All of David Fincher's movies, ranked from worst to best

Alright, let's get it out of the way now. "Alien 3" comes in last place, largely because it's a bit of a mess.

From bizarre editing choices, to the off-screen deaths of Newt (Carrie Henn) and Hicks (Michael Biehn) after "Aliens," it just feels like a complete misstep.

"Alien 3" sees Ellen Ripley (Sigourney Weaver) crash-land on a prison planet populated entirely by men, and it isn't long before a stowaway face-hugger unleashes mayhem on the inmates.

It's not the worst of the "Alien" franchise, but it's incredibly disappointing, especially after how impressive the first two movies are.

Granted, a lot of the film's issues are due to heavy studio involvement and interference, rather than Fincher's own creative decisions.

Fincher's experience making the sequel was so bad he actually disavowed the film, telling the Guardian: "I had to work on it for two years, got fired off it three times and I had to fight for every single thing. No one hated it more than me; to this day, no one hates it more than me."

Yikes.

Two words: Michael Douglas.

The seasoned star leads Fincher's "The Game," a warped tale about becoming a better person.

Douglas plays Nicholas Van Orton, an investment banker whose life is turned upside down when he's given a bizarre game for his birthday that forces him to go on the run.

It's definitely weaker than a lot of other movies in Fincher's filmography, but Douglas' desperate performance keeps it moving, as Van Orton's situation seemingly goes from bad to worse within an instant.

Ultimately, the final twist almost feels too wholesome for it to actually make an impact, considering how far the game pushes Van Orton over the course of the movie's two-hour runtime.

It's not a bad film whatsoever, but it lacks the weight to make a lasting impression on the audience.

It says a lot about the work that went into "The Curious Case of Benjamin Button" that its CGI still holds up well over a decade since its release in 2008.

Brad Pitt stars as the title character, who's born as an old man and gets younger with age.

It's probably the most emotional work of Fincher's career, as it follows Benjamin's life through the lens of love and loss. But at times it's way too impressed with itself, as evidenced by its nearly three-hour runtime.

Maybe it's the technical achievement and the fantastical premise, but "Benjamin Button" wants to make out like it's more introspective and meaningful than it actually is.

By the end of it, all that audiences will take away from it is: "Wow, didn't Brad Pitt look weird as an old man-child."

But hey, cinema is all about spectacle, and "The Curious Case of Benjamin Button" definitely delivers that.

David Fincher partnered with Netflix on "Mank," a biopic about the life of screenwriter Herman J. Mankiewicz, who helped develop the script for "Citizen Kane," which is widely regarded as one of the best films ever made.

Although the period drama is a fascinating look at the history behind the classic movie, it often feels like a movie purely made for die-hard film fans and critics, rather than general moviegoers.

It's still an interesting look at the chaotic life that Mankiewicz leads, but it's not Fincher's best work.

That being said, Gary Oldman gives a brilliantly messy performance in the lead role, and he's joined by a number of other stars like Amanda Seyfried, Lily Collins, Charles Dance, and Tom Pelphrey.

"Mank" is definitely worth a watch, but it's very self-indulgent, though that is somewhat understandable since Fincher's father wrote the screenplay before his death, and it was clearly something of a passion project for the director.

Sometimes, a thriller doesn't need an over-the-top, high-concept story to keep audiences on tenterhooks.

And that's exactly the case with "Panic Room."

Three criminals break into an apartment owned by Meg Altman (Jodie Foster) and her daughter Sarah (Kirsten Stewart), and the mother-daughter duo hide in their — you guessed it — panic room.

The situation is made more dire because Sarah is diabetic, and her medication isn't inside the panic room when the burglars break in.

It's a straightforward, no-nonsense flick that stands out from other crime dramas, but doesn't do anything particularly groundbreaking either, and that's okay.

Foster and Stewart bounce perfectly off of Forest Whitaker, Jared Leto, and Dwight Yoakam as the criminals, and Fincher manages to create an interesting dynamic between the two groups while the tension escalates.

It's the type of crime drama that you'd be thrilled to find on late-night TV on a Friday night.

"When I think of my wife, I always think of her head. I picture cracking her lovely skull, unspooling her brains, trying to get answers."

The opening line of 2014's "Gone Girl" instantly sets the tone for the Ben Affleck and Rosamund Pike-starring thriller about a twisted marriage.

Based on Gillian Flynn's book of the same name, it follows Affleck's Nick Dunne as he tries to prove his innocence after his wife, Amy Elliot Dunne (Rosamund Pike), goes missing.

Ultimately, it explores societal expectations of men and women in heteronormative relationships, and how the modern world often chews marriages up.

Fincher's film perfectly captures the dual narration from both Amy and Nick in a masterful way — and the twist in the middle is only the beginning of an even bigger mess for the couple.

Does it get a little too absurd? Sure. Will it make you lose faith in love? Maybe.

Will it keep you on the edge of your seat? Absolutely.

While most film fans will instantly think of "Seven" when it comes to David Fincher and serial killers, his 2007 historical drama "Zodiac" looks at one of the most infamous unsolved mysteries in modern history: the identity of the Zodiac killer.

Jake Gyllenhaal stars as Robert Graysmith, a real-life cartoonist at the San Francisco Chronicle who started his own investigation into the murders when the killer sent clues to the newspaper.

Fincher explores how the real Graysmith's obsession with the case took over his life, but it equally highlights just how close he came to actually solving the mystery behind who the Zodiac killer actually was.

Considering this is a dramatization of real events, and not a traditional horror movie, it's incredibly impressive just how scary the director makes the whole thing.

It's a masterclass in tension and suspense, including a memorable basement scene that is utterly heart-stopping.

Yes, David Fincher is the director of the Facebook movie, and it's infinitely better than that sounds.

It's about Mark Zuckerberg — played by Jesse Eisenberg — and the key players behind the creation of the most influential social media platform of the 21st century.

Based on Ben Mezrich's book, "The Accidental Billionaires," the movie charts Zuckerberg's rise from a student at Harvard University to around the time that Facebook gained its millionth user.

The 2010 movie is a fascinating peek into Zuckerberg's life, thanks to a masterful performance by Eisenberg, and Fincher smartly neither condemns nor glorifies the programmer's decisions to create Facebook. Instead, he leaves it to the audience to make their own minds up about the controversial figure.

Plus, it boasts an incredible score from composers Trent Reznor and Atticus Ross.

"Seven" (or "Se7en" if you go by the poster) is one of the best thrillers ever made.

It follows detectives William Somerset (Morgan Freeman) and David Mills (Brad Pitt) as they hunt a truly twisted serial killer, John Doe (Kevin Spacey), whose grisly murders are based on the seven deadly sins.

While the script could've easily called for extreme violence and gratuitous gore, Fincher leaves a lot of the horror up to the imagination. The audience is never shown any of the murders, only the gruesome crime scenes. Each murder packs its own punch because the idea of what the victim went through is much more powerful.

The way Fincher delivers a dour atmosphere thanks to the grimy streets, dimly-lit rooms, and the endless rain, makes everything feel even more bleak. But he never fails to hold the audience's attention, constantly dragging the viewer down into the hellish urban landscape with him.

And of course, the jaw-dropping ending is just phenomenal in subverting expectations, while staying true to the story it was telling the whole time.

Fincher's adaptation of Stieg Larsson's "The Girl With the Dragon Tattoo" stays faithful to the bulk of the best-selling crime novel, but also streamlines the story to make it suitable for the big screen.

It's a stunning adaptation with a truly impressive cast.

Rooney Mara shines as vigilante hacker Lisbeth Salander alongside Daniel Craig's determined journalist, Mikael Blomkvist, as they hunt a depraved killer of women in the heart of Sweden.

Fincher's gloomy, neo-noir style fits Larsson's disturbing story perfectly, alongside a haunting score from Trent Reznor and Atticus Ross.

While it's a difficult watch due to the sexual violence it sometimes revolves around, "The Girl With the Dragon Tattoo" has no issue keeping its audience hooked all the way through its lengthy two-hour and 40-minute runtime.

It's still an absolute tragedy that Fincher didn't get to adapt the other books in Larsson's series.

Yes, this is the easy option, but "Fight Club" still remains Fincher's best movie.

If anything, its tale of toxic masculinity and fragile egos has only become more relevant in the last few years due to certain areas of social media glamorizing macho stereotypes.

And let's face it, the twist involving Tyler Durden is still one of the best surprises in cinema history.

It's only made better by Brad Pitt's charming, cocksure performance as the imaginary wannabe revolutionary. The way he sweeps up Edward Norton's narrator with his charming good looks, killer abs, rebellious spirit, and carefree ideals shows just how easily young men can be radicalized for a cause.

Because Fincher pulls from Chuck Palahniuk's biting novel of the same name, "Fight Club" does all of this while also taking shots at capitalist culture, Starbucks, and Ikea. And all with a killer soundtrack.

"Where Is My Mind," indeed.