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Jason Bateman

Jason Bateman is an actor, born 1969.

Jason Bateman was a child actor before he was anything else, appearing on Little House on the Prairie in the seventies, and he spent two decades in television before the role that reframed him. Michael Bluth on Arrested Development is a straight man written as a moral centre, and Bateman's contribution was to play him as somebody who is smug about being the only sane person in the family and usually wrong about it.

He is the best pure reactor in American comedy. Give him a pause and a flat look and he will get a bigger laugh than the person delivering the joke, which is why he anchors ensemble films so effectively: Horrible Bosses, Game Night, Dodgeball, Tropic Thunder, Juno. Game Night is the purest showcase, a comedy about competitive marriage where his best moments are entirely silent.

The second half of his career has been a deliberate move toward the dark and behind the camera. He directed and starred in Bad Words, played the villain in The Gift, and then built Ozark, where he stars as Marty Byrde and directed multiple episodes. It won him a Golden Globe and a Primetime Emmy for Outstanding Directing for a Drama Series, plus a Screen Actors Guild Award for the performance.

The trick in Ozark is the same trick as the comedy, held longer: a calm man explaining a reasonable plan, while everything around him gets worse.

Movies (55)

TV (26)

Where to start with Jason Bateman

Arrested Development is the foundation and the first three seasons are close to perfect. Watch it for how much of the show's rhythm depends on his refusal to react loudly.

Then Game Night, which is the best film he has led and the one that proves the deadpan works on a big screen. Horrible Bosses is the broader version if you want more of that ensemble energy.

The dramatic turn is Ozark, and its early seasons are the strongest, a slow acceleration built on his stillness. The Gift is the tense little thriller that first showed he could play genuinely unpleasant. Juno and Up in the Air are the two supporting turns where the charm curdles on purpose. And Zootopia is the voice work, a fox built entirely out of his timing.

Arrested Development and Ozark

The two roles that define the career, and they run on the same engine: a competent man watching everything around him deteriorate. Ozark is the dramatic version, and he directed a substantial share of it himself.

The comedies

A decade as the exasperated straight man in studio comedies. Game Night is the best of them by a distance and one of the sharpest mainstream comedies of its decade. Horrible Bosses is the most enjoyable of the rest.

The supporting work

The supporting parts, which are frequently better than the leads. Juno and Up in the Air are the two where the affability curdles into something colder, and both are among the most interesting things he has done.

Genres Jason Bateman works in