, many point to “Chasing Amy” or “Clerks” as his pinnacle achievement. However, I’ve always found it to be his provocative and daring satire on God and religion, “Dogma.” A delectable cast that includes George Carlin, Salma Hayek, Jason Lee and Linda Fiorentino is led by Matt Damon and Ben Affleck as excommunicated angels Loki and Bartleby, where the latter gets a chance to deliver an intoxicating monologue on turning his back on the entity that once dismissed him. A remarkable turn.
Director: Ben Affleck Writer(s): Peter Craig, Ben Affleck, Aaron Stockard (based on “Prince of Thieves” by Chuck Hogan) Distributor: Warner Bros.
The scene that proves it: “We’re gonna hurt some people.”
Coming off the deeply compelling “Gone Baby Gone,” the tensely executed “The Town” marked Affleck’s sophomore outing as a director, while also co-writing the adaptation and standing in as the film’s leading man. Helming a terrific ensemble that includes Rebecca Hall, Blake Lively, Jon Hamm, the Oscar-nominated Jeremy Renner, and the final movie for veteran Pete Postlethwaite, he brilliantly displays regret, torment and tension.
2
Gone Girl (2014)
Photo : 20th Century Fox Licensing/Merchandising / Everett Collection
Role: Nick Dunne
Director: David Fincher Writer(s): Gillian Flynn (based on “Gone Girl” by Gillian Flynn) Distributor: 20th Century Fox (now 20th Century Studios)
The scene that proves it: “Kind of a convenient end note.”
The clueless “douchebag” has been a type of role that Affleck has executed well throughout his career. Under the guidance of director David Fincher and the Oscar-nominated Rosamund Pike as his “missing” wife, Affleck slices through the wild tale with intensity. Affleck’s simple walk into a shower can generate a question from the viewer, asking themselves, “did I just see what I thought I saw?”
1
The Way Back (2020)
Photo : Richard Foreman
Role: Jack Cunningham
Director: Gavin O’Connor Writer(s): Brad Ingelsby Distributor: Warner Bros.
The scene that proves it: “I don’t know what they want me to say. I could talk about the, uh, tumors in his brain and his spine. Thirty rounds of radiation. He used to scream when he had seizures. Nobody wants to hear that.”
A financial casualty of the pandemic when released in March 2020, Affleck’s turn as an alcoholic basketball coach shows him at his most emotionally vulnerable. Helmed by Gavin O’Connor, this one-person tour-de-force is beautifully understated and avoids all the cliché drunken character arcs we’ve seen in the past. Instead, it’s Affleck at his very best. He was only able to muster a nom from Critics Choice during the subsequent awards season.
