35 Greatest Diane Keaton Movies Ranked Worst To Best

Diane Keaton has been in a plethora of films, but saying that doesn't truly describe her talents. Whether she was working in comedy (her bread and butter) or drama, odds are, a film was elevated by her presence.

Of course, not every movie stands as one of the greats, and even the greatest actors have one or two duds cluttering up their IMDb page. Sadly, Keaton is no exception, and her filmography is filled with movies that don't exactly use her talents to improve them in any real way. Not every film can be "The Godfather." Sometimes, an actor has to take on a role to pay the bills ... at least, we hope that was her reason for signing onto "Look Who's Talking Now."

Keaton has dominated her craft for over 50 years, and most of her movies are incredibly well done. The films on this list are the greatest she's been in, listed from worst to best. With so many movies straying into "Fresh" territory on Rotten Tomatoes, there won't be many duds here. They are ordered by how high the film is judged but also weighed against Keaton's part in them. For that reason, you might not find "The Godfather" trilogy in the places you assume — they're top-tier films, but was that because of Keaton? Let's find out.

"Because I Said So" features Diane Keaton in one of her motherly roles. She plays Daphne Wilder, whose daughters Milly (Mandy Moore), Mae (Piper Parabo), and Maggie (Lauren Graham) can do no wrong in her eyes. Daphne's concern over her youngest daughter's love life leads her to create an online personal ad for her. As you might expect, disaster and/or a woman finding the love of her life ensues. It's not a complicated plot, but it does feature some incredibly talented women bringing it to life, so "Because I Said So" gets a pass for its arguably clichéd story.

This is one of those movies that does well with audiences but is consistently trashed by the critics. Fernando F. Croce of CinePassion wrote that it was "Like steel pins poking through the eyes," and that's one of the nicer reviews. To be fair to the critics, this film is a mess, but it's arguably watchable if you don't hope to get much out of it. Still, the critics absolutely hated it, and the only reason it's risen to where it has on this list is because Diane Keaton didn't phone it in; she gave it her all despite a lousy script, and when that happens, you know you're in for at least one outstanding performance.

In "Smother," Diane Keaton takes on the role of Marilyn Cooper, an overbearing mother who shows up on her son's door (dogs in hand), asking if she can stay at his place. Of course, this happens on the same day he (Dax Shepard) loses his job and finds his wife's cousin also taking up residence in his home. Despite all the inconveniences and horrible timing, he lets everyone stay. He soon learns that his mother left his father after he cheated on her, leaving everyone ... smothered by their abrupt and horribly inconvenient situations.

The movie's attempts at humor ultimately fall flat. The film is billed as a comedy but fails at adding anything new to the genre (including any noteworthy laughs). The critical consensus is that "Smother" is a dud, with most reviews noting Keaton's ability to elevate an otherwise forgettable film. The reviews ensure most will avoid donating 92 minutes of their life to watch what amounts to some decent performances by the cast, as they muddle their way through a poorly-written attempt at a tired trope in a genre overflowing with much of the same.

Diane Keaton plays an overbearing mother in "The Other Sister," and she does it beautifully. It's a role she's gravitated to on multiple projects, and she takes to it well. Of course, she can play the doting mother to a fault. Still, her least likable characters show off her ability to transcend genres, and "The Other Sister" offers that and more for Keaton. The movie centers around Carla Tate (Juliette Lewis), a young woman who strives for independence but hits a brick wall when her mother (Keaton) sets boundaries.

Despite Keaton's performance and those around her, this film fails to grasp the audience's attention for more than a moment as it delves into unrealistic scenarios that fall flat. As a result, it's not beloved by critics. As Edward Guthmann of the San Francisco Chronicle noted, the movie "Never manages more than a glib, TV movie-of-the-week glance at their lives." Audiences disagreed, which just goes to show that the critics don't always know what the audience wants to see. Sometimes, all anyone wants is a popcorn rom-com starring someone fabulous to keep them entertained for a couple of hours.

Diane Keaton plays Bridget Cardigan, a woman who finds herself back on the job market after her husband loses his job. Despite her upper-crust lifestyle, she lands a job as a janitor. That would have been the end of the story had she not found work at the Federal Reserve Bank of Kansas City, Missouri. She soon spots a weakness in the bank's security. With the help of her two friends, Nina (Queen Latifah) and Jackie (Katie Holmes), they steal a fortune in old bills marked for destruction. It all ends when their expensive taste results in trouble with the tax man, Al Capone style.

As heist films go, "Mad Money" lacks any shred of plausibility. While that's not entirely necessary, it would have helped move the plot forward. Instead, the audience is left with the unenviable task of trying to root for the main characters through unfunny situations, ridiculous plot points, and unrealistic stakes. "Mad Money" is another of Keaton's low-grade movies in her recent career, and she manages to add a sliver of charm to an otherwise unappealing film.

In "Poms," Diane Keaton plays Martha, a woman who never broke out of her shell, and now that she's moved to a retirement home, all she wants is to be left alone. Her outgoing neighbor encourages Martha to leave her introverted past behind her as she introduces her to new activities and friends. As Martha's shell begins to crumble, she and her new friend, Sheryl (Jacki Weaver), decide to create a cheerleading squad. They hold auditions and various hijinks ensue while new life lessons are acquired. 

"Poms" is a movie with one central theme: it's never too late to follow your dreams. That said, the execution of said dream is a bit clunky and hard to take seriously. The film appeals to an older demographic as it hopes to prove every generation has something to offer. Unfortunately, it's a bit clichéd as comedies go and doesn't rise to the level it aspires to. Critics didn't care for the film, but audiences disagreed. While it's a clichéd comedy with little to offer, it's entertaining and uplifting. Since that's the goal of the film, "Poms" succeeded with the people who watched and enjoyed it.

In "Mrs. Soffel," Diane Keaton plays Kate Soffel opposite Mel Gibson's Ed Biddie. Kate is married to a prison warden while Ed is on death row, awaiting his execution for murder alongside his brother Jack (Matthew Modine). Eventually, Kate and Ed meet inside the prison during one of Kate's Bible readings, and they fall for one another. This leads to a secret affair inside the walls of the prison, but with Ed's execution looming, Kate decides to help Ed and Jack escape custody so they can make a go of it in Canada.

The writing in "Mrs. Soffel" isn't terrible, and it puts a lot of focus on the nature of the two leads. Is Kate truly falling for Ed, and is he only using her as his one chance to get out of a death sentence? It's a sort of maddening 'will they or won't they' narrative that struggles with the film's period setting. Critics and audiences weren't too impressed with "Mrs. Soffel," with Vincent Canby of The New York Times calling it a "very strange and maddening movie, being a fascinating tale that's nowhere as provocative as it first promises to be," but offered up positive notes for Gibson and Keaton's performances.

"Harry and Walter go to New York" sees Diane Keaton join a star-studded cast that includes James Caan, Elliott Gould, and Michael Caine in what Nigel Andrews of the Financial Times dubbed "A leaden-footed caper." The film tells the tale of Harry Dighby (Caan) and Walter Hill (Gould), two vaudevillians who wind up behind bars when they're caught stealing from their audience. What follows is a caper to rob a bank, but the boys won't be able to do it on their own.

Enter Keaton, who plays Lissa Chestnut, a newspaperwoman who is involved in the scheme. Things go sideways, and it's a race to see who can rob the bank first! "Harry and Walter go to New York" is one of those movies that isn't bad, but it also isn't good. There's nothing to make a person want to go back and rewatch it, as there is no great con like the one in "The Sting," nor is the heist on the level of "Heat." You're left with a charming yet mishandled ride that is only memorable for some exceptional dialogue delivered by Ms. Keaton.

"Hampstead" centers around Emily Walters (Diane Keaton) and Donald Horner (Brendan Gleeson), both residents of the same London neighborhood of Hampstead. Despite living close to one another, they couldn't be from more different worlds. Emily's home is posh, while Donald's is more of a ramshackle cabin than a proper home. Unfortunately, Emily can no longer afford her flat, so she's on the hunt for something to do. When Donald's home is threatened by real estate developers, Emily pounces on a new cause, but she finds something else entirely.

There are thousands of movies that pair two people from different worlds as they fall madly in love with one another. Many are memorable, while others are easy to forget. Compared to another British romantic comedy based upon a London neighborhood, "Hampstead" is no "Notting Hill." Still, it's not a bad movie in and of itself. The film offers Keaton a role she's familiar with: a kooky, lovable girl next door. While this performance doesn't rise to the level of her work in the 1970s, Keaton manages to shine opposite the crotchety grump next door who Gleeson expertly brings to life.

"The Good Mother" centers around Anna Dunlap (Diane Keaton), a divorced mother living with her boyfriend, Leo Cutter (Liam Neeson). When something happens that gains her ex-husband's attention, Anna must fight to retain custody of their daughter. "The Good Mother" tackles a subject few people find entertaining. Still, the film manages to handle it with restraint, ensuring the movie isn't bereft of common sense or understanding. Keaton shines in this movie, as does Neeson, but their on-screen chemistry isn't enough to elevate the film beyond its plot.

"The Good Mother" is one of the few films directed by Leonard Nimoy. While it's not his greatest directorial endeavor, he handled the subject matter with respect. From the audience's perspective, it's difficult to watch a family's struggles in such a dramatic way. Still, Keaton's grasp of her character in this film shows how passionate she is about her craft. Hal Hinson of the Washington Post wrote, "Even shackled to banalities, Keaton has the power to amaze." Ultimately, "The Good Mother" is a film you're likely to watch once and be happy to never see again.

"Father of the Bride II" features a whole-cast return from the original following its success a few years earlier. In this entertaining sequel, George Banks (Steve Martin) has finally gotten used to the idea of his daughter being married following years of denial. His world is turned upside down when she announces that she's pregnant, and you can bet George isn't ready to be a grandfather. That thought is pushed back when his wife Nina (Diane Keaton) announces that she, too, is pregnant. Instead of planning a wedding, the sequel is all about baby showers, converting rooms, and preparing for births, which you know are happening at the same time.

As sequels go, "Father of the Bride II" isn't bad, and the movie works despite the overabundance of clichés. Keaton is her usual charming self, and she plays the understanding/grounded mother with aplomb, just as she did in the first movie. The only reason this movie doesn't land higher on the list is that it's essentially a rehashing of the previous film. Many of the gags that worked the first time around are back with a vengeance, so if you loved "Father of the Bride," there's a good chance you'll love the sequel.

"5 Flights Up" sees the cinematic pairing of two of the craft's giants. Diane Keaton plays Ruth Carver opposite Morgan Freeman as her husband, Alex. The film is centered around the couple's apartment and their consideration of selling the property they lived in for more than 40 years. That's the overall plot, while several subplots hinge on the Carver's decision to sell their property, which brings together a story that deals with an important decision many older couples likely face in retirement. The film is an adaptation of Jill Ciment's 2009 novel "Heroic Measures."

Patrick Peters of Empire Magazine wrote that the movie was "Charmingly played by its well-cast, ever watchable leads." It's hard to disagree with that, and fans of Keaton and Freeman will enjoy seeing their take on Ruth and Alex. Peters' review is hardly the consensus, though, as Jonathan Romney of The Guardian described it as "A dusty, undemanding piece of Sunday afternoon liberalism." Ultimately, there's a lot missing in the movie, leaving the audience wanting more from a story that's difficult for a broad audience to relate to. Regardless, it's an absolute treat to see Keaton and Freeman paired on the silver screen.

"50 Shades of Grey" impacted the zeitgeist in various ways, but most importantly, it provided the inspiration for "Book Club." The film is about a group of women — brilliantly cast women — whose lives are turned on their heads when their book club takes on the aforementioned novel. As it did in real life, the book inspired many of the women to rekindle old flames, but more than that, it prepared them for the next chapter in their lives. Diane Keaton is joined by an all-star cast, including Candice Bergen, Jane Fonda, and Mary Steenburgen. 

Critics didn't love the movie, which Andrea Gronvall of the Chicago Reader described as "Stale jokes and cringe-inducing sight gags punctuate this creaky romantic comedy." "Book Club" is what it attempts to be, and while some of the jokes seem as if they were written by a middle schooler, It's not a bad movie. That said, critic Andrew Galdi described it as "Geriatric "Sex and the City,"" and to be fair, it doesn't try to be anything else. "Book Club" definitely appeals to a target demographic, but it's equally enjoyable seeing so many amazing actresses share the screen, even if the content is a bit crass.

"The Family Stone" features an impressive cast of powerful players. The film centers around Everett Stone (Dermot Mulroney) and his girlfriend, Meredith Morton (Sarah Jessica Parker), as they head to Connecticut to spend time with the Stone family for Christmas. The patriarch, Kelly, is played by Craig T. Nelson, who pairs nicely with Diane Keaton's Sybil. There's a bit of romance, doubt, intrigue, and a bit of comedy thrown into the mix, making for a holiday film that won't have you changing the channel when it comes around, year after year.

"The Family Stone" is a lot like "Meet the Parents," but with much less comedy. Still, it's more grounded than the aforementioned film. Despite having a messy cliché of a plot with far too many characters, they're all played by talented veterans who showed up and gave it their best shot. Still, its shifting tone and focus on a love quadrangle is tiring. If your attention wanders while watching "The Family Stone," odds are you'll only be drawn back to the screen when Nelson and Keaton take center stage, as their performances outmatch the rest of the cast.

"The First Wives Club" pairs so many brilliant actors into one movie that it's hard to believe it didn't do better with critics. Keaton plays one of three so-called "first wives" alongside Bette Midler and Goldie Hawn, all of whom meet after 30 years at a friend's funeral. When they commiserate over the fact that all of their husbands left them to be with younger women, they come together to do whatever they can to make their ex's lives a living hell. If they can't live with them, they'll make them wish they never left! 

The underlying theme of "The First Wives Club" is fairly straightforward: middle-aged women's worth doesn't evaporate as their hair turns grey and their desirability wanes. It's not a bad concept, and the movie does well enough with three comedic legends leading it. Still, their penchant for hijinks as they plot revenge takes away from the theme in a way that underserves the desired demographic. In the end, "The First Wives Club" serves as an homage to films like "9 to 5" and "Thelma & Louise" but falls just shy of emulating their success.

"Morning Glory" teams Diane Keaton with the inimitable Harrison Ford in this light rom-com centered around Rachel McAdams' Becky Fuller, a TV producer. Fuller takes the helm of a morning news show called "Daybreak" and brings in veteran anchorman Mike Pomeroy (Ford) to star opposite co-host Colleen Peck (Keaton). The two clash, making Fuller's job all the more complicated while she's simultaneously juggling a problematic romance with someone in her office. With her job, the show, and her romance on the line, Fuller makes the tough call to try and save all three in what proves to be a formulaic rom-com.

"Morning Glory" is another Keaton project with an amazing cast, but the film is somewhat derivative and hard to embrace. Despite this, Keaton gives it her all as she shares the screen with Ford, McAdams, and many more talented players. Unfortunately, the best performances from the greatest actors couldn't save this tired comedy that Philip French of The Guardian described as "[A] deeply dislikable comedy of embarrassment." Still, it's watchable because of the cast, who put on a sincere performance that centers around fantastic on-screen chemistry that only Keaton and Ford could pull off in such derivative fluff.

In "Baby Boom," Diane Keaton plays J.C. Wiatt, a fast-moving New York City businesswoman who devotes all of her time to work. When a relative dies, Wiatt is made the caretaker of an infant girl. Not only does she not want a child in her life, but she has no time to spare outside her career. J.C. loses her boyfriend and then her job, which she leaves behind as she relocates to Vermont — as far removed from NYC as she could get — to start a new life. It takes time, but she develops baby food that elevates her prospects, offering her great success, a family, and a life she never knew she wanted.

"Baby Boom" is a fun and family-friendly jaunt into the world of female empowerment and the real-world discrimination women meet in the business world when they choose to have a family. The film centers around the concept that a woman can have it all: a great job, a wonderful family, and the respect she deserves. "Baby Boom" is an empowering and well-scripted comedic romp that displays Keaton's inimitable charm and comedic chops in a way that presents as a genuine and relatable story.

"Father of the Bride" is a remake of a brilliant film of the same name starring Spencer Tracy and Elizabeth Taylor. Steve Martin takes the helm of this comedic foray into a fear many fathers have — giving away your daughter to the love of her life. Of course, Martin handles it about as well as can be expected, resulting in hilariously relatable hijinks. He's only grounded thanks to his wife, played by Diane Keaton, in one of her best comedic mom roles. The plot is advanced with the help of Martin Short and several ridiculous situations few people could relate to while still finding them incredibly funny.

"Father of the Bride" is made all the better thanks to the on-screen chemistry between Martin and Keaton, who genuinely make it seem like they've been married for decades. There are some tired jokes and overused tropes found in similar movies, but they don't drag the film down in any noticeable way. "Father of the Bride" is definitely a Steve Martin movie, but it's difficult to imagine his performance landing as well as it did without Diane Keaton coming along for the ride. Roger Ebert described it as "A movie with heart," and that's what you'll find while watching it for the first, tenth, or hundredth time.

Diane Keaton takes on the role of Theresa in "Looking for Mr. Goodbar," a sexual thriller that features Richard Gere and Tom Berenger. Theresa teaches deaf children by day and cruises bars at night, looking for random strangers to sleep with. Theresa's preferences lean toward the dangerous as each sexual encounter is more treacherous, endangering her life for the thrill she seeks each night. The violence and danger depicted throughout the film establish a level of trepidation as events build to an unforgettable climax that leaves the audience shaken by what they've seen.

"Looking for Mr. Goodbar" is one of Keaton's earliest and best roles. Her ability to command the audience's attention through repellant situations makes for a compelling watch. The settings in the movie help establish a bleak environment that highlights the tone of the characters in such a way that keeps eyes glued to the screen. This film is all about the dangers a woman faces when she crosses from a life of conservative sexual encounters to a more liberated stance of sexual freedom. It masterfully plays with the audience's expectations as Keaton gives a daring and fearless performance from beginning to end.

"The Little Drummer Girl" features Diane Keaton as Charlie, an American actress with pro-Palestinian leanings recruited by the Mossad to catch a PLO bomber named Khalil. To flush him out, the agency captured and killed Khalil's brother, who previously met Charlie while wearing a mask during a lecture tour in the UK. Without any hope of finding their target, they turn to Charlie and convince her to help find Khalil by working as a double-agent, which brings her into the company of the PLO, whom she sympathizes with. Suspense builds to an inevitable climax that leaves Charlie and the audience emotionally drained.

In the end, Charlie is little more than a pawn in the Mossad's master plan, which results in wanton death and destruction. Keaton's ability to play an actress playing the role of a spy working for a clandestine organization as she helps to find a terrorist is impressive, to say the least. The narrative's complexity keeps the audience engaged throughout the movie, as it becomes clear both sides of the conflict have legitimate reasons for their actions. Keaton was perfectly cast in the role, which shows off her impressive talents in a thriller that keeps you guessing alongside the main character throughout the film. 

"Crimes of the Heart" is centered around three Southern sisters, Lenny, Babe, and Meg, played by Diane Keaton, Sissy Spacek, and Jessica Lange, respectively. They were raised by Old Grandaddy after their mother committed suicide, and they couldn't be more different from one another. When one shoots her abusive husband, they're all drawn back to their home in Hazelhurst, Mississippi, where the stories of their eccentric lives shock and entertain one another. As time passes, their differences pull them closer together. Despite the dysfunction in their own lives, the sisters find ways of being there for one another in ways they'd been incapable of prior to the shooting.

All three of the leading ladies in the film are absolutely astounding as they chew up the scenery throughout the film. If there was a single issue with the movie, it would be Keaton's Southern accent, which could use some work. Setting that aside, Keaton's performance as Lenny is heartfelt and extraordinary. The focus on character is center-stage in a comedy adapted from a play of the same name. Each actor shines as they make their way through the story about love, loss, and acceptance.

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"Something's Gotta Give" stars Jack Nicholson as Harry Langer, a man who loves the ladies — so long as they aren't remotely close in age. He and his girlfriend Marin (Amanda Peet) head to her family home in the Hamptons for the weekend. They're shocked to find Erica (Diane Keaton), Marin's mother, there as well. Erica isn't happy with her daughter's choice of men. Still, after Harry has a heart attack, his doctor (Keanu Reeves) prescribes bed rest back at Erica's home. As he recuperates and Marin leaves town, Harry finds that Erica is an intelligent and charming woman. She captures his attention, proving that women his age are not only appropriate, but they're also desirable.

The film plays with a great deal of cliché regarding the older man/younger woman trope. It veers into sitcom territory in this regard but ultimately settles on the more cinematic disentanglement of relationships and preconceived notions regarding age. "Something's Gotta Give" offers a lighthearted tale that provides moments for Keaton to shine, as she proves herself just as alluring as she was at the dawn of her career decades earlier. The film isn't entirely complex, but it delivers a satisfying story that appeals to any demographic.

"Marvin's Room" teams Diane Keaton with Meryl Streep and Leonardo DiCaprio in a drama that deals with family drama, loss, and coming together. Streep's Lee and Keaton's Bessie are sisters who've been apart for decades, as they are as different from one another as possible. Both women's lives played out in entirely different ways. While they've had little interest in seeing one another, they're brought back into each other's lives when their father becomes sick and bed-ridden. Realizing he needs round-the-clock care, the sisters return to Florida, where they hash out their differences and come closer when the truth of Bessie's own medical condition rises to the level of their father's.

Keaton offers an emotional performance and is brilliantly cast in an ensemble featuring an exceptional early role for DiCaprio as well as an excellent performance by Robert De Niro, who plays Dr. Wally. The amazing cast isn't the only aspect of "Marvin's Room" keeping viewers in their seats, as the family's grievances air out to keep the audience engaged. Streep and Keaton's emotional story and incredible performances are particularly poignant, in a film that earned the latter one of her many Academy Award nominations for Best Actress.

"Interiors" centers around the lives of three sisters, Renata (Diane Keaton), Joey (Mary Beth Hurt), and Flynn (Kristin Griffith). The sudden breakup of their parents after decades of marriage leaves the three women shocked, as their mother has a breakdown. They come together to offer their mother support despite the chaotic lives each of them leads, pushing them through struggles equally as important as their mother's. Keaton's breathtaking role as Renata, a hopeless writer who's married and has her own troubles to sort out, is lovely to behold. She takes center stage in this drama centered around a relatable familial situation many people have experienced.

Prior to "Interiors," Woody Allen had worked entirely in the world of comedy, and he cast himself in leading roles. "Interiors" is his first foray into dramatic territory. He proves his skills once more by taking advantage of his leading lady's superior acting skill, proving she was never reliant on slapstick or silly situations to perform. Allen's impressive dialogue fuels the drama without a touch of pretension that highlights his characters and their concerns. "Interiors" received a plethora of Academy Awards and nominations. However, Keaton was oddly robbed of this honor despite her exceptional and heartfelt performance.

The final chapter in Francis Ford Coppola's masterpiece story about the Corleone family brings closure to the story in unsuspecting ways. As Michael Corleone (Al Pacino) finds himself getting older and in charge of an organization that isn't easy to maintain, he makes moves to separate his family from the world of organized crime. Unfortunately, his compatriots aren't eager to let the Corleones out of the mafia. In particular, Michael's nephew Vincent (Andy Garcia) wants to carve out his own piece of the Corleone empire while simultaneously chasing Michael's daughter Mary (Sofia Coppola), leading to conflict and confrontations Michael hoped to avoid.

The third "Godfather" film is almost universally considered the dud of the trilogy. Still, where it falls short in its narrative, it makes up for it with a number of impressive performances (and a really bad one). Keaton's return as Kay Adams is just as good as her other performances. Still, even she couldn't elevate the standing of this intended masterpiece. Ultimately, fans weren't as impressed with "The Godfather, Part III" as they were with its predecessors. It's hardly a bad movie by any measure, but it had a lot to live up to, making it all but impossible to meet the audience's expectations. 

"Shoot the Moon" tells the story of Faith Dunlap (Diane Keaton), a mother of four, whose storybook romance with husband George Dunlap (Albert Finney) begins to deteriorate. As George seeks something more with Sandy, played by the charming Karen Allen, Faith finds comfort in the arms of Frank (Peter Weller), a contractor who grabs her attention. As their various infidelities take a toll on their outwardly perfect marriage, things begin to deteriorate, leaving the couple's four young children to notice what's going on and build resentment toward their father.

Keaton's ability to craft a compelling character in Faith elevates her performance (and the film) to new heights. The characters are well-crafted in this family drama that is only heightened by astounding performances by the rest of the cast, Finney in particular. As you're watching "Shoot the Moon," it becomes clear that it was written from a source of great pain. Those feelings play out on the screen, with each characterization espousing emotional execution of difficult subject matter known to many as divorce looms over the once happy family of "Shoot the Moon."

In "Manhattan Murder Mystery," Larry Lipton (Woody Allen) and his wife Carol (Diane Keaton) find it difficult to adjust to the life of empty nesters. After becoming close to neighbors Paul and Lillian House, the couple's focus shifts from their absent son to new friends. After Lillian unexpectedly dies, they grow suspicious of Paul and come to the conclusion that he must have killed her. As their curiosity mounts and common sense takes a back seat to the idea of calling the police, they investigate. Before long, they're caught in hilarious and perilous situations as the mystery deepens, casting Paul in a dangerous light. 

"Manhattan Murder Mystery" is Allen's homage to Alfred Hitchcock's "Rear Window," though told through a far more comical lens. Both stories follow the same narrative, but in wildly different ways, as Allen's focus on the funny takes center stage to the eponymous enigma. The film was the first collaboration between Allen and Keaton since 1979. While it would be their last, it proved once again that the former couple's on-screen chemistry didn't suffer from their parting years before; instead, it aged like a fine wine.

In "Reds," Warren Beatty's John Reed is an American reporter tasked with documenting the Bolshevik Revolution. He arrives as a journalist, but he's a revolutionary working to support the people he went to document by the time he leaves. He soon crosses paths with Louise Bryant (Diane Keaton), whose work as an activist brings the two together. Reed's fanaticism grows as his new stances drives a wedge between the politics of his native US and Russia, all while Bryant finds her way to Jack Nicholson's Eugene O'Neill. 

Eventually, Reed makes the trek back to Russia as his health begins to fade alongside the fervor of revolution. While Beatty takes center stage in this historical drama he produced and directed, he's elevated through what Bob Thomas of the Associated Press called "the performance of his lifetime" (via RottenTomatoes). Of course, he's helped considerably by Keaton's brilliant portrayal of Bryant. Political passion, detailed purpose, and the weight of history makes "Reds" a truly exciting story set in a time and place most Western films have dared to venture. The film is long, but it's easy to get lost in all that's happening and wonder where the time went as "Reds" proves fascinating, innovative, and entertaining.

"The Godfather" details the life of Michael Corleone (Al Pacino), a veteran back from the battlefields of World War II who finds it difficult returning to his mafia family. He's soon caught up in familial politics and conflict and slowly joins the family business. He dates and later marries Kay Adams (Diane Keaton), all while ensuring that she doesn't get too close to his business.

"The Godfather" consistently ranked incredibly high on "Greatest Movies Ever Made" lists, and it's no slouch here. The only reason it sits where it does is due to Keaton's role, which isn't to say she's not outstanding in the film — she is. It's just that she plays a supporting role to Pacino, so one of the greatest films ever made doesn't inch higher than this spot. Despite this, Keaton puts on a memorable performance as Adams, a woman who doesn't fully understand what she's getting herself into by marrying Michael. She jumps into his world and suffers the consequences as the story continues.

"The Godfather, Part II" is split between the past and the present, offering a detailed glimpse into the Corleone crime family as it was formed by Robert De Niro's Vito Corleone and grew under the watchful eye of Al Pacino's Michael. While this is happening, Michael learns that his wife, Kay (Diane Keaton), miscarried their child. 

The first two "Godfather" films are some of the best cinema has to offer, so sorting one above the other is an exercise in futility. Still, there is a way to discern which is the better of the two on this list when you take Diane Keaton's performances into account. In "The Godfather, Part II," she has a brilliant monologue opposite Pacino, explaining that she didn't lose the baby and instead had an abortion. It's a passionate performance about a complicated topic, and it's brutal, honest, and intense — marking some of Keaton's best work. The sequel falls above the first film for that scene alone, as Keaton's work sets it apart.

Michael Brandon plays Mike, a man preparing to marry Susan (Bonnie Bedelia), but things go off the rails when their respective families bring their drama to the festivities. Gig Young plays Susan's father, Hal, a man who's having an affair. Susan's sister's needy desire for attention detracts from her own, and Mike's brother Richie (Joseph Hindy) and his wife Joan (Diane Keaton) are having their own marital problems. The ever-present notion of infidelity and divorce hangs over what should be Mike and Susan's celebration of their love, but family drama can't help but make a mess of things.

"Lovers and Other Strangers" is Keaton's first feature film, so it would be reasonable to assume it doesn't fare as well as some of her more developed work. In reality, it's one of her highest-rated movies, as far as the critics are concerned, so it stands as a testament to her skills as an actor. Keaton is mesmerizing in her performance despite her lack of experience. Had her role been more significant, there's little doubt "Lovers and Other Strangers" would be at the top of this list. Still, the film lands near the top, given her role and how amazingly she nailed it.

"Sleeper" is one of Woody Allen's best slapstick movies. It centers around his character, Miles Monroe. Miles was cryogenically frozen after dying from routine surgery in the 20th century, and he's awakened and healed 200 years later. He finds himself in an unfamiliar world of robots, government oppression, and sex pods that make intimacy a purely distant exercise. He soon meets Luna Schlosser (Diane Keaton). They fall in love as Miles teaches her about the joys of physical contact while helping to overthrow the government and restore freedom throughout the land.

Allen is principally known these days for his brilliant writing of dialogue, and there's some excellent examples of that in this film. Still, his ability to grasp what truly makes a moment funny is on full display in "Sleeper." There are plenty of sight gags and slapstick moments to keep the audience entertained throughout the movie. The film doesn't try to be anything but silly as it deals with largely unfunny topics like oppression and resistance fighting. Keaton is absolutely charming as Luna, and you can't help but fall for her as Miles does in one of Allen's highest-rated movies of his career.

In "Play It Again, Sam," Woody Allen plays Allan Felix, a neurotic film critic who falls into a pit of depression after his wife leaves him. He becomes obsessed with "Casablanca" as he idolizes Humphrey Bogart's Rick Blaine and his ability to woo women. His friends Dick (Tony Roberts) and Linda (Diane Keaton) push him to find someone else to share his life with, but it's difficult for Allan. He's overanxious, and every time he does anything to try and impress a woman, it blows up in his face, making the would-be romantic fall back into depression — all as he begins to realize he has feelings for Linda but can never have her.

"Play it Again, Sam" is Woody Allen's love letter to Humphrey Bogart and, more specifically, "Casablanca." Allan is Rick in that he falls in love with a married woman. In the end, he has to let her go, making "Play It Again, Sam" a good approximation of "Casablanca," but without all the Nazis. It's a classic love story with a ton of comedy mixed in, and it's one of Keaton's best performances as the desirable female friend a hapless romantic like Allen could never be with, leaving him alone but improved by the end of the film.

In "Manhattan," Woody Allen plays Isaac Davis, a TV writer facing middle age while on his third marriage to Meryl Streep's Jill, who leaves him for a woman. He begins dating Tracy (Mariel Hemingway), a high school girl who's way too young for him. While Isaac is fully aware of the problems their ages present, he parades her about town with his friends. Eventually, he begins to consider a relationship with Mary (Diane Keaton), his best friend Yale's (Michael Murphy) paramour. Mary is intelligent and beautiful, but Isaac's despondent attitude toward women leaves him wondering if dating a woman his age was the right thing to do.

Woody Allen is absolutely in love with Manhattan. He shoots most of his films in and around the city, but it's more than just a setting in its eponymous movie. In a way, the city itself is a character, guiding and driving the events of the film, which plays out as a love letter to the city he calls home — alongside another phenomenal performance by Keaton.

"Love and Death" features Woody Allen as Boris, a Russian villager who has feelings for his cousin Sonja (Diane Keaton). He doesn't make these feelings known and must admire her from a distance. Boris' life is thrown upside down when he's forced into the Russian Army, which is fighting the French during the Napoleonic Wars. Boris isn't the bravest of soldiers, but some accidental hijinks make him into a hero. This brings forth the attention of Sonja, but her interests lie in assassinating Napoleon. She hatches a scheme as the two would-be-lovers come together in unexpected and hilarious ways.

"Love and Death" is one of Keaton's highest-rated films, and it's easy to see why. This comedy classic is easily one of Allen's funniest films, and Keaton shines in it. The film is ambitious, featuring a lot of shooting in France and Hungary. The various anachronisms spread throughout the 19th century period piece only elevate the hilarity, as the viewer watches a lovelorn coward elevated to high standing and become intertwined in an assassination plot against Napoleon. The only one who could have pulled off such a feat is Allen, and he's only able to do it well, thanks to Keaton.

"Annie Hall" is centered around Alvy Singer (Woody Allen), a comedian who has a tough time with relationships. The film is an analysis of his relationship with nightclub singer Annie Hall (Diane Keaton) and how their time together featured peaks and valleys. Alvy tells the story by breaking the fourth wall and addressing the audience directly. He details his life before meeting Annie but settles into the story of how they met, fell for one another, and navigated the complicated path of a modern romance. While primarily grounded, there are moments throughout the film that embrace Alvy's fantasies of how he wished things could have been.

Of all the films in Keaton's filmography, "Annie Hall" is widely recognized as the best. It features her unique style that helped push the fashion industry in new directions, and Keaton's performance makes her as desirable to the audience as she is to Woody Allen's character. For many fans, "Annie Hall" made Diane Keaton a household name, and her performance was the best of her career. Also, it's the movie that beat "Star Wars" for Best Picture at the Academy Awards, so you know it's good!