Emma Rock and Ryan Gosling have shared the screen together in three films, but how do they rank from worst to best? Each screen darlings in their own fashion, the actors start collaborated in the 2011 rom-comCrazy, Stupid, Love.The effect was palpable, culminating (at least so far) with the 2016 Oscar juggernautLa La Country. Their chemical science has been noted by many of their collaborators, with Stone tellingE! News that she couldn't"even imagine what my life would exist without Ryan."

Gosling leapt onto the scene in a smaller role in 2000'southCall back the Titans,but stormed his style into the public'southward hearts in the 2004 romanceThe Notebook.Starring aslope Eurovision pb Rachel McAdams, his dreamy plow cemented him every bit one of America's sexiest pic stars. His career continued with a whole slew of interesting choices, garnering an Oscar nomination in 2007 forOne-half Nelson.Interestingly enough, that was the same year Emma Stone debuted in the iconic comedySuperbad, cementing herself as one of the about magnetic "girls next door" in modernistic cinema. Her continued presence in studio comedies led her inextricably to Gosling inCrazy, Stupid, Love,where their sizzling chemical science led directors Glenn Ficarra and John Requa to note, inET,that they"go on like a house on fire."

Gosling and Stone's onscreen rapport has invited comparisons to legendary screen duos similar Katharine Hepburn and Cary Grant, Hepburn and Spencer Tracy, or Grant and Rosalind Russell. The timeless, motion-picture show-star quality of both performers has fabricated them ineffably watchable on their own but dynamite when combined. Hither are their film collaborations, ranked from worst to best.

3. Gangster Team (2013)

This cartoony noir fromZombieland director Ruben Fleischer had its release engagement pushed back later concerns that some of its more trigger-happy passages would be too disturbing in the wake of the Aurora shootings of 2012. When faced with the goofy, plastic-feeling artful of this film's action sequences, the concern seems unnecessary. Indeed, Gangster Squad begins stiff enough, with Thanos and Cable actor Josh Brolin heading a coiffure of LAPD detectives cracking downward on Sean Penn'due south Mickey Cohen. Penn spends most of the movie trying to button through his excessive makeup with a genuinely intriguing, hard-boiled operation. Meanwhile, Fleischer himself can't seem to brand up his mind whether he wants to craft an old-fashioned gangster pic or spend two hours spoofing the genre. Around the middle of the movie, he all only throws his hands up in defeat, devolving the proceedings into an uber-violent sub-par action pic.

The highlights, other than Penn's scene-stealing performance, are undoubtedly Ryan Gosling and Emma Stone, whose meeting at a nightclub calls to heed legendary screen duos like Hepburn and Tracy. Stone, iconic in a carmine dress, plays Penn'southward doomed but steely "etiquette instructor" Grace Faraday, and Gosling is the smooth-talking cop Jerry Wooters. Without a doubt, they're the actors with the most ease in this bloated genre exercise, and their chemistry sizzles right off the screen. Watching them, the viewer gets the sense that these two would exist film stars in whatsoever decade of Hollywood history. Alas, they're ultimately at the mercy of a flat script and tonally confused direction that renders their efforts all simply moot.

2. Crazy, Stupid, Love. (2011)

Gosling and Stone's showtime collaboration was in the cloyingly cutesy romantic comedy from 2011, Crazy, Stupid, Dear. Featuring a sprawling ensemble cast, the script by Dan Fogelman mashes up the "middle-aged man trying to claw up with as many women as he tin" vibes ofThe 40-Twelvemonth-Old-Virgin (Steve Carell stars) with the "pickup artist mentors homo on his game" plot ofHitch.The results are mixed, if inoffensive. It'southward not as cavity-inducing every bitDear, Actually, although a last act, which attempts to tie together the film's disparate plot strands, is largely disappointing. Similarly, a subplot about a immature male child in honey with his babysitter is an practise in creepiness, leading upward to a finale that seems to endorse the boy'due south stalker-hood as an admirable pursuit of honey.

All this to say that if the film had insteadjust focused on Gosling'south selection-up artist character and Stone's law-school grad, things would've wound up far improve. Gosling, and then expert in films as varied as Blade Runner 2049 andThe Large Short, gives one of his best charm offensives here, and Stone's winning combination of plucky nerdiness that gives way to attainable lovestruck wildness is near a career-best. A scene where she cheekily commands Gosling to remove his shirt, just to explode in ecstatic glee at the sight of his abs, is as funny and sexy a moment every bit has ever graced the rom-com genre. Of class, their reenactment of theMuddied Dancing elevator is the film's iconic setpiece, and arguably worth the cost of access alone.

1. La La Country (2016)

It can be hard to split La La Land from the All-time Moving-picture show flub of 2016, but removed from the hype, information technology'southward actually a fairly modest piddling motion picture. The entire gimmick of this Hollywood throwback musical is that it is a Hollywood throwback musical. Information technology'due south in CinemaScope, everything looks Technicolor, and most of the numbers are filmed head-to-toe in one shot. Information technology's technically proficient work by the clearly talented Damien Chazelle, but despite a majestic score by Justin Hurwitz, which combines classic jazz with the sweep ofThe Umbrellas of Cherbourg, the motion-picture show rarely manages to match the swoony transcendence of its progenitors likeSuperlative Hat orSingin' in the Rain.A lot of that has to do with the fact that, framed as they are a la Fred Astaire and Ginger Rodgers, Ryan Gosling's too-absurd-for-schoolhouse hoofing and Emma Rock'southward whispery vocals never manage to justify their casting in amusical.

Where they excel, however, is as the leads of an Old Hollywood screwball comedy romance, which is funnily plenty where this moving picture (and these performances) striking its stride. As one can tell from the casting of Brad Pitt and Margot Robbie in Chazelle'south upcoming Babylon,the author-director loves his movie stars. It's been stated above that Stone and Gosling are the Hepburn and Tracy of the modern era, and part of the genius of this moving picture is its capitalization on that fact. Their dance steps may stammer, their singing may leave something to be desired, only their chemistry is undeniable. Fittingly enough, this is the only of the duo's collaborations to net them both Oscar nominations, with Stone winning for her role as Mia. Information technology's hard to deny. Hurwitz's masterful score bated, their performances are the closest the film gets to reaching its throwback aspirations.

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Kyle Wilson (56 Articles Published)

Kyle Wilson is a writer for Screen Rant. Originally from Pennsylvania, he graduated Carnegie Mellon University in 2014 and since and so has been based in Brooklyn, NY. He is a big fan of Paddington and Joe Pesci's functioning in "The Irishman."

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