They’ve been a long time coming, but Dakota Johnson and Jamie Dornan are reaching the climax with Fifty Shades Freed, opening wide this Friday. And if history is any indication (Grey and Darker are 25% and 10% respectively on the Tomatometer), Freed won’t be hitting the spot with critics, prompting this week’s gallery of the most Rotten movie trilogies ever.

Vin Diesel‘s journey in the movie biz has taken him from bit player to $100 million-grossing franchise topliner, multi-hyphenate media mogul, social media star, and multi-franchise hero. Get your engine revved up for plenty of action, folks – now it’s time to look at the 10 best-reviewed movies of Diesel’s career!


10. Pitch Black (2000) 59%

Pitch-Black

Any film that takes place in the 46th century — and suffers the ignominy of being dumped into theaters in February — faces a fairly steep uphill battle with critics. Although Pitch Black didn’t quite make it over the hump, running out of steam at 57 percent on the Tomatometer, it did far better than most would have guessed — and it helped make a star out of Vin Diesel, whose turn as the hulking, creepy-eyed escaped convict Richard B. Riddick helped David Twohy’s low-budget sci-fi epic transcend its less inspired moments. In the end, Pitch Black became the rare winter feature that ends up spawning a sequel, thanks in part to the begrudging respect of writers like Entertainment Weekly’s Lisa Schwarzbaum, who praised it as “so jaunty, so limber, and so visually self-assured that art peeks through where crap has traditionally made its home.”

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9. Riddick (2013) 57%

Riddick

After the relative failure of 2004’s Pitch Black sequel The Chronicles of Riddick, Diesel labored for nearly a decade to give the franchise another installment — first trading a cameo in The Fast and the Furious: Tokyo Drift in exchange for the rights to the character, then laboring for years with director and screenwriter David Twohy over ideas for the script. Ultimately, Diesel ended up mortgaging his home and heavily investing his own money into 2013’s Riddick, which finds our hero marooned on a distant planet and beset by ravenous beasts as well as a pack of mercenaries. The picture found a warmer reception at the box office, where it brought in nearly $100 million, but critics weren’t entirely sold — Riddick ultimately ended up just shy of Fresh territory, and even its fans openly conceded that it was more of a goofy good time than a serious piece of sci-fi. As Stephanie Merry wrote for the Washington Post, “Riddick can be cheesy and silly, not to mention excessively violent, but it’s also fun.”

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8. Find Me Guilty (2006) 62%

Find-Me-Guilty

The same year he starred in The Pacifier, Diesel packed on 30 pounds — and grew hair! — to take the lead in Sidney Lumet’s Find Me Guilty, a legal dramedy based on the true story of the longest Mafia trial in American history. As reputed mobster Jackie DiNorscio, who famously represented himself during the trial, Diesel finally won the nearly unanimous critical praise that escaped him in earlier films; sadly, critics found fault with just about every other aspect of Find Me Guilty, including what many saw as an irresponsibly rosy portrait of the real-life mobsters at the heart of Lumet’s screenplay. Still, even if it is, in the words of the Hollywood Reporter’s Kirk Honeycutt, “guilty of moral stupidity and misguided hero worship,” Diesel could take comfort in praise from the likes of the New York Post’s Lou Lumenick, who wrote that his “volatile performance finally proves he is much more than an action star.”

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7. Boiler Room (2000) 66%

Boiler-Room

A sort of miniature blend of Glengarry Glen Ross and Wall Street, Ben Younger’s Boiler Room looked at the seedy underbelly of the tech bubble’s millionaire boom, peeking inside the price-fixing exploits of a seedy Long Island “chop shop” brokerage firm. It wasn’t a big hit, and critics were fairly divided in their opinions, but it gave Diesel the opportunity to deliver a nicely understated dramatic supporting role, and with just a few more reviews from writers like the New York Times’ A.O. Scott — who said it “reflects the sensibility of the generation it holds up to critical scrutiny, and it’s a cunningly ambiguous act of self-portraiture” — Boiler Room would have a nice fresh tomato next to its title.

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6. Fast & Furious 6 (2013) 71%

Fast-Furious-6

After shifting into a higher critical and commercial gear with Fast Five in 2011, the Fast & Furious franchise kept the pedal to the medal with Fast & Furious 6 two years later, retaining the series’ new heist thriller approach (and recent cast addition Dwayne Johnson) for another round of souped-up action and automotive mayhem. While the series’ sixth installment ultimately fell a few percentage points shy of its predecessor, it still went down as one of the summer of 2013’s better-performing blockbusters, rolling up nearly $800 million in worldwide grosses — along with applause from critics like Colin Covert of the Minneapolis Star Tribune, who wrote, “It’s a ripsnorting carmageddon that stylizes automotive annihilation the way John Woo used to choreograph death and destruction with guns and explosions.”

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5. Fast Five (2011) 77%

Fast-Five

Very few franchises notch critical high marks with their fifth installments, and The Fast and the Furious series — a perennial critics’ target since its debut in 2001 — hardly seemed like a logical candidate for ever achieving Certified Fresh status. But lo and behold, that’s exactly what happened in 2011, when Fast Five roared off to 77 percent on the Tomatometer (and over $625 million in worldwide grosses). So what changed? Well, it didn’t hurt that Five’s storyline took a “heist action” approach rather than the “street racing action drama” of previous installments, and the returning cast members (including Paul Walker, Jordana Brewster, Tyrese Gibson, and of course Vin Diesel) benefited from the copious charisma of new addition Dwayne Johnson. Whatever the reasons, longtime Furious fans had company in critics like Connie Ogle of the Miami Herald, who called Five “Embarrassingly fun, the sort of speedy, senseless, violence-crammed action flick that virtually defines the summer season, with superheroes who aren’t gods or crusaders in tights but guys in T-shirts and jeans who can drive cars really fast.”

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4. Furious 7 (2015) 81%

Furious-7

The Fast and Furious franchise has openly defied the laws of diminishing box-office returns — not to mention physics — over the course of its long lifespan, but it isn’t entirely immune to real-world concerns, as fans were sadly reminded when star Paul Walker was suddenly killed in a car crash while still in the midst of production on Furious 7. Walker’s death cast a shadow over the movie, adding a dash of poignancy to the action, and his surviving cast members proved up to the responsibility of sending off their co-star with one of the hugely lucrative saga’s more critically successful entries. “When a film is this exciting in its action set pieces and this meaningful in its quiet moments,” argued Tulsa World’s Michael Smith, “the filmmakers are getting it right.”

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3. Guardians of the Galaxy (2014) 92%

Guardians-Galaxy-Groot

We come here to praise Vin Diesel, not bury him — and yet we’re compelled here to point out that he’s delivered some of his finest, most emotionally affecting work with a bare minimum of dialogue. All of which is to say that while some may have raised a quizzical eyebrow or let slip with a chuckle when word got out Diesel had been cast as the monosyllabic treelike alien Groot in Guardians of the Galaxy, longtime fans knew he could deliver — and he didn’t disappoint, anchoring the ensemble MCU space adventure with action, humor, and even a little heartstring-tugging pathos despite only ever uttering varying inflections on the phrase “I am Groot.” As Joe Williams wrote for the St. Louis Post-Dispatch, “If you’re old enough to remember when sci-fi and comic books were fun, Guardians of the Galaxy will be your new favorite movie. If you’re not, it will set a standard for everything you see.”

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2. Saving Private Ryan (1998) 93%

Saving-Private-Ryan

Movies like xXx and The Pacifier make it easy to forget this, but Vin Diesel has always been more than your average action star; in fact, he wrote, produced, directed, and starred in his film debut, 1995’s Strays — and managed to have it screened at Cannes, where it attracted the attention of Steven Spielberg, who was inspired to create the role of PFC Adrian Caparzo in Saving Private Ryan specifically for Diesel. And while it wasn’t the film’s biggest role — in fact, Diesel’s character is the first member of the squad to be killed — it still gave him a nice leg up from one of the biggest directors in the business, and allowed him to be a part of what James Berardinelli of ReelViews called “a singular motion picture experience.”

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1. The Iron Giant (1999) 96%

Iron-Giant

Today, he’s animation royalty, but in 1999, Brad Bird was still a relative unknown getting his first big break with a Warner Bros. feature based on Ted Hughes’ 1968 children’s book, The Iron Man. Commercially speaking, Giant was a less than auspicious debut — thanks to what many saw as a misguided promotional campaign on the studio’s part, the movie only managed a pitiful $23 million domestic gross — but the adventures of young Hogarth Hughes and his imposing metal friend struck a deep chord with critics like the Chicago Tribune’s Mark Caro, who wrote that “animated films excel in conjuring up colorful fantasy worlds, but few evoke an actual time and place as vividly — and playfully — as The Iron Giant does.” Diesel, of course, was the voice of the titular giant — and lest you scoff that lending your voice to an animated robot doesn’t require much in the way of actual, you know, acting, we defy you to watch the film’s climactic sequence without having your heart torn out by Big Vin’s delivery of one simple word: “Superman.”

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The slowest box office session of the year was ruled by action star Vin Diesel whose latest testosterone sequel Riddick topped the charts opening to an estimated $18.7M. Universal averaged a decent $6,010 from 3,107 locations and generated a debut that was not very muscular, but not lousy either. Considering the weak marketplace and the glut of action titles over the past couple of months, it was a respectable launch.

The weekend after the Labor Day holiday is generally one of the weakest of the entire year as kids go back to school, a new football season begins giving extra competition to male-skewing films, and studios generally avoid opening anything big. The Top 20 slumped to $77M this weekend – the worst tally of 2013.

The R-rated Riddick was the third film of the sci-fi franchise and followed the last installment after a prolonged nine-year gap. The Chronicles of Riddick opened to $24.3M in June 2004 which was considered underwhelming at the time and ended off with $57.6M. As expected, the new Riddick played to a heavily male crowd as studio research showed that guys were 59% of the audience. 53% were age 30 or older and 69% were non-white.

Reviews were mixed but fairly good for a Vin Diesel-led sci-fi threequel. Audiences were only somewhat pleased with their ticket purchase as the CinemaScore grade was a lackluster B. The domestic gross should, however, end up north of its production cost of $38M and international potential is solid given the popularity of the star and the genre.

Following a three-week run at number one, the hit White House drama The Butler settled for second place with an estimated $8.9M, off a reasonable 40%. With a solid $91.9M after its fourth frame, The Weinstein Co. release should reach nine-digit territory next weekend.

Latino audiences powered the Spanish-language family comedy Instructions Not Included into third place with an estimated $8.1M in its second weekend rising two spots from last weekend’s impressive debut. Lionsgate doubled the theater count going from 348 to 717 locations and saw the weekend gross inch up 3%. The distributor is expecting a slim 6% Saturday-to-Sunday decline based on historical comps. Other wide releases are forecasting drops between 35% and 50% for this weekend. Instructions did, however, enjoy the best Sunday boost in sales last weekend of all major pictures. With $20.3M in ten days, the PG-13 film should find its way to double that amount by the end of the run.

Off only 38% in its fifth weekend, the sleeper hit comedy We’re the Millers grabbed another $7.9M, according to estimates, pushing the cume up to a remarkable $123.8M. A final near the $145M area is likely. Disney’s animated entry Planes followed in fifth with an estimated $4.3M, down 45%, for a $79.3M total.

Teen girls abandoned the boy band doc One Direction: This Is Us which suffered the third worst sophomore drop of 2013. The Sony release grossed an estimated $4.1M tumbling by a massive 74%. The only films this year to collapse worse in the second weekend were the fright films Texas Chainsaw 3D and The Purge which both fell by 76% after opening at number one. One Direction has banked $24M to date and should end up with about $30M. Global total to date is $50M.

Sony stablemate Elysium declined by 52% to an estimated $3.1M for $85.1M thus far with the worldwide take now up to $212.2M. The studio’s specialty division followed as Woody Allen’s leggy indie hit Blue Jasmine continued to score with upscale adults collecting an estimated $2.7M, down only 33%. The Sony Classics release is now the veteran filmmaker’s second highest-grossing film from the past quarter-century behind Midnight in Paris. A final in the $30-35M range is possible which is terrific for a low-budget specialty pic.

Taking ninth place was the effects-driven actioner Percy Jackson: Sea of Monsters with an estimated $2.5M, down 44%, and $59.8M overall for Fox. Rounding out the end of the top ten list was the British comedy The World’s End with an estimated $2.3M, off 54%, and a cume of $21.7M for Focus.

Sony expanded its doomsday comedy hit This Is The End putting it back into wide release in 2,161 locations and collected an extra $2M, according to estimates. That boosted the cume to within striking distance of the century mark at $98.9M. End earned strong reviews and enjoyed good legs, but opened head-to-head against Man of Steel in June so some of the target audience of young men may have missed it the first time around. Another week would put it over the $100M mark – a milestone that is more just for film industry bragging rights these days.

With the summer movie season now over, here are the top ten domestic blockbusters and their current grosses: Iron Man 3 ($408.9M), Despicable Me 2 ($357.5M), Man of Steel ($290.8M), Monsters University ($265M), Fast & Furious 6 ($238.7M), Star Trek Into Darkness ($228.8M), World War Z ($201.3M), The Heat ($157.5M), The Great Gatsby ($144.8M), and The Conjuring ($135.2M).

The top ten films grossed an estimated $62.6M which was up 34% from last year when The Possession stayed at number one with $9.3M; and up 3% from 2011 when Contagion opened in the top spot with $22.4M.

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This week, we’ve only got one new film in wide release: Riddick, starring Vin Diesel and Karl Urban in the continuing adventures of the titular 28th Century soldier. What do the critics have to say?

Riddick

57%

Nearly a decade after The Chronicles of Riddick, everyone’s favorite intergalactic survivalist is back — but is he better than ever? Critics say Riddick is weighted down by bad dialogue and some generic plotting, but if you’re in the market for a decent meat-and-potatoes action flick, you could do much worse. This time out, Riddick finds himself trapped on an inhospitable planet crawling with aliens. So he sends out a distress signal to the bounty hunters on his trail, with the hope of commandeering a craft and escaping to a safer place in the universe. The pundits say Riddick is strictly genre fare, and as such, it offers bone-crunching sci-fi thrills and a muddled narrative in nearly equal measure. (Check out this week’s Total Recall, in which we count down Diesel’s best-reviewed movies.)

Also opening this week in limited release:

  • Red Obsession, a documentary about the wild world of counterfeit wine, is at 100 percent.

  • Fire In The Blood, an activist documentary about the high cost of prescription drugs, is at 94 percent.

  • I Am Breathing, a documentary about a man suffering from ALS who works to make his last days as fruitful as possible, is at 94 percent.

  • The Future, starring Rutger Hauer in a psychological thriller about a group of young people who hatch a plot to rob an aging movie star, is at 86 percent.

  • Populaire, a period romantic comedy about the relationship between a slick insurance agent and his fast-typing secretary, is at 69 percent.

  • My Father and the Man in Black, a doc about the relationship between Johnny Cash and his manager Saul Holiff, is at 58 percent.

  • 99%: The Occupy Wall Street Collaborative Film, a crowdsourced doc on the recent protest movement, is at 57 percent.

  • La Maison De La Radio, a documentary portrait of the inner workings of Radio France, is at 50 percent.

  • Adore, starring Naomi Watts and Robin Wright in a drama about two women with disturbingly close relationships with each other’s sons, is at 44 percent.

  • Hell Baby, starring Rob Corddry and Leslie Bibb in a horror comedy about the strange things that happen when expectant parents move into a creepy old house in New Orleans, is at 40 percent.

  • A Teacher, a thriller about a high school teacher who has an affair with one of her students, is at 38 percent.

  • Salinger, a documentary about the reclusive author of The Catcher in the Rye, is at 36 percent.

  • Bounty Killer, a dystopian action flick about rival killers of white-collar criminals, is at 33 percent.

  • Touchy Feely, starring Rosemarie DeWitt and Ellen Page in a dramedy about a masseuse who develops a phobia to touching skin, is at 32 percent.

  • Winnie Mandela, starring Jennifer Hudson and Terrence Howard in a biopic of the South African first lady, is at six percent.

Vin Diesel

It’s been nearly a decade since the surly, freaky-eyed Richard Riddick graced our cineplex screens, but even after the relative failure of 2004’s The Chronicles of Riddick, fans never lost hope that we’d see his return — and neither did Riddick’s portrayer, Vin Diesel, who fought long and hard to secure funding for a third installment. It took a lot of work (and leveraging his house) to make it happen, but Riddick is finally here. Naturally, we decided that this week would be the perfect time to devote an installment of Total Recall to the Diesel filmography, and recount the critical high points of a journey that’s taken him from bit player to $100 million-grossing franchise topliner, multi-hyphenate media mogul, social media star, and future Marvel hero. Get ready for plenty of action, folks — it’s Vin Diesel time!


29%

10. The Chronicles of Riddick

Four years after the surprise success of Pitch Black helped make him a star, Diesel returned to the role of the frequently goggled escaped convict Richard B. Riddick for The Chronicles of Riddick, a sequel that added $82 million to its predecessor’s budget in return for a more expansive storyline, better special effects, and the most inexplicable appearance of Dame Judi Dench’s long and distinguished career. Riddick cracked the $100 million mark, ekeing out a small return on Universal’s investment, but after Pitch Black, audiences and critics were expecting something more from the second installment of writer/director David Twohy’s sci-fi franchise. “It’s no Battlefield Earth,” wrote Empire’s Ian Nathan, “but it’s no Dune either. And no, before you ask, it’s not destined to be a cult classic.”


48%

9. XXX

By the early Naughts, the good old-fashioned action flick had taken a bit of a box-office tumble — due partly to endlessly recycled high-concept storylines, but also to the glaring lack of a star with enough comedic chops and raw physicality to take the rock ’em, sock ’em mantle from Sly, Arnie, and/or Bruce. Early on, it seemed like Vin Diesel might be that star, which is what led Columbia and Revolution to promote xXx with wishful, hyperbolic comparisons to the Bond franchise — and promises to reinvent said franchise for a new generation. In the end, positioning Diesel as a hipper, younger 007 only made it that much easier for critics to beat up on the movie. This didn’t stop it from rolling over $140 million at the box office, but it kept xXx from a Fresh certification — and provided writers like Filmcritic’s Christopher Null an opportunity to dismiss the would-be Bond killer as “totally idiotic.”


53%

8. The Fast and the Furious

“It’s the journey, not the destination” may have become a favorite cliche of guidance counselors and New Age enthusiasts, but it’s still true — witness, for example, the raging success of The Fast and the Furious, a film whose utter predictability is redeemed by 102 minutes of sleek visuals and an easy-to-look-at cast that includes Michelle Rodriguez, Jordana Brewster, and Paul Walker as the undercover cop assigned to infiltrate Diesel’s gang of thieving street racers. Not the type of film that needs positive reviews to make money, in other words — and sure enough, Furious sped to over $200 million in worldwide grosses despite negative-to-lukewarm writeups from critics like Reel Film Reviews’ David Nusair, who sniffed that it was “ultimately entertaining enough to warrant a mild recommendation.”


59%

7. Pitch Black

Any film that takes place in the 46th century — and suffers the ignominy of being dumped into theaters in February — faces a fairly steep uphill battle with critics. Although Pitch Black didn’t quite make it over the hump, running out of steam at 57 percent on the Tomatometer, it did far better than most would have guessed — and it helped make a star out of Vin Diesel, whose turn as the hulking, creepy-eyed escaped convict Richard B. Riddick helped David Twohy’s low-budget sci-fi epic transcend its less inspired moments. In the end, Pitch Black became the rare winter feature that ends up spawning a sequel, thanks in part to the begrudging respect of writers like Entertainment Weekly’s Lisa Schwarzbaum, who praised it as “so jaunty, so limber, and so visually self-assured that art peeks through where crap has traditionally made its home.”


62%

6. Find Me Guilty

The same year he starred in The Pacifier, Diesel packed on 30 pounds — and grew hair! — to take the lead in Sidney Lumet’s Find Me Guilty, a legal dramedy based on the true story of the longest Mafia trial in American history. As reputed mobster Jackie DiNorscio, who famously represented himself during the trial, Diesel finally won the nearly unanimous critical praise that escaped him in earlier films; sadly, critics found fault with just about every other aspect of Find Me Guilty, including what many saw as an irresponsibly rosy portrait of the real-life mobsters at the heart of Lumet’s screenplay. Still, even if it is, in the words of the Hollywood Reporter’s Kirk Honeycutt, “guilty of moral stupidity and misguided hero worship,” Diesel could take comfort in praise from the likes of the New York Post’s Lou Lumenick, who wrote that his “volatile performance finally proves he is much more than an action star.”


66%

5. Boiler Room

A sort of miniature blend of Glengarry Glen Ross and Wall Street, Ben Younger’s Boiler Room looked at the seedy underbelly of the tech bubble’s millionaire boom, peeking inside the price-fixing exploits of a seedy Long Island “chop shop” brokerage firm. It wasn’t a big hit, and critics were fairly divided in their opinions, but it gave Diesel the opportunity to deliver a nicely understated dramatic supporting role, and with just a few more reviews from writers like the New York Times’ A.O. Scott — who said it “reflects the sensibility of the generation it holds up to critical scrutiny, and it’s a cunningly ambiguous act of self-portraiture” — Boiler Room would have a nice fresh tomato next to its title.

71%

4. Fast & Furious 6

After shifting into a higher critical and commercial gear with Fast Five in 2011, the Fast & Furious franchise kept the pedal to the medal with Fast & Furious 6 two years later, retaining the series’ new heist thriller approach (and recent cast addition Dwayne Johnson) for another round of souped-up action and automotive mayhem. While the series’ sixth installment ultimately fell a few percentage points shy of its predecessor, it still went down as one of the summer of 2013’s better-performing blockbusters, rolling up nearly $800 million in worldwide grosses — along with applause from critics like Colin Covert of the Minneapolis Star Tribune, who wrote, “It’s a ripsnorting carmageddon that stylizes automotive annihilation the way John Woo used to choreograph death and destruction with guns and explosions.”


77%

3. Fast Five

Very few franchises notch critical high marks with their fifth installments, and The Fast and the Furious series — a perennial critics’ target since its debut in 2001 — hardly seemed like a logical candidate for ever achieving Certified Fresh status. But lo and behold, that’s exactly what happened in 2011, when Fast Five roared off to 77 percent on the Tomatometer (and over $625 million in worldwide grosses). So what changed? Well, it didn’t hurt that Five‘s storyline took a “heist action” approach rather than the “street racing action drama” of previous installments, and the returning cast members (including Paul Walker, Jordana Brewster, Tyrese Gibson, and of course Vin Diesel) benefited from the copious charisma of new addition Dwayne Johnson. Whatever the reasons, longtime Furious fans had company in critics like Connie Ogle of the Miami Herald, who called it Five “Embarrassingly fun, the sort of speedy, senseless, violence-crammed action flick that virtually defines the summer season, with superheroes who aren’t gods or crusaders in tights but guys in T-shirts and jeans who can drive cars really fast.”


93%

2. Saving Private Ryan

Movies like xXx and The Pacifier make it easy to forget this, but Vin Diesel has always been more than your average action star; in fact, he wrote, produced, directed, and starred in his film debut, 1995’s Strays — and managed to have it screened at Cannes, where it attracted the attention of Steven Spielberg, who was inspired to create the role of PFC Adrian Caparzo in Saving Private Ryan specifically for Diesel. And while it wasn’t the film’s biggest role — in fact, Diesel’s character is the first member of the squad to be killed — it still gave him a nice leg up from one of the biggest directors in the business, and allowed him to be a part of what James Berardinelli of ReelViews called “a singular motion picture experience.”


96%

1. The Iron Giant

Today, he’s animation royalty, but in 1999, Brad Bird was still a relative unknown getting his first big break with a Warner Bros. feature based on Ted Hughes’ 1968 children’s book, The Iron Man. Commercially speaking, Giant was a less than auspicious debut — thanks to what many saw as a misguided promotional campaign on the studio’s part, the movie only managed a pitiful $23 million domestic gross — but the adventures of young Hogarth Hughes and his imposing metal friend struck a deep chord with critics like the Chicago Tribune’s Mark Caro, who wrote that “animated films excel in conjuring up colorful fantasy worlds, but few evoke an actual time and place as vividly — and playfully — as The Iron Giant does.” Diesel, of course, was the voice of the titular giant — and lest you scoff that lending your voice to an animated robot doesn’t require much in the way of actual, you know, acting, we defy you to watch the film’s climactic sequence without having your heart torn out by Big Vin’s delivery of one simple word: “Superman.”


In case you were wondering, here are Diesel’s top 10 movies according RT users’ scores:

1. Saving Private Ryan — 92%

2. Fast & Furious 6 — 84%

3. Fast Five — 82%

4. The Fast and the Furious — 79%

5. The Iron Giant — 78%

6. Pitch Black — 76%

7. Boiler Room — 74%

8. Fast & Furious — 73%

9. The Chronicles of Riddick — 69%

10. The Pacifier — 66%


Take a look through Diesel’s complete filmography, as well as the rest of our Total Recall archives. And don’t forget to check out the reviews for Riddick.

Finally, here’s Diesel’s acting and directorial debut — Strays, from 1997: