15 Best HBO Original Movies, Ranked

Since at least the late ’90s, HBO has been hailed as the gold standard of television. When people think about the network, the same sort of work usually comes to mind. Whether it’s classic prestige TV shows “The Wire,” “The Sopranos,” or “Six Feet Under” or groundbreaking contemporary miniseries like “Watchmen,” “The Night Of,” or “I May Destroy You.” Heck, even their biggest misses like “The Idol” or “John From Cincinnati” are fascinating works of art.

As much praise is heaped on HBO, however, surprisingly little is afforded for the litany of feature films they produce and release every year (we’d bet many readers were even unaware of this side of their production entirely, perhaps until the release of Jesse Armstrong’s “Succession” follow-up “Mountainhead”). With such a large back catalog of great movies to choose from, we’ve selected the 15 best HBO original movies to get your next marathon underway.

“These are funny guys! Just kill one of them.”

That’s right, the classic John Landis movie “Three Amigos” was indeed one of the earliest films produced by HBO. An admittedly questionable comedic vehicle for the talents of Steve Martin, Chevy Chase, and Martin Short, the 1986 western comedy imagines the trio as clueless actors who abscond to Mexico after seeing their Hollywood careers dry up in America, only for them to unwittingly draw the ire of a dangerous criminal.

“Three Amigos” is either a cult classic or an overrated relic, depending on who you ask. For the purposes of this list, it has too much cultural staying power and is beloved by too many people to overlook. If nothing else, it ultimately led to the Steve Martin / Martin Short duo that, among other things, gave us “Only Murders in the Building.”

“The only way I’m ever leaving Grey Gardens is feet first.”

The original “Grey Gardens” documentary remains one of the most iconic films of its kind, capturing the lives of two women who might have been wealthy New York socialites in another life but were clinging to a literally decaying shell of a past that had escaped them long ago. There was a mini-trend at the beginning of the 2000s which saw a few popular documentaries turned into scripted dramas, resulting mostly in hollow imitations, but HBO’s “Grey Gardens” avoids this misstep by taking full advantage of what can be imagined and depicted outside the boundaries of the documentary format.

Jessica Lange and Drew Barrymore star as the drifting relatives of first lady Jackie Onassis, and their performances and the script grant Big and Little Edie a humanity that feels less voyeuristic. It isn’t necessarily superior to the documentary that came before it, but it does more than enough to justify its existence as a companion piece that asks the viewer to further empathize with its subjects’ unusual lives.

“Everyone knows who won. But not everyone knows how.”

2016 was a particularly volatile year for global politics, but few elections that year were as momentous or impactful as that year’s United Kingdom European Union membership referendum. British voters elected by a slim margin to leave the EU, a consequential transition colloquially referred to as “Brexit.”

By 2019, it was still difficult to see exactly how this decision would affect the UK and the continent at large, mostly because Brexit had yet to be enacted. It was, however, becoming increasingly clear just how Conservative members of British parliament managed to push for such a controversial result in this election. This is the drama at the heart of “Brexit: The Uncivil War,” which follows political strategist Dominic Cummings (portrayed by Benedict Cumberbatch) as he spearheads the aggressive and manipulative Vote Leave campaign in the months leading up to the vote.

With the tone of a dark biopic thriller like “The Social Network,” “Vice,” or “The Big Short,” director Toby Haynes (“Andor,” the “U.S.S. Callister” episodes of “Black Mirror”) shows how Cummings and his powerful allies “hacked” the election by exploiting low-propensity voters, targeting them with carefully crafted rhetoric meant to stoke nationalist and xenophobic sentiments. Cumberbatch is commanding as Cummings, showing a side of the actor you won’t see in “Doctor Strange.” 

At the 71st Primetime Emmy Awards, “Brexit: The Uncivil War” was nominated for Outstanding Television Movie, but lost to the “Black Mirror” interactive feature “Bandersnatch.”

“Why does it gotta be that they’ve only got room in their hearts for one guy?”

It’s hard not to love a good sports movie, especially when it’s based on a true story. In “61*,” director Billy Crystal takes audiences back to 1961, when the New York Yankees boasted the dual talents of right fielder Roger Maris (played in the film by Barry Pepper, of “Saving Private Ryan” and the “Maze Runner” series) and center fielder Mickey Mantle (“The Punisher” himself, Thomas Jane).

Both men are not only friends but among the best of the best players in the entire Major League Baseball franchise, but fans and members of the media are intent on stoking a rivalry between them, pushing the narrative that only one will be remembered as one of the greats. This tension begins to come to a head when Maris and Mantle set out to break the record for most home runs in a single season (the previous record being 60, and having been set by none other than Babe Ruth in 1921).

“61*” has everything you’d expect from one of the best baseball movies of all time, but is unique in its focus on the psychology of competition, especially between two people with little left to prove. Pepper was nominated for his work in the film at the 53rd Emmy Awards, but lost to Kenneth Branagh (the star of “Conspiracy” another exceptional HBO film).

“You lead by example.”

“The Many Saints of Newark” has a dicey reputation among fans of its source material. It’s impossible to overstate the legacy held by “The Sopranos” as one of, if not the greatest television series ever made, and no spin-off film was ever going to be able to follow in its footsteps — even one written by series creator David Chase. On its own terms, however, “The Many Saints of Newark” is a bloody and effective deconstruction of the mob movie subgenre that stands out as one of the most striking, stylish, and memorable films HBO has ever made.

Its core strength is unquestionably its ensemble cast, anchored by Alessandro Nivola in the role of Dickie Moltisanti. The uncle of Michael Imperioli’s Christopher Moltisanti (whose voice haunts the film as its narrator) loomed large over the original series thanks to the saint-like reverence he earned from James Gandolfini’s Tony Soprano as a young boy. This film finally shows how and why that relationship came to be, with Gandolfini’s son Michael Gandolfini portraying a younger version of the iconic character with uncanny results.

“It was a very f***ed up year for bicycle riding.”

We may be cheating just a little bit with our next entry, but that’s also kind of perfect, given which two films occupy this spot. “7 Days in Hell” and “Tour de Pharmacy” are both mockumentary short films (about 45 minutes in runtime each) that send up the sports biopic genre with the help of an ensemble of A-list comedic talent.

“7 Days in Hell” recounts “the longest and arguably greatest game in tennis history,” fought between a hedonistic hot-shot American player (Andy Samberg) and a rising star from Britain (Kit Harington) intent on reclaiming his country’s honor, despite being a few crumbs short of a biscuit. It was received positively by viewers and critics alike, leading writer Murray Miller and director Jake Szymanski (who would go on to direct Amazon’s “Jury Duty”) to craft “Tour de Pharmacy,” a follow-up that satirizes the corrupt goings on at the fictional 1982 Tour de France. Samberg returns, joined by Orlando Bloom, Freddie Highmore, Daveed Diggs, John Cena, James Marsden, and several other actors who make delightfully surprising appearances throughout.

“If you’re the kind of person looking for some fantasy figure to save the day, guess what — you got the wrong movie.”

Warner Bros. and HBO have made a good chunk of their money on comic book movies, mostly starring the likes of Superman and Batman. In “American Splendor,” however, HBO delves deeper into the culture of comics than they have since its release in 2003.

The film examines the life of real-life comic book creator Harvey Pekar, who attracted attention in the ’80s for his autobiographical comic series titled “American Splendor.” Played in the film by Paul Giamatti, Pekar is focused, lonely, and perhaps a bit neurotic, and above all else frustrated with how the world belittles his craft. “American Splendor” follows Pekar’s stagnant personal life, his unconventional relationship with fellow comic book creator Joyce Brabner (Hope Davis), and his struggle to turn his artistic success into a fulfilling career.

“Who cares what people think? It’s what my patient feels!”

Director Barry Levinson has helmed several successful films for HBO over the years, the fruits of an informal partnership that began with 2010’s “You Don’t Know Jack.” The film stars Al Pacino (himself a familiar face to HBO Films, in part due to the controversial Phil Spector biopic he led) as Dr. Jack Kevorkian, a real-life pathologist who practiced and fiercely advocated for medical euthanasia.

A surprising balance of character-driven drama and dark comedy, “You Don’t Know Jack” turns Dr. Kevorkian’s public fight for his right to (from his perspective) adequately treat his patients into a study of obsession, identity, and morality. The film drew praise upon its release, earning several Emmy nominations, including for awards for Outstanding Television Movie, Supporting Actor (John Goodman), and Supporting Actress (Susan Sarandon and Brenda Vaccaro), with Pacino winning the award for Lead Actor.

“It’d be a pity not to recognize what’s at stake. To go ahead and die stupid.”

Unlike “The Many Saints of Newark,” the feature film follow-up to “Deadwood” was almost certain to strike gold from the moment it was announced. Where “The Sopranos” is lauded for having one of the best and most untouchable series finales ever produced, “Deadwood” suffered from a premature cancellation that left fans hungry for a more satisfying conclusion to their favorite prestige western series. And boy, does “Deadwood: The Movie” deliver.

Released in 2019, “Deadwood: The Movie” is a fond farewell to one of TV’s greatest shows, reuniting an astonishing number of original cast members for a finale that feels as natural and fitting as it would have back in 2006. Timothy Olyphant and Ian McShane are particularly brilliant, slipping back into their opposing roles of lawman and outlaw with total ease.

“You invited the whole family?”

“My Big Fat Greek Wedding” was nothing short of a miracle when it was released in 2002, earning nearly $400 million at the box office against a measly budget of $5 million to become one of the most successful romantic comedies of all time. The film more than deserved this outcome, packing its tight and entertaining story with a winning blend of sincerity and humor — as well as a dozen individually memorable characters who steal scenes back and forth from one another for the entire movie.

If you have yet to experience this sleeper hit from 2002, it follows a Greek woman (Nia Vardalos) who secretly falls in love with a non-Greek man (John Corbett) against the wishes of her father. When their relationship inevitably comes to light, she is forced to introduce him to her entire extended family and the culture they proudly protect.

“Is it something bad?”

Directed by Gus Van Sant, “Elephant” is essentially a horror film made all the more terrifying by how close it resembles the real world. Released only a few years after the Columbine massacre which saw two teenagers target their classmates and teachers at their own high school, the film tells the story of victims and perpetrators of a fictional school shooting inspired by that event.

To describe “Elephant” as harrowing is an understatement. Van Sant doesn’t shy away from the actual violence, nor does he reduce any of the characters to mere cutouts meant to play a role in a tragedy. His naturalistic leanings make the students feel like real children, with complicated inner lives independent of the cruel actions of two killers.

If you have been impacted by incidents of mass violence, or are experiencing emotional distress related to incidents of mass violence, you can call or text Disaster Distress Helpline at 1-800-985-5990 for support.

“Some people will do the most horrible things.”

Films released by HBO are often driven by a commanding and unexpected performance from an A-list actor playing against type. In the case of “Bad Education,” Hugh Jackman finally gets to shed his X-Men suit and Wolverine claws to play a role unlike anything you’ve ever seen from him.

Based on a true story that took place in the early 2000s, “Bad Education” stars Jackman as Frank Tassone, a public school superintendent and former teacher in Long Island who appears to be a perfect champion of the community, his peers, and his students — that is, until one of those students working on a class project accidentally discovers millions of dollars he may or may not have embezzled from the school district. It’s an arresting story of small-scale corruption that stands out as one of the best movies of Jackman’s career.

“You fight until one man can no longer get up.”

Historically speaking, television movies have a reputation for being simpler than theatrical films. They’re more digestible, often more sentimental and overt in their intentions, and seldom interested in leaving the audience with anything other than the feeling of satisfaction they’d get from watching an episode of a series. Arguably no film bucks these expectations as defiantly as “The Survivor,” in which HBO and Barry Levinson once again prove that audiences can handle a gutting cinematic experience in their own living rooms.

In the 2021 film, “Hell or High Water” star Ben Foster plays Harry Haft, a real-life Jewish professional boxer who was trained as to fight in Auschwitz during World War II. Having been forced to fight other inmates to death for his captors’ amusement, in order to survive the horrors of the concentration camps, Haft’s present life is consumed by guilt, grief, and longing to find the family that was taken from him. His last chance for a reunion comes when he’s offered a high-profile fight with legendary boxer Rocky Marciano.

Levinson and Foster dig unrelentingly and unapologetically into the complexities of Haft, not as a historical figure but as a human being. Their work, coupled with a sharp screenplay and moving cinematography, is as gripping as a film released on any platform could be. “The Survivor” was nominated for Outstanding Television Movie, but it lost to “Chip ‘n Dale: Rescue Rangers.”

“Everything I am, everything I could be, is in that film!”

As amazing as “The Survivor” is, it’s also worth pointing out that it (and many other films on this list) benefits tremendously from how the age of streaming has changed the sort of films that become TV movies. 20 years ago, many of the TV movies we mentioned wouldn’t have been produced for a television screen. If they had, they would have looked a lot different. This is all to say that, when crafting this list, we wanted to pay due respects to films that excelled despite being produced as true TV movies — especially one which stands out above all others.

Released on HBO in 1999, “RKO 281” at first seems like it will confirm every preconceived notion you have about TV movies. While its lower-budget is obvious and its presentation is far from cinematic, the film is so well-scripted, acted, and paced that it holds an astonishing amount of power. 20 years before David Fincher’s “Mank,” “RKO 281” dramatizes the tense production of Orson Welles’ magnum opus “Citizen Kane,” compellingly doing so through the lens of the feud between Welles (Liev Schreiber) and William Randolph Hearst (James Cromwell), the all-powerful businessman and politician who inspired the film.

“How are they gonna help us if they don’t know who we are?”

Ryan Murphy has been a force of nature on television for well over two decades now, with series like “American Horror Story,” “Glee,” and “9-1-1” standing out as not only some of his most popular works to date, but some of the most successful TV shows ever produced. With so many hits to his name, it’s almost a shame that “The Normal Heart” flies under the radar by comparison — especially since one could argue it’s the best story Murphy’s ever helped tell.

Directed by Murphy and written by playwright Larry Kramer (who wrote the semi-autobiographical play upon which the film is based), “The Normal Heart” follows the fight for survival and acknowledgement undertaken by leaders in the gay community during the HIV-AIDS crisis of the 1980s. Mark Ruffalo stars as Ned Weeks (a character based on Kramer), an outspoken writer who helps found a non-profit to stop the spread of AIDS. While witnessing the rapidly increasing number of deaths and hospitalizations from the gay community and sharing the responsibility of bringing attention to the disease (despite the willful negligence of the U.S. government), Ned and his friends and loved ones fight for whatever hope they can find in one another.

“The Normal Heart” is still one of HBO’s most acclaimed films, winning the Emmy for Outstanding Television Movie in 2014. Ruffalo was also nominated, as were his co-stars Matt Bomer, Alfred Molina, Joe Mantello, Jim Parsons, and Julia Roberts.