The 36 Best Video Game Movies Ranked

What should a great video game movie feel like? Should the "Final Fantasy" film mostly function like a playthrough with a bunch of extra cutscenes? Should plot developments be mostly fetch-quests? Films tell compelling stories, but an entire generation has been raised on video games, and they're used to feeling like they're participating in the plots of the media they consume, whether the project is based on a game or not. 

This, I would argue, is a quality the best video game movies share, no matter how faithfully or not they adapt their button-mashing source material. But giving a fixed narrative an active sense of play is unbelievably difficult. For every "Tomb Raider" (2018), there's a "Tomb Raider: The Cradle of Life" (2003). Still, some films manage to pull it off — here, we're going to look at the 25 best video game movies (which, for our purposes, are movies based on a video game property, not movies that take place in a game), plus one honorable mention.

This may not technically be a "video game movie," but it sure is based on a video game –- arguably the video game -– so it deserves at least an honorable mention. The universal appeal of "Tetris" transcends boundaries — age groups, nationalities, even corporations (the Soviet creation still holds the Guinness World Record for most-ported video game). The only boundary it had left to cross was from gaming to filmmaking. Of course, an actual plot based on the blocks was a non-starter, so the folks at Apple decided to tell the second-best "Tetris" story they could come up with — the one that happened in real-life.

Though the game itself is occasionally featured in the film, 2023's "Tetris" is concerned with the larger international frenzy that brought the game to households worldwide. Henk Rogers (portrayed by Taron Egerton) is a down-on-his-luck game publisher who discovers the fast-paced puzzler at a gaming convention in 1988. He's determined to partner with Nintendo on distributing the game worldwide, but a greedy British opponent and the Cold War isolationism of Soviet Russia put the deal in jeopardy. 

The film is a bit dense –- business dealings simply cannot garner the same kind of cinematic stakes as an actual Cold War political thriller -– but the heart in Egerton's performance ultimately wins the day, not to mention a surprisingly intense car chase sequence in the third act. It can't beat an actual video game plot but, for a movie about "Tetris," this is the best it's gonna get.

Let's get one thing clear: There will never — ever — be a film that strays more from its source material than 1994's "Super Mario Bros." If Aaron Sorkin adapted "Pride and Prejudice" and set it in deep space, it would somehow still be closer to Jane Austin's book than Rocky Morton and Annabel Jankel's film is to Nintendo's platformers.

But in the case of the recently released Morton Jankel cut, that doesn't mean that "Super Mario Bros." is bad. While the box-office bomb flopped with fans, critics, and pretty much everyone else, it was also an extension of the aesthetics Morton and Jankel honed on the sci-fi cult classic "Max Headroom." "Super Mario Bros." is set in Dinohattan, a city where humans and dinosaurs co-exist. The dinosaurs' leader, King Koopa (Dennis Hopper), kidnaps Princess Peach (Samantha Mathis) to improve his popularity. Down into the rabbit hole of this dystopia come Mario and Luigi (Bob Hoskins and John Leguizamo) to save the day. 

What follows is an epic deconstruction of the hero's journey, one as informed by the LA police state post-Rodney King as jumping over pits and gobbling up 8-bit mushrooms. The Morton Jankel cut, assembled by Super Mario Bros. The Movie Archive, is an attempt to capture the directors' eclectic vision as originally intended. While it's far from perfect, it's an eerily predictive ride that's as biting as it is ridiculous. Who knows what a game based on this would even look like? Not us, that's for sure.

The market of mobile games suited for the big screen treatment is slim to none, even with the outrageous success of "Angry Birds." Still, IP gotta IP, so we got stuck with this cash grab of an adaptation that feels like Sony's answer to Illumination's animation empire. Admittedly, Rovio Animation's expansion of their original mobile game is fun and colorful, especially in 3D. Models are expressive, backgrounds are detailed, and the film's absolutely stacked voice cast makes each character feel distinct. A special shoutout goes out to Josh Gad, who has proven he can make any movie delightful off of his presence alone.

Still, you'll be hard-pressed to remember much about this movie after one viewing. Because the game doesn't really have a story with a capital S, the movie's attempts to whip one up are a bit limp. The only reason the plot functions is because most of its characters are simply idiotic, which never makes for a particularly enjoyable viewing experience. Red, the "Angry Birds" poster child and the star of the film, is the only one with any intuition, but he's also incredibly obnoxious, so it's a lose-lose. It isn't until the third act that we get what we really came for: birds crashing into pigs and buildings. The climax has visual gags abound, making us wonder what we could have gotten if the filmmakers had decided to simply make a war film with birds hurling out of slingshots. It likely would have been more fun that way.

You know, there's nothing particularly wrong with "Ratchet and Clank." The movie was pelted with negative reviews from critics and a resounding "meh" from fans when it first came out, but in actually watching the lambasted final product, you come to realize that ... it's fine! You've got the game's classic characters, half of whom are brought to life by the series' original voice cast and the other half given new life by a slew of celebrity voices (Paul Giamatti? Bella Thorne?? Sylvester Stallone???). Plus, they're all animated with the same color and charm found in the film's companion game, a remake/expansion of the original 2002 game and a very intentional tie-in to the movie. Well, maybe the movie was tied into the game, considering the game got vastly better reception.

That's the one thing you can hold against this film adaptation: no gamer would recommend a film based on a game over the actual game itself, but even this is a particular case where there's little the movie can offer beyond what the game already provides. At least with other, worse adaptations, the film gives you ... something else, for better or worse. "Ratchet and Clank" tells the same story but with less zany combat, less sharp wit, and less time actually spent with both Ratchet and Clank together. This doesn't make the film itself bad, but it does make it seem like there was a missed opportunity in finally bringing one of Sony's most beloved character pairings to the screen.

Over the course of compiling this list, two things became abundantly clear: One, Paul W.S. Anderson is the godfather of video game cinema. Two, most people like at least one "Resident Evil" movie — and there is no clear favorite.

There are arguments to be made for "Resident Evil: The Final Chapter" and its clear-eyed social conscience. Some pick "Resident Evil: Apocalypse" because it's actually a pretty good zombie movie. As an argument can be made for almost any film in the series, it would appear that the six-film franchise might be more highly thought of than its Rotten Tomatoes scores indicate. 

Therefore, let's give credit where credit is due and make some room for 2002's "Resident Evil" on this list, a choice that honors video game cinema's most persistent IP and one that, on its own terms, works as a strangely charming action movie. While it isn't Anderson's finest work, "Resident Evil" acts as a sort of stepping stone between his early movies and his best films, and the torch-bearer for video game movies' appeal in general.

After nearly ten years, the kids finally got their "Five Nights at Freddy's" movie and, credit where credit is due, they showed up. The film's uncontested box office success came from its young fanbase and, judging from their reactions, Emma Tammi's take on the rabidly dissected, lore-filled horror dynasty was worth the wait. Many moments perfectly recapture the harrowing silence and surveillance aesthetics of the game, all of which is elevated by the Jim Henson Workshop's remarkably faithful animatronics. Add that to fan-favorite Matthew Lillard understanding the assignment, and it's clear why fans took to the film.

That said, those who are impervious to the hype can see through its thinly veiled fanservice. If anything, sometimes it even gets in the way; the film's plot is ridiculously convoluted and sloppy for a story that essentially boils down to haunted fast food mascots (this is what happens when you cycle through three writers in development). It's also surprisingly dull and under-stylized. If you watched the first 20 minutes of this film alone, you might think you were watching an A24 film about childhood trauma -– not that we're complaining, but that's not what this film ultimately is. It's a silly horror film, which barely manages to squeeze out a few genuine scares due to its PG-13 rating. So, no, "Five Nights" is not the best video game movie, but it is the second highest-grossing. If anything, hopefully it clears the way for more video game movies to make it through development hell.

After many Sonic fans embraced its predecessor, "Sonic the Hedgehog 2" was right to steer into the nostalgic skid. The Blue Blur's second cinematic outing saw Ben Schwartz and Jim Carrey return as Sonic and Robotnik, respectively, with Carrey now sporting the iconic Dr. Eggman mustache. Tails and Knuckles made their live-action debuts, with longtime Tails voice actor Colleen O'Shaughnessey and inspired stunt-casting choice Idris Elba bringing Sonic's sidekicks to life in a fresh and endearing way. We also saw plenty of other iconic concepts from Sega's hit franchise on the screen, including the Chaos Emeralds, Super Sonic, and even Shadow the Hedgehog in a post-credits tease.

However, for every step forward, "Sonic the Hedgehog 2" takes two steps back. When will these studios finally realize that nobody comes to movies based on video games for the ancillary human characters? Sure, James Marsden and Tika Sumpter are fine as Tom and Maddie, but at some point, their wedding getaway subplot suddenly takes over the movie and ... why? What for? The first film had plenty of wacky real-world hijinks, but it also felt more focused on Sonic's coming-of-age story. Much of the sequel has very little to do with Sonic's globe-trotting adventure, which itself is needlessly prolonged with several pandersome tangents, including a dance number set to "Uptown Funk" about five years too late. The Minions called, and they said to stay in your lane.

If anyone was equipped to turn a mobile game into cinematic lunacy, it was Thurop Van Orman. Orman is best known as the creator of Cartoon Network's "The Marvelous Misadventures of Flapjack," but that barely scratches the surface of his accomplishments. Van Orman also worked on "The Powerpuff Girls" and "Adventure Time, and voiced Lil' Gideon for Disney's cult hit "Gravity Falls." Van Orman has more animation bona fides than Jay-Z problems.

So, it's little wonder that he built a better blueprint for an "Angry Birds" movie with "The Angry Birds Movie 2." Characters move like clown-school graduates. Any chance for a pratfall — and there are many, including a rapid-fire "getting the team together" montage — is taken. The eclectic cast (Jason Sudeikis! Sterling K Brown!) seems bolstered by the new crew and brings their A-game to the voice acting. It's almost as surprising as the initial success of the "Angry Birds" game, and it should serve as Orman's calling card for any project he wants to tackle next.

After six films at the hands of W.S. Anderson, it was time for a new take on "Resident Evil," perhaps one that was actually interested in adapting the games. Well, turns out Anderson's successors were so interested that they slightly overcorrected. Subtitled "Welcome to Raccoon City," the 2021 reboot adapts both the original "Resident Evil" and its sequel, crosscutting between the Renfield siblings for double the zombie goodness. The catch? Separating a brother and sister doesn't allow for a lot of dramatic momentum.

It's something the entire film lacks, frankly. We have so many interesting characters and pairings, from Chris Redfield (Robbie Amell) and Jill Valentine (Hannah John-Kamen) to Claire Redfield (Kaya Scolodelario) and Leon Kennedy (Avan Jogia), yet none of their respective chemistry (or lack thereof) inspires any compelling character work. We know, it's a zombie movie, there's bigger fish to fry. But "Resident Evil" didn't become one of gaming's flagship horror franchises just because you get to shoot zombies -– you can do that at a Dave & Buster's. The characters remain some of the most memorable in all of gaming. "Raccoon City" does my boy Leon Kennedy so dirty that even an "RE" zombie would find it disgusting.

Still, give credit where credit is due: director Johannes Roberts gives this franchise the atmosphere it so desperately needed. One scene with Chris and a flickering lighter instills more terror than the original six films combined. Featuring solid CGI and bass-quaking sound design, "Raccoon City" shows potential, at least stylistically, as a proper revitalization of this Capcom heavyweight.

You know, this one almost works. It gets a bad rap for failing to adapt the boundlessly creative Ubisoft franchise, but it's not necessarily as bad of a movie on its own as everyone would assume. What it lacks in the original game's appeal it makes up for in its own unique vision for the world of "Assassin's Creed." Though it retains many similar story elements, the motivations are more sociological than the source material and, in many ways, more resonant. Sofia, the creator of the Animus, wishes to use the machine to rid the world of man's inherent violence, yet it is violence that enables agency. Sofia's father, Alan, uses Sofia's virtuous cause as a veil for the Templar's plan to rule over mankind, which is itself a form of violence; Cal, on the other hand, uses the Animus to inhabit his ancestor, who himself exacts violence against the 1492 Spanish Christian patriarchy. So who is to say violence must be expunged from the human psyche?

The film's exploration of this theme makes it a fascinating watch, even if its own pretentiousness can sometimes get in the way. Indulgent long takes, stoic color palettes, and heady dialogue often distract from the story, even if it does give the film a unique visual aesthetic outside of the source material. Still, the action more than satisfies, as do Michael Fassbender, Marion Cotillard, and Jeremy Irons as the leads. Those three could take turns reading aloud a grocery list and deserve Oscar nominations for it.

Paul W.S. Anderson's "Monster Hunter" is relentless: relentlessly goofy, relentlessly fun, and relentlessly non-stop (yes, that's an oxymoron). It's a film that makes the bus in "Speed" feel like it's going at a leisurely pace. In between action setpieces, there are loads of crazy dialogue ("Never ever seen a flamethrower do this to a man"), ice-cold stares, and tons of killable creatures.

In short, "Monster Hunter" is exactly what it promises to be. To the credit of all involved, it doesn't stray far from the flimsy plots of its source material. Sure, in the "Monster Hunter" games, the protagonist is not a soldier from our world (Milla Jovovich) who gets sucked into an alternate universe full of evil beasts, but if that's what it takes to get to Tony Jaa to play character named the Hunter who travels around with an arsenal of exploding arrows, so be it. 

Unlike Anderson's "Resident Evil" films (which are goofily enjoyable in their own right), "Monster Hunter" doesn't get lost in excessive plots or lofty cinematic ambitions. It knows exactly what it is, and mainlines its own supply to deliver so much B-movie je ne sais quoi that it almost tilts back over into minimalism. In the midst of the pandemic that "Monster Hunter" was released in, that was enough to qualify as cinema. 

The Rock's second appearance on this list, 2018's "Rampage" is a notable improvement over his first for two reasons. One, director Brad Payton and the film's four credited writers bring an admirably goofy energy to their blockbuster, which is fitting for a movie based on an arcade game about punching nondescript buildings as a kaiju. Two, this film is nuts.

Again: "Rampage" is nuts. Do you want to see a movie in which the werewolf from "True Blood" gets eaten by a larger, flying wolf? That's "Rampage." Have you wondered if Jeffery Dean Morgan could play a character from every state in the South all at once? In "Rampage," he does. You thought Jake Lacy was the embodiment of toxic white privilege in "White Lotus?" You haven't seen "Rampage." 

"Rampage" is a film in which a giant lizard and gorilla destroy more of downtown Chicago than "The Blues Brothers" and "Transformers 3" combined — and yet, it's whatever Jake Lacy and Mailin Akerman are doing in their shared scenes that truly strains credibility. "Rampage" rocks even when is at its most questionable, and that, dear reader, is everything a "Rampage" adaptation ought to be.

If "Fast & Furious" can become a blockbuster franchise, who says we can't share the wealth of street racing on film? "Need For Speed" is such a genuinely exciting sports film that it didn't even need the crutch of its original video game to warrant its own existence, but it is a nice bonus. This collaboration between Electronic Arts and DreamWorks proves that cracking certain video games on film isn't rocket science. Sometimes, when life gives you a racing simulator, you make a racing film, and an absolutely hard one at that. 

Though it varies from game to game, the utter destruction of the "Need For Speed" franchise gives the franchise the raw thrills its races are known for. To see the filmmakers commit to that with some of the most stunning practical car crashes put to film is oddly mesmerizing. Sure, many of the cars are lookalikes, but the power of cinema doesn't account for that.

Is the film perfect? No. The story's a bit inexplicable at points and the actual driving sequences themselves could have used more dynamic coverage. There's only so many times that silly first-person shot of Aaron Paul driving can make us feel like the director "played the game." Regardless, the film is incredibly entertaining, in part because the entire cast understood the assignment. They're all having a blast but committing to the drama and stakes of the story when it counts. Bless you, especially, Michael Keaton, for all of your gosh darn charisma.

It appears we have become full-blown Lara Croft apologists. Sorry not sorry! These movies rule, with the sequel to "Lara Croft: Tomb Raider" somehow topping its predecessor in almost every department. It all comes down to its winning formula: brilliantly acrobatic action choreography, gorgeous on-location shooting, and a hunky, wise-cracking sidekick to aid in some good ol' sexual tension. This time around, it's Gerard Butler as Terry Sheridan, not only an independent loot-seeker but also Lara's (Angelina Jolie) ex. We love a near-naked Daniel Craig, but this is a step up.

"Cradle of Life" is also an improvement because -– let's face it -– the original film isn't really about anything. It manages to shoehorn in some actual father-daughter love between Jon Voight and Jolie at the end, but there isn't much more to it. The sequel, though nothing extraordinary, is more explicitly about greed and self-interest, specifically Lara's journey in confronting it when faced with the legend of Pandora's Box. It comes to a surprisingly effective head in the film's finale, when Lara must sacrifice her boner for Sheridan to stop a world-ending plague from blighting humanity. That's progress!

Jolie really was the perfect Lara Croft, accent be damned (it's better in the sequel). She may have looked the part, but she also imbued the character with instant charm, quiet ferocity, and actual sense of adventure. Even in the limited canon of globetrotting treasure hunters, Jolie as Croft stands out among the rest.

With the announcement of his latest adventure in the works for the Nintendo Switch, there's no better time to get gaming's favorite gentleman sleuth back on the big screen. After all, his sole cinematic entry is one of the best video game movies, if also one of the least seen. "Professor Layton and the Eternal Diva" unfolds like any great Level-5 mystery, initially presented as disparate pieces that connect to form a much larger puzzle. Thankfully, puzzles are this franchise's specialty, and "Eternal Diva" has more than enough brain teasers to satisfy any longtime fan.

However, the true star here is the story. With no gameplay to fuss over, "Eternal Diva" channels the series' already gorgeous animation and talented voice cast into a heartbreaking tale of memory and mortality. It all begins when a renowned opera singer believes her best friend has been reincarnated into the body of a young girl. Soon after, one of her performances is hijacked by a mysterious villain who thrusts the audience into a competition of riddles in which the winner is promised the secret to eternal life. It all feels like a whirlwind at first but, as tragic backstories are unwound, everything comes together in time for a high-stakes climax the likes of which Layton fans have never seen before. Throw in a dash of class commentary a la "Triangle of Sadness," and you have the makings of another great series of mystery films. If Benoit Blanc and Hercule Poirot can have multiple modern movies to their name, why not Professor Hershel Layton too?

Despite "Gran Turismo" being based on a real story (haven't you read the film's tacked-on subtitle?), we're counting this one as a legit video game movie. What differentiates this from something like "Tetris" is that, regardless of its real-world application, Sony effectively gave us an adaptation of the actual game as well — the Venn diagram just so happens to overlap. In fact, it's actually an inspired storytelling decision. Most racing games don't bother with plot, so if you're going to source one, you might as well do it from your own company's history.

"Gran Turismo" centers on Jann Mardenborough (portrayed by Archie Madekwe), a high-ranking "GT" player from Cardiff, Wales who longs to become a real racer. When he becomes eligible for the Nissan-sponsored "GT Academy," a program looking to make players into racers, Mardenborough goes all the way to racing at 24 Hours of Le Mans, one of the world's most challenging races. Though the film has rightfully been criticized for twisting the chronology of Mardenborough's story for dramatic effect, it is nonetheless an inspiring story that shows the real-world applications of gaming (with additional training, of course).

What especially elevates this adaptation is the direction of Neil Blomkamp. The revered sci-fi director initially seemed like a strange choice for a racing film, but you can feel the rawness and authenticity he brings behind the camera, even in a large studio project like this. Toss in David Harbour, who so thoroughly understands the assignment he could teach a college course on it, and you've got yourself a fun time at the movies.

It was about time. We all knew Mario could make for a great movie despite the missteps along the way, and we were proven right. Well, basically proven right. In reality, "The Super Mario Bros. Movie" is a 6/10 without the gamer gloss, but a striking 10/10 for any longtime Mario fan. 

Despite our doubts, Chris Pratt makes for a solid Mario and Illumination's realization of Nintendo's most beloved franchise is stunning, from the surprisingly charming streets of Brooklyn to the elaborately vertical platforms of the Mushroom Kingdom. Usually, an onslaught of "Mario" Easter eggs would be interpreted as tryhard corporate hackery, but every detail in the film is implemented in a way that speaks more to the animators' love for "Super Mario" and their desire to get this movie right for the fans. I mean, just listen to that score!!

Is the story itself all that interesting? Not especially. It's your run-of-the-mill adventure plot, made even more copy-and-paste thanks to the well-known conventions of the franchise -– though the switch-up between Peach and Luigi is a welcome touch. The lesson Mario learns isn't an especially novel one, nor is the film's climactic finale. But who cares? They let Jack Black sing! "Peaches" is an unironically bangin' number, proving Black as Bowser was a match made in Koopa heaven from the start. With a stronger tongue-and-cheek sensibility like that going forward, the Illumination Mario-verse could prove to be the strongest silver-screen translation of any video game franchise ever.

The only major summer tentpole to be shot on film in 2019 was Rob Latterman's "Detective Pikachu." I think about this once a week. It's a remarkable fact in its own right, but it's also the key to understanding why the two-year old video game film feels wildly elevated. Here is a family film that goes out of its way to stock up on noir tropes and shoots them like "The Long Goodbye" never happened, all while letting Ryan Reynolds go full Robin Williams. How does this movie exist? 

Never mind, that. What matters is that "Detective Pikachu" is excellent. It manages to cram an intelligent look at the limits of male communication and one legitimately frightening set piece into a rollercoaster ride of shadow-soaked comedy and plot twists. It was one of 2019's better films, and it's only going to age like a fine wine. It's place on top of this list was almost destined; however, one 2021 release gives it some seriously stiff competition.

It's a shame that the best video game movie is one very few gamers have actually seen. "Animal Crossing: The Movie," or "Gekijōban Dōbutsu no Mori" in the original Japanese, grossed over one billion yen at the Japanese box office, yet has never gotten an overseas release. Now that the franchise has exploded in popularity post-"New Horizons," it's time to officially campaign for this adorable, heartfelt adaptation to finally make it to the States. Co-produced by Nintendo, "Animal Crossing: The Movie" follows Ai, a young girl who moves to the Animal Village. Her excitement to begin a new life will feel familiar to any "Animal Crossing" fan: She explores the island, immediately becomes acquainted with her neighbors, and even begins to work for Tom Nook as a delivery driver. As she and her friends dig for fossils, watch meteor showers, and fangirl over K.K. Slider, any fan of the series will immediately feel right at home with this adaptation. 

However, not only does this delightful slice-of-life anime capture the appeal of the series, it also translates its gameplay into a well-paced narrative that expands on the original game's mechanics. Ai is forced to confront some hard truths, such as the heartache one feels when their friends move away. She also must discover what she dreams for herself now that she is independent. These subtle elements in the game are given more resonance through storytelling, which is what makes it the best video game movie of all time.