All 10 Best Travis Fimmel Movies Ranked (Best to Worst)

Andrew Haigh crafts an achingly gentle, unflinching portrait of poverty on the American fringe, tracking a lonely teenager and an aging racehorse through the Pacific Northwest. The film eschews cheap melodrama in favor of naturalistic stillness, allowing the desolation of rundown tracks and cheap motels to register with profound emotional honesty. In a pivotal early role, the actor inhabits Charley's loving but reckless father, Ray Thompson. Balancing disarming affection with self-destructive negligence, he turns a character who could easily have been a cliché into a poignant, bruised human presence that haunts the entire narrative.

Rebecca Miller’s delightful modern comedy skewers Manhattan intellectual pretense with screwball cadence and literate wit. The narrative pivots on complicated custody schemes and messy romantic entanglements, driven by sparkling work from Greta Gerwig and Julianne Moore. Operating far outside his comfort zone, the performer turns up as Guy Childers, a pickle artisan and eccentric prospective sperm donor. He embraces the film's playful rhythm with impeccable deadpan delivery and unexpected comedic lightness, proving that his magnetic screen presence flourishes just as effectively in witty, dialogue-heavy urban satire as it does in rugged period genre pieces.

Staged with punishing tactical clarity, Kriv Stenders’ war drama chronicles the August 1966 standoff where 108 young Australian and New Zealand soldiers held off an overwhelming force during a blinding monsoon. The film stands out for its suffocating spatial tension, favoring authentic infantry mechanics over hollow Hollywood heroism. Anchoring the frontline as Major Harry Smith, he delivers a performance of steely discipline and suppressed anguish. He commands the screen with weathered stoicism, shedding all theatrical flourishes to deliver a raw, grounded portrayal of battlefield leadership that stands as the proud pinnacle of his Australian film work.

Miles Joris-Peyrafitte drenches this 1930s Oklahoma drama in suffocating dust storms and Great Depression fatalism. While the plot follows a farm boy seduced by Margot Robbie's bank-robbing fugitive, the movie excels primarily through its tactile visual texture and mournful atmosphere. Taking on the role of George Evans, a harsh small-town deputy and weary stepfather, he injects genuine pathos into what could have been a standard antagonist. His world-weary scowl and rigid posture reflect the crushing economic burdens of the era, bringing an earthy, formidable gravity to the household's fractured domestic dynamics.

Ric Roman Waugh brings grounded, no-nonsense grit to this Middle Eastern survival thriller, tracking an exposed CIA operative fleeing across hostile territory toward an extraction point in southern Afghanistan. The action is punchy, practical, and tense, emphasizing the real-world friction of military logistics over sanitized spectacle. Slipping into the clandestine role of Roman Jewell, a CIA handler embedded in the region, he projects an enigmatic, unpredictable demeanor wrapped in local garments and quiet menace. His brief, electric contributions add an off-kilter energy that elevates the operational intrigue above standard modern action fare.

Directed by Mark Steven Johnson, this breezy 1970s caper dramatizes the real-life burglary of Richard Nixon's secret campaign slush fund by an Ohio bank crew. The storytelling rides on retro automotive aesthetics, buoyant pacing, and lighthearted counterculture rebellion. Front and center as Harry Barber, a getaway driver infatuated with Steve McQueen's Hollywood cool, he leans into his natural charisma with obvious relish. His loose-limbed bravado, flashing grin, and romantic chemistry keep the escapade humming, demonstrating that he can easily shoulder a fast-moving, crowd-pleasing genre piece on pure star wattage.

Duncan Jones tackled Blizzard’s monolithic fantasy universe with earnest world-building and state-of-the-art motion-capture technology. The sheer volume of exposition occasionally slows down the narrative, but the clash between displaced orc clans and the human defenders of Azeroth offers undeniable visual grandeur and bone-crunching battles. Taking on the heroic mantle of Sir Anduin Lothar, he brings his trademark idiosyncratic mannerisms, half-smirks, and agile physicality to the armored knight. Even amid overwhelming CGI surroundings, his magnetic individuality cuts through the visual noise, lending the fantasy epic a needed spark of roguish humanity.

Barry Battles directs this unapologetic, high-octane slice of Southern grindhouse cinema about three rowdy brothers who stumble into a gang war while running an illegal retrieval job. The film relies heavily on kinetic shootouts, road-movie antics, and stylized comic-book violence that never takes itself too seriously. As McQueen Oodie, the wild middle sibling, he dives headfirst into the redneck mayhem with uninhibited feral abandon. His unhinged line delivery and physical comedy provide the picture with its loudest chuckles, showcasing an early willingness to embrace gritty, rough-around-the-edges genre projects.

This claustrophobic Australian indie thriller locks two fugitives on the run inside a secluded country mansion with a reclusive, agoraphobic art collector. Director David Denneen constructs an intriguing psychological dynamic where power constantly shifts between captors and captive, though the pacing occasionally stumbles into familiar thriller trappings. In one of his earliest dramatic film showcases, he plays the volatile, short-fused criminal Ron. His performance pulses with raw, erratic hostility, offering early evidence of the coiled, unpredictable physical tension that would eventually become his signature calling card across international screens.

Joel Souza’s revisionist Western strives for classic frontier morality, following an aging outlaw forced to pull his condemned grandson from the gallows before fleeing into the harsh wilderness. While the visual staging captures the bleak, sun-baked isolation of the high desert, the narrative moves along predictable genre rails without offering much narrative reinvention. Appearing as Fenton ‘Preacher’ Lang, he introduces a sharp jolt of gravelly intensity into the solemn proceedings. His performance is typically committed and eccentric, though the overall film remains too conventional to fully harness his distinct screen energy.