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Best Paul Weiland Movies
11th Nov 2025
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Paul Weiland, the iconic frontman of Stone Temple Pilots and Velvet Revolver, possessed a captivating stage presence and a powerful voice that resonated with audiences. While his musical career undeniably dominated headlines, Weiland also ventured into the world of acting, showcasing his charisma and dramatic flair in a few memorable film roles. From quirky character parts to more substantial performances, Weiland's cinematic contributions offer a unique glimpse into his multifaceted personality and talent. This list celebrates those films, allowing you to decide which portrayals stand out the most. Now, it's your turn to shape this ranking! We've compiled a selection of Paul Weiland's movie appearances, each representing a distinct moment in his career. Carefully consider each film and cast your vote to declare your favorite. Let your opinions guide the final tally and help us solidify the definitive ranking of Paul Weiland's best movie roles.
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#3.
Made of Honor (2008)
3/5
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*Made of Honor* (2008) plunges audiences into the intricate, often hilarious, dynamic between Tom (Patrick Dempsey) and Hannah (Michelle Monaghan), two platonic friends who have navigated life together for a decade. Tom, a charismatic but commitment-phobic serial dater, has always kept Hannah at arm's length romantically, while she yearns for marriage but has yet to find her "Mr. Right." The comfortable equilibrium of their friendship is shattered when Tom, on the cusp of realizing his true feelings for Hannah, learns that she has fallen in love and become engaged to a handsome, wealthy Scot. In a twist of fate, Hannah asks Tom to be her "maid" of honor, a request he reluctantly accepts, seeing it as his last, desperate chance to stop the wedding and finally confess his long-dormant love. Paul Weiland's direction of *Made of Honor* solidly places it among his best works due to his signature ability to craft charming, heartfelt, and genuinely funny romantic comedies. Weiland masterfully takes a classic "friends-to-lovers" trope and infuses it with his characteristic blend of witty dialogue, physical comedy, and genuine emotional resonance. He expertly guides Dempsey and Monaghan through their comedic predicaments, particularly Tom's fish-out-of-water experience in Scotland, while never losing sight of the central, will-they-or-won't-they romantic tension. The film's commercial success and enduring popularity as a quintessential late-2000s rom-com highlight Weiland's skill in delivering an entertaining and emotionally satisfying cinematic experience, making it a standout in his filmography.
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For Roseanna (1997)
"For Roseanna (1997)" unfolds as a poignant and darkly humorous tale centered on the dying Roseanna, whose one fervent wish is to be buried beside her beloved daughter. This seemingly simple desire is complicated by a rapidly filling local cemetery, which cannot expand due to the stubborn refusal of Capestro, the adjacent landowner, to sell his property. In a desperate and increasingly frantic effort, Roseanna's devoted husband, Marcello, embarks on a mission to prevent anyone else in their small Italian village from dying, hoping to keep a spot open for his wife. Amidst this charmingly absurd endeavor, Roseanna herself, despite her failing health, focuses not on her own fate but profoundly on the future well-being and happiness of Marcello. Paul Weiland's direction of "For Roseanna" solidifies its place on a "Best Paul Weiland Movies" list by expertly balancing its darkly comedic premise with a genuinely heartwarming and poignant emotional core. Weiland, known for his ability to infuse his films with warmth and wit, here crafts a charming Italian village and populates it with memorable, eccentric characters. The film brilliantly navigates the absurdity of Marcello's desperate attempts to halt mortality against the quiet dignity and profound love embodied by Roseanna. It stands out as a testament to Weiland's skill in taking a seemingly simple, high-concept idea and imbuing it with layers of human experience, making audiences laugh while simultaneously being deeply moved. His characteristic blend of understated humor and sincere sentiment is on full display, making "For Roseanna" a quintessential example of his unique directorial voice and a deserved entry among his finest works.
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Sixty Six (2006)
**Sixty Six (2006)** is a heartwarming and frequently hilarious British film that tells the charmingly chaotic story of Bernie Reubens, a boy whose Bar Mitzvah looks set to be a disaster when it coincides with the 1966 World Cup Final. Set in London amidst a vibrant Jewish community, the film perfectly captures the angst of adolescence, the complexities of family dynamics, and the all-consuming national obsession with football. As Bernie grapples with his unenthusiastic family, a struggling business, and his own hopes for a memorable rite of passage, the film blends poignant coming-of-age moments with a rich tapestry of cultural clashes and period detail. Paul Weiland's deeply personal touch shines through in *Sixty Six*, making it a standout in his filmography and a strong contender for any "Best Paul Weiland Movies" list. Drawing directly from his own childhood experiences, Weiland crafts a semi-autobiographical narrative imbued with genuine emotion and authenticity. His well-honed comedic timing, honed over decades in British advertising and earlier directorial efforts, is evident in the film's witty dialogue and relatable character foibles. However, it's his masterful blend of quintessentially British humour with profound moments of family drama and a tender understanding of a boy's longing for acceptance that elevates *Sixty Six* beyond simple comedy, showcasing Weiland's distinctive voice as a director capable of both laughter and tears.
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Made of Honor (2008)
*Made of Honor* (2008) plunges audiences into the intricate, often hilarious, dynamic between Tom (Patrick Dempsey) and Hannah (Michelle Monaghan), two platonic friends who have navigated life together for a decade. Tom, a charismatic but commitment-phobic serial dater, has always kept Hannah at arm's length romantically, while she yearns for marriage but has yet to find her "Mr. Right." The comfortable equilibrium of their friendship is shattered when Tom, on the cusp of realizing his true feelings for Hannah, learns that she has fallen in love and become engaged to a handsome, wealthy Scot. In a twist of fate, Hannah asks Tom to be her "maid" of honor, a request he reluctantly accepts, seeing it as his last, desperate chance to stop the wedding and finally confess his long-dormant love. Paul Weiland's direction of *Made of Honor* solidly places it among his best works due to his signature ability to craft charming, heartfelt, and genuinely funny romantic comedies. Weiland masterfully takes a classic "friends-to-lovers" trope and infuses it with his characteristic blend of witty dialogue, physical comedy, and genuine emotional resonance. He expertly guides Dempsey and Monaghan through their comedic predicaments, particularly Tom's fish-out-of-water experience in Scotland, while never losing sight of the central, will-they-or-won't-they romantic tension. The film's commercial success and enduring popularity as a quintessential late-2000s rom-com highlight Weiland's skill in delivering an entertaining and emotionally satisfying cinematic experience, making it a standout in his filmography.
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City Slickers II: The Legend of Curly's Gold (1994)
Following up on the critically acclaimed original, *City Slickers II: The Legend of Curly's Gold* sees Billy Crystal's Mitch Robbins once again grappling with middle age and the unexpected. On the eve of his 40th birthday, Mitch's carefully ordered life is upended by the sudden appearance of his ne'er-do-well brother, Glen (Jon Lovitz). What promises to be a quiet celebration quickly transforms into a sprawling desert adventure when Mitch uncovers a hidden treasure map belonging to the late, great cowboy Curly. Alongside his loyal friend Phil (Daniel Stern) and the perpetually chaotic Glen, Mitch embarks on a quest through the Arizona desert, hoping to unearth a legendary stash of gold and perhaps, find a new direction in life. Directed by Paul Weiland, *City Slickers II* represents a significant entry in his comedic filmography, solidifying its place among his best works. While tasked with continuing a beloved story, Weiland adeptly navigates the blend of slapstick humor, character-driven comedy, and grand adventure that defined the original. His direction allows the charismatic ensemble, particularly Billy Crystal, Daniel Stern, and the new addition of Jon Lovitz, to shine, orchestrating laugh-out-loud moments amidst the expansive desert landscape. The film showcases Weiland's skill in handling broad comedic premises and delivering an entertaining, commercially successful sequel, demonstrating his versatility and consistent ability to craft engaging populist entertainment.
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Leonard Part 6 (1987)
In the 1987 spy comedy *Leonard Part 6*, Bill Cosby stars as Leonard Parker, a former spy who has traded international intrigue for a more subdued life as a restaurateur. However, domestic turmoil still plagues him: his estranged wife refuses to speak to him, and his career-hopping daughter is dating a man old enough to be Leonard's father. Just as he grapples with these personal woes, the government re-enlists him, pulling him back into the spy game for one last, world-saving mission, whether he likes it or not, setting the stage for a series of bizarre and increasingly absurd adventures. Directed by Paul Weiland, *Leonard Part 6* holds a curious, if often discussed, place in his filmography. While its critical and commercial reception was notoriously poor, often landing it on "worst films" lists, its sheer infamy makes it undeniably one of the most *memorable* and *defining* projects of Weiland's early directorial career. For a list of his "best" work, one might interpret "best" not solely as critical acclaim, but as a film that, through its profound impact (even if negative), significantly shaped his trajectory and remains a consistent talking point when discussing his body of work. Its notoriety thus earns it a spot for its unique, if infamous, contribution to Weiland's directorial journey.
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