Every Seann William Scott Movie Ranked

The recognizable cheesy grin of Seann William Scott was everywhere in the '90s and '00s. After a handful of minor roles in TV shows, music videos, and shorts, Scott got his big break as the sex-crazed Stifler in 1999's "American Pie," which launched him into superstardom. Love him or loathe him, The Stiffmeister became one of the most iconic comedy movie characters of that decade, and Scott soon found himself typecast in a series of similar comedies as the obnoxious blowhard or lovable idiot.

There are some who would look down on the lowbrow films of Seann William Scott, but it is hard to deny that he is good at what he does and that there was a market for these films. Teen sex comedies were huge in the '90s and '00s, and while Scott's "American Pie" co-stars went on to very different projects outside of the film's sequels, Scott continued to find work in the genre that made him a star. The films Scott appeared in may vary wildly in quality, but somehow he managed to be consistently funny throughout, never losing the ability to steal the show. Join us as we rank the wild filmography of Seann William Scott.

It's really more a question of who isn't in the notoriously bad "Movie 43" rather than who is, so perhaps it was inevitable that Seann William Scott would pop up. Featuring a host of A-listers, the 2013 anthology movie presents several interconnected short films linked by the encompassing concept that they're all movie pitch ideas from Charlie Wessler (played here by Dennis Quaid). The real Wessler produced the much-maligned film, memorably described as "the 'Citizen Kane' of awful" by critic Richard Roeper.

Scott and his "Dukes of Hazzard" co-star Johnny Knoxville play roommates Brian and Pete in the segment titled "Happy Birthday," where the pair fall afoul of a potty-mouthed leprechaun (Gerard Butler) and his equally obscene brother (also Gerard Butler). In a film that consistently plums the depths of poor taste, Scott's segment is undeniably one of the worst — its only saving grace is that he and Knoxville do have good on-screen chemistry. "Movie 43" has little to no redeemable qualities, but at least it had the sense to cast Scott and Knoxville as a couple of blockheads, given their proven experience in similar roles.

After directing a TV movie in 2012, Courtney Cox brought her theatrical feature debut, "Just Before I Go," to screens in 2014. Seann William Scott plays the suicidal Ted, who returns to his hometown to reconcile with some of the people from his past before he dies by suicide. The larger-than-life Scott delivers an uncharacteristically understated performance in this film — one that grapples with some serious subjects — and yet it is his appearance that leaves this film feeling utterly directionless.

It isn't uncommon for dramedy films to take on some pretty serious subject matter, but this uneven film doesn't seem to know what it wants to be, or why. At times formulaic and overly sentimental, "Just Before I Go" also tries to be a risqué comedy, and it never quite settles on the right balance between these opposing ideas. More than perhaps any other film on this list, this one represents the raucous comedies Scott was known for, and the more serious direction his career went in after this, indelibly proving that the two were never supposed to meet.

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The remake that no one was asking for, "The Dukes of Hazzard" took its inspiration from the '70s TV show, yet it bore very little resemblance to the original series. Here, cousins Bo (Seann William Scott) and Luke (Johhny Knoxville) — along with their younger relative, Daisy (Jessica Simpson) — strive to protect their family's land and the wider county from corrupt lawmakers. While the plot doesn't sound dissimilar to an episode of the hit show, the film tends to favor endless car chases and overly gratuitous shots of the famous short shorts over anything more meaningful.

The result is something that feels incredibly shallow, and not even the natural chemistry of Knoxville and Scott can save it. It's hard to fathom that anyone in 2005 was crying out for a new version of "The Dukes of Hazzard," and the whole thing feels like a wasted exercise, a shameless attempt to capitalize on an existing property with little thought given to its purpose.

Stoner and slacker comedies were a big deal in the '90s and early '00s. They brought with them a wave of iconic double acts — Beavis and Butthead, Bill and Ted, Dante and Randall — all of who meandered through the haze of their respective movies and shows with good humor and a carefree attitude. However, the pair at the center of "Dude, Where's My Car?" — Jesse (Ashton Kutcher) and Chester (Seann William Scott) — fail to join this pantheon of greats. Our protagonists are two bros who black out after a night of partying and struggle to remember where they left their car.

There's nothing wrong with films that are lacking in intricate plot details — that is, after all, the thing that often defines a slacker comedy — but "Dude, Where's My Car?" is so light on story that it barely feels like a film. It's also painfully obvious that this film has one joke, and it becomes unfunny pretty quickly. If there is anything good to be said about this film, it is that both Scott and Kutcher are well-cast — it's just a shame that the film gives them very little to do.

Seann William Scott may have made his name in comedies, but his later career has seen him take on more serious dramatic roles, like in this Keanu Reeves-produced 2019 drama. In "Already Gone," Scott plays Martin, the abusive stepfather of Robinson (Tyler Dean Flores). Tired of living in fear, Robinson runs away with his stepfather's girlfriend, exotic dancer Keesha (Justine Skye), who had also been subject to Martin's abuse.

Robinson and Keesha may seem like unlikely companions, but they find in each other the hope of overcoming their shared traumas ... or so we might think. The film is pretty bleak — even after it leaves Martin behind to focus on the teen's burgeoning romance — but it ultimately fails to be interesting enough to leave an impact. Martin remains a looming threat throughout, and his reappearance towards the end of the film provokes an interesting conversation on the codependency of abusive relationships, but the film doesn't take the time to examine this. While proof that Scott is capable of taking on meatier roles, he isn't given enough time to cement this, and the result is a film that is as forgettable and fleeting as the title would suggest.

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Kevin Smith's films are sometimes an acquired taste. This comedy, however, is a little more vanilla compared to some of his other offerings — although it's not without the director's trademark potty humor. "Cop Out" focuses on police officers Jimmy (Bruce Willis) and Paul (Tracy Morgan) as they hunt down petty thief Dave (Seann William Scott), who has stolen a rare baseball card. With the talent involved, "Cop Out" has all the makings of a great comedy. Unfortunately, it is severely lacking in jokes, and ends up being painfully bland.

As Dave, Seann William Scott has a handful of funny moments, but his sole character trait is that he is annoying — that's it. Now don't get us wrong, Scott can play annoying really well, but when that's all the character has to offer — and the film only gives them that one joke — it isn't long before they start to grate. Having worked with Smith on "Jay and Silent Bob Strike Back," it is easy to see why Scott would be drawn to this film. In an interview with Cinema.com, Scott was full of praise for those involved, emphasizing that he was "a huge fan of him [Smith] and everybody in it."

A film that sells itself on "that person's name is funny" should come with the lowest of expectations anyway, but even so, 2007's "Mr. Woodcock" manages to be even more disappointing than you would anticipate. Seann William Scott plays John Farley, a bestselling author who is shocked to learn that his mother (Susan Sarandon) is marrying his high school gym teacher, Mr. Woodcock (Billy Bob Thornton). As a boy, John was one of the many students victimized by Woodcock, and this experience spurred him to write motivational books about overcoming past traumas.

In better hands, "Mr. Woodcock" had the potential to explore the long-term impact of bullying and how this shapes a person in their adult life, while still reveling in the absurdity of your mom dating your former teacher. Instead, it features an abundance of crass humor and phallic jokes, as John and Woodcock compete in a series of challenges to try and knock the other down a peg or two. There is some reconciliation between the pair at the end, but it skips over the notions of generational trauma and toxic masculinity in favor of unnecessary posturing. Perhaps we're expecting a little too much from a film that has a crude joke in its title, but it is nonetheless disappointing.

Every once in a while, a film comes along that not only makes a huge cultural impact but also has influence over the aesthetics of cinema in a noticeable way. Following the release of "The Matrix" in 1999, plenty of copycats emerged, all trying to emulate the flashy editing, mind-blowing martial art fighting techniques, and unique visual style of the sci-fi classic. 2003 saw the unlikely pairing of the legendary Chow Yun-Fat and Seann William Scott in "Bulletproof Monk," another imitator of "The Matrix." Scott plays Kar, a selfish no-goodnik who is chosen by a mysterious monk to become the new guardian of a precious scroll.

While there are hints of an interesting odd-couple dynamic between Scott and Chow, "Bulletproof Monk" is extremely derivative and Scott in particular feels woefully miscast. Perhaps understandable, given director Paul Hunter's previous work, but the film is shot like a music video: All style and very little substance. David Edelstein, writing for Slate, was particularly scathing about Hunter's direction, saying, "He has no idea where to put the camera for dramatic impact or how to move people around in the frame."

There's a strange trend in Seann William Scott's career that sees him star in a multitude of copycats that pale in comparison to the movies that inspired them, from "Bulletproof Monk" trying and failing to be "The Matrix" to every post-1999 raunchy comedy imitating "American Pie." This places Scott in the unfortunate position where he is starring in films that are already on the ropes and many of the jokes are already wearing thin. Such is the case with 2009's "Balls Out: Gary the Tennis Coach," a film that shamelessly piggybacks on the goodwill of surprise hit, "Dodgeball: A True Underdog Story." Scott plays the janitor-turned-tennis coach Gary, who is tasked with training up a bunch of aspiring young tennis players.

There are elements of the underdog story that do succeed, but it is lacking the crucial element that made "Dodgeball" work: likable characters and good humor. Like so many of Scott's other films, "Balls Out" is supremely stupid and puerile, with a lack of consistent jokes. Adding kids into the mix offers the opportunity to be endearing and uplifting, but "Balls Out" instead relies on gross-out gags with no heart to provide the balance.

You can see the thumbprints of movies like 2001's "The Fast and the Furious" all over this straight-to-DVD action flick. Where the former has evolved into one of the biggest movie franchises of all time, this largely forgotten film remains an obscurity in Seann William Scott's career. It focuses largely on Ben McGewan (Scott), a man indebted to some powerful gangsters, who decides to form a group to pull off an elaborate heist, using the noise generated by a loud party as a distraction.

Given the setting, you can expect this film to be noisy, but the never-ending, pulsating techno track thoroughly drowns out everything else, to the point where it becomes almost unwatchable. Still, with the current trend of nostalgia for all things '00s, there is an odd throwback charm to this movie that is so intrinsically of that time. Largely panned by critics, the BBC's Neil Smith at least acknowledged Scott's potential, writing, "Scott displays enough louche charm to suggest he may have a future beyond the dumb teen farces in which he made his name."

Not to be confused with the 2000 comedy starring Seann William Scott's "American Pie" co-star Jason Biggs, "American Loser" is a low-budget black comedy that sees Scott branch out a little from the one-dimensional loudmouths he was known for. Jeff (Scott) may have been brought up in a wealthy household, but that doesn't seem to stop him from doing everything possible to screw up his own life. Relying on his mom (Deirdre O'Connell) for money, Jeff battles alcoholism before eventually getting sober — but even then, he can't seem to catch a break, and his life becomes one mishap after another. When Jeff meets Lynn (Gretchen Mol), however, he finds his purpose and seeks to make a better life for them both.

As a figure of ridicule trying to prove his worth, Jeff becomes a surprising emblem for Seann William Scott himself, and "American Loser" provides the actor with the chance to show he has more depth than his previous roles have afforded him. While the film is lacking in nuance, it is nonetheless a surprisingly enjoyable tragicomedy.

While Seann William Scott only has a cameo role in this 2018 sequel, it is certainly memorable and worthy of inclusion. Opening the film in what we later learn is a dream sequence, Scott plays Trooper Callaghan, a highway patrol officer who pulls over a speeding bus. Onboard, he finds his favorite band Cracklin' Bacon smoking some weed and partying, before being joined by his partner Trooper Wagner (Damon Wayans Jr.) who the band members almost goad him into kissing.

Writing for The Wrap, critic William Bibbiani described the opening minutes of "Super Troopers 2" as "so breathlessly funny they might asphyxiate you," but that the rest of the film struggles to maintain this momentum. It does, however, provide one of the best lines, when Rabbit (Erik Stolhanske) relays his dream to Mac (Steve Lemme) who asks him "Who were the cops this time?" to which he replies, "Stifler and Damon Wayans Jr." Not only does this suggest this is a recurring dream that Rabbit has, but it confirms the fact that almost 20 years later, Seann William Scott is still Stifler to many.

Largely due to "Scream" in 1996, teen slasher movies enjoyed a resurgence in the decade that followed, and "Final Destination" remains one of the best examples. Alex (Devon Sawa) is moments away from his flight leaving the airport when he experiences a terrifying premonition: The plane is going to explode and kill everyone on board. After creating a scene, Alex — along with some of his classmates and a teacher — is removed from the plane, and they watch in horror as the premonition is proven true. Not realizing the consequences of their actions, the group tries to carry on as normal, but death soon catches up with them.

Seann William Scott plays Billy Hitchcock, one of Alex's fellow students who is caught up in the tussle and taken off the plane. Not only does Scott have the best reaction to seeing the plane crash, but he also has one of the most iconic death scenes, narrowly avoiding being hit by a speeding train before being decapitated by a piece of shrapnel. "Final Destination" doesn't reinvent the wheel, but unlike most slashers, this film is without a masked killer, which gives it an air of unpredictability and some ridiculously inventive kills. Like "Scream," "Final Destination" proved it had a good enough premise to justify several sequels, with the most recent installment released in 2011 and "Final Destination 6" rumored to be in the works.

Directed by the man responsible for "Ghostbusters," Ivan Reitman's "Evolution" is a throwback sci-fi comedy caper that is very much cut from the same cloth as its specter-destroying predecessor. After a meteor collides with Earth — bringing with it an alien lifeform — a group of so-called experts assemble to try and save the world. Professors Ira Kane (David Duchovny) and Harry Block (Orlando Jones) are joined by researcher Dr. Allison Reed (Julianne Moore) and firefighter Wayne Grey (Seann William Scott); together, they represent humanity's only hope.

Scott's character is very much a fish out of water in this environment, having witnessed the meteor crash and now just along for the ride. It is the kind of role that he excels in, and far from being the sole comic relief — all of the cast get their moments — his character serves a purpose as the unsuspecting everyman caught up in an adventure he never should've been in. "Evolution" is uneven in places, and pales in comparison to "Ghostbusters," but there is still a lot of fun to be had.

Seann William Scott doesn't seem like the most obvious choice to play a serial killer, but maybe that is what makes the concept of this horror mystery so appealing. From the outside, Evan (Scott) appears to have a great life, holding a steady job as a social worker with a wife and a new infant son. Beneath the seemingly ordinary façade, however, he hides a dark and twisted streak. Through his work with vulnerable kids, Evan embarks on a bloodthirsty revenge mission, seeking out and killing the adults responsible for abusing them.

Produced by Blumhouse, "Bloodline" has a thoroughly nasty streak that perfectly contrasts with the fact that Evan is behaving like a Robin Hood grim reaper, playing the quintessential antihero by striking off those who have committed heinous acts themselves. While critical reactions were mixed, many agreed that Scott's performance was the standout element of the film. Variety's Dennis Harvey said it "confirms that Scott shouldn't have stopped starring in movies when he aged out of the cinematic frat house."

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In the latter half of the '00s, Seann William Scott progressed from playing obnoxious college jerks to slightly more mature comedic roles. 2008's "The Promotion" saw him take on the role of an ordinary, unassuming grocery store assistant manager, Doug Stauber. Keen to move up the career ladder, Doug eyes up the manager position at his store's new branch location. Doug believes he is the best man for the job, but he faces some competition in the form of the new arrival, Richard Wehlner (John C. Reilly).

Unlike "Mr. Woodcock," the rivalry between Doug and Richard isn't particularly mean-spirited, as both of them are likable and relatable characters, despite their flaws. Doug and Richard, while they may be competing for the same job, are really just competing for the chance to make a better life for their families, and there is something quite endearing about that.

As is the case with almost every movie in the View Askewniverse – the world created by Kevin Smith — there is the sense that "Jay and Silent Bob Strike Back" is one big inside joke that not everyone is allowed in on. If you are in on it, however, this film will tick all the boxes. It sees Jay (Jason Mewes) and Silent Bob (Kevin Smith) in a meta-adventure — via some of the other View Askew movies — to stop Hollywood from making a movie about them.

Seann William Scott pops up along the way as animal activist, Brent. In what you can only imagine is a deliberate move on Smith's part, Brent chastises Jay for his foul language and the vulgar way he talks to the girls he is with — in direct contradiction to Scott's potty-mouthed roles — before being tricked into making a lewd confession regarding sheep. Scott's role in "Jay and Silent Bob Strike Back" is little more than a cameo, but it is worthy of inclusion for so pointedly putting him in the role of the goody-two-shoes.

Coming out just a year later, 2000's "Road Trip" was one of the many films riding the coattails of "American Pie." As bawdy teen sex comedies go, however, this is one of the better offerings. After making a huge, potentially relationship-ending blunder, Josh (Breckin Meyer) drags along E.L. (Seann William Scott), Rubin (Paulo Costanzo), and reluctant nerd Kyle (DJ Qualls) for a cross-country road trip to intercept the offending package heading for Josh's girlfriend Tiffany (Rachel Blanchard).

"Road Trip" might not offer anything new for the genre, but there are plenty of hilarious hijinks to be had between the four leads. The adventure mercifully leaves Tom Green's Barry behind — truly the nadir of this film — even though the movie appears to sell itself on his then-stardom. There is no denying that "Road Trip" is lowbrow — and Scott is essentially playing Stifler 2.0 — but there was a huge market for comedies like this at the time, and there arguably still is.

Whether it is "Jay and Silent Bob Strike Back" or "Super Troopers 2," Seann William Scott has consistently proven that he only needs one scene to make a big impact. Perhaps the best example of this comes in 2003's "Old School" when Scott has a memorable interaction — and mullet — in a scene with Will Ferrell. The film focuses on three 30-something best friends who relive their college days after attorney Mitch (Luke Wilson) moves into a new place following the breakdown of his relationship.

The concept of "Old School" is great in and of itself, but when you also have comedic heavy-hitters like Will Ferrell, Vince Vaughn, and director Todd Phillips involved, you know you're onto a winner. As well as all the raunchy, immature antics, the film also gives us something to ponder regarding the idea of lost youth and how the desire to go back to the glory days can deter one from maturing. Crucially, it is really dumb and very funny ... and Scott's mullet is arguably worth the admission alone.

Not for the last time, Seann William Scott and Dwayne "The Rock" Johnson prove they have terrific chemistry in this enjoyable buddy action movie from 2003. Johnson plays muscle-bound bounty hunter Beck, who is tasked with finding his boss' son, the cocksure Travis (Scott). The film plays with the classic "one last job" trope, and the world-weary Beck is already over Travis' antics before he's even met him — something that only serves their natural rapport.

"The Rundown" is a fast and funny action romp that sees Scott once again demonstrate that he is at his best when playing against the straight man. It was also a sign of the greatness to come from Dwayne Johnson — his acting career in its infancy at this point — who is now one of the most bankable box office stars in Hollywood.

Whereas Seann William Scott's face could be seen everywhere in the '00s, these days he seems to be much more selective with his roles. They may not be as high profile, but he's taking on much more interesting and gritty characters, as evidenced by his appearance in 2023's "The Wrath of Becky." This sequel to the 2020 film "Becky" sees the titular teenage girl (Lulu Wilson) embarking on a bloody revenge mission after a group of incels attack her home and steal her dog.

Your brain might immediately leap to "John Wick," and you'd be on the right path, as "The Wrath of Becky" seems to delight in having a similar premise to that movie. However, where "John Wick" has evolved into a sprawling action franchise, this movie keeps things simple, and the result is something that is gory, fun, and incredibly cathartic. The star of the show is Lulu Wilson, but Scott is genuinely convincing as the ringleader of the extremist "Noble Men" group. Perhaps, like fellow '90s and '00s star Brendan Fraser, we could be on the brink of a Seann William Scott renaissance. If this film is anything to go by, then that's a really good thing.

Perhaps because it was bearing the weight of being director Richard Kelly's follow-up to "Donnie Darko," but 2006's "Southland Tales" baffled audiences and critics at the time. Set in an alternative 2008, this dystopian movie brings together action star Boxer Santaros (Dwayne Johnson), porn star Krysta Now (Sarah Michelle Gellar), and corrupt police officer Roland Taverner (Seann William Scott) in a mind-bending satire.

Admittedly, "Southland Tales" is not always the easiest movie to enjoy, and it is understandable that it took critics a little while to warm to it. "Donnie Darko" was thematically rich but it had a subtlety to it, whereas "Southland Tales" is the exact opposite. It is brazenly ambitious and requires multiple viewings to try and unpack everything, but it is a remarkable achievement. What is equally remarkable is that Seann William Scott appears in a film as out there as this one, and his dual role as Roland and Ronald Taverner is undoubtedly one of his best performances.

"American Pie" has its critics and it is unquestionably of its time, but "American Pie" was a huge cultural touchpoint in the late '90s, launching a revival of the raunchy teen sex comedy in a big way. Jim (Jason Biggs), Kevin (Thomas Ian Nicholas), Oz (Chris Klein), Finch (Eddie Kaye Thomas), and Stifler (Seann William Scott) are on the brink of adulthood, but there's a huge problem: All of them (except Stifler) are virgins. With their hormones and libidos raging, the film explores the ups and downs of the group's conquests.

Often led — or perhaps misled — by Stifler's interjections, the unlucky-in-love quartet desperately tries to woo the girls at their school. Stifler is usually on the periphery of the main action, but he steals the film with some of the crassest and most outrageous lines. This was Scott's breakout role, one which — for better or worse — became the reason the actor was predominantly typecast in similar characters for the majority of his career. Nevertheless, this film and this character — whom Scott reprised in three of its sequels — are what many still associate with Scott, and there is something to be said for that to continue to be true all these years later.

The late '00s were slightly tumultuous for Seann William Scott, and for every dud like "Mr. Woodcock" and "Balls Out," there were surprise gems like "Southland Tales" and 2008's "Role Models. Where the ambitious "Southland Tales" saw Scott stepping out of his comfort zone, "Role Models" saw him back in more familiar territory. After a brush with the law, Danny (Paul Rudd) and Wheeler (Scott) are faced with either a stint in jail or community service. They opt for the latter and find themselves mentoring a pair of youths through the Big Brothers-style scheme, Sturdy Wings.

Paired with the nerdy Augie (Christopher Mintz-Plasse) and potty-mouthed Ronnie (Bobb'e J. Thompson), Danny and Wheeler manage to learn something about themselves along the way. "Role Models" feels like a wonderfully full-circle moment, with both Rudd and Scott now older — if not wiser — than when they began their careers, starring opposite young, up-and-coming talents. It still has the vulgarity and immaturity that you would expect, but it also has some wonderful moments of pathos that are surprisingly sweet.

As hockey fans will know, fighting is an intrinsic and entertaining part of the game, and there are often players who are selected as much for their scrapping abilities as their proficiency on the ice. Based on the true story of Doug Smith, "Goon" sees Seann William Scott take on the role of nice-but-tough Doug Glatt, whose mean right hook propels him from the bar to the rink. It is a film that pulls no punches and is surprisingly brutal and bloody in places. Yet it also manages to be incredibly endearing, transcending the clichés of the sports movie genre to become something completely different.

Despite favorable critic reviews, "Goon" bombed at the box office. However, it is still widely regarded as Scott's best performance, perfectly balancing crudeness with heart, and evoking genuine sympathy. Doug is not necessarily the easiest character to portray, and is certainly a distance away from some of Scott's more one-dimensional characters. As well as having to convincingly play Doug as a tough-as-nails enforcer, Scott also has to portray his softer side — one that is polite and easy to root for — and he sells this completely.