WARNING: This contains major spoilers for The Northman.
Here is every movie in Anya Taylor-Joy‘s filmography ranked from worst to best, including The Northman. Technically, her first acting role was in the 2014 horror-comedy Vampire Academy, but it was a minor character that was removed from the film’s final cut. Taylor-Joy’s career truly started off with small television roles: a one-episode guest spot in the British detective drama Endeavour and a multi-episode arc of Atlantis, a fantasy drama. However, the actress had her breakthrough with The Witch, Robert Eggers’ 2015 period supernatural horror film. After The Witch, Anya Taylor-Joy became a rising young actress, with more success and acclaim to come.
A lot of Anya Taylor-Joy’s roles have something in common: they’re horror movies. Taylor-Joy’s performance in The Witch left an impact, and after a string of final girl roles, she came to be known as a new “scream queen” in Hollywood. However, Taylor-Joy has shown her range with other types of projects–biopics, thrillers, and even a romantic comedy. This diverse range of work is also evident in her television resume; she’s captivated audiences in The Queen’s Gambit, Netflix’s period coming-of-age drama, and as Michael’s wife Gina in the crime drama Peaky Blinders. Anya Taylor-Joy always brings something intriguing to her performances, no matter how small the part and regardless of the overall quality of the work.
Anya Taylor-Joy is a bonafide star with a decent number of movies under her belt. With her most recent project, The Northman, now in theaters, it’s a good time to analyze all of Taylor-Joy’s films to see how they compare to each other. This ranking will only focus on her feature-length film roles; her short film, Crossmaglen, and the documentary Love, Antosha, a tribute to the actor Anton Yelchin, will not be included in the rankings.
Anya Taylor-Joy’s worst movie is this bland and unfunny adventure comedy film based on the German Playmobil line of toys. The film centers on siblings Marla (Taylor-Joy) and Charlie (Gabriel Bateman) who get sucked into a Playmobil world. When Charlie gets kidnapped, Marla sets off on a journey with food truck driver Del (Jim Gaffigan) to save him. Since The LEGO Movie was such a hit, it’s no surprise that people would be inspired to replicate that film’s success. However, Playmobil: The Movie has none of the charm of The LEGO Movie. The film feels very joyless and generic, with cringeworthy dialogue, uninteresting musical numbers, and worldbuilding that’s very inconsistent. Playmobil: The Movie attempts more emotional moments as well, but they don’t exactly land.
Anya Taylor-Joy does her best with the material, managing to be charming despite the poor script. She also has a pretty good singing voice; her opening number is the highlight of Playmobil: The Movie. Bateman is decent as her kid brother, and Daniel Radcliffe is clearly having fun as Rex Dasher, a James Bond parody. However, for the most part, Playmobil: The Movie is an uninteresting slog.
After The Witch, Anya Taylor-Joy starred in this underwhelming sci-fi thriller directed by Luke Scott (the son of director Ridley Scott) in his directorial debut. Its themes dealing with artificial intelligence and free will are interesting, but the concept was portrayed much better in 2014’s Ex Machina. Morgan is also hindered by its main character, played by Kate Mara, who is uninteresting and flat. There is a twist at the end that does explain some things, but it feels unearned.
If there’s one highlight to Morgan, it’s Anya Taylor-Joy’s performance. She is captivating as the childlike Morgan, who is really five years old despite having the appearance of a teenager. Taylor-Joy manages to give Morgan emotional moments that humanize her, especially in the video clips of Morgan having fun outside with psychologist Amy (Rose Leslie). Though Anya Taylor-Joy can’t save Morgan from mediocrity, she still succeeds in making the film watchable.
Glass is a disappointing final installment in M. Night Shyamalan’s Unbreakable movie trilogy. The film brings back Kevin (James McAvoy) and Casey (Anya Taylor-Joy) from Split, as well as David Dunn (Bruce Willis), Joshua (Spencer Treat Clark), Elijah Price/Mr. Glass (Samuel L. Jackson), and Mrs. Price (Charlayne Woodard) from Unbreakable. After David briefly battles with the Beast, a superhuman personality of Kevin, who suffers from dissociative identity disorder, Dr. Ellie Staple (Sarah Paulson) intervenes and the two men are placed in a psychiatric hospital.
The concept of crossover with two of Shyamalan’s previous films is intriguing, but Glass underwhelms with the promising premise. The first hour of the film is slow-moving and doesn’t have the suspense that made Split and Unbreakable compelling watches. Glass is also weakened by its constant use of expository dialogue. At this point, audiences are familiar with superhero media tropes, so having the characters explain them adds nothing new to the table. The final act is especially disappointing, with a twist that could’ve been more interesting if there was better build-up to it.
Despite the script, the cast is clearly trying their best. Anya Taylor-Joy shines with the limited screentime she has as she desperately tries to connect to Kevin and bring his original personality into the “light.” James McAvoy adeptly switches from one of Kevin’s personalities to the next, even bringing some new personalities that weren’t previously touched upon in Split. Samuel L. Jackson is having fun as the villainous Elijah Glass, Charlayne Woodward injects the film with some tender, human moments as Elijah’s mother, and Sarah Paulson is compelling as the psychiatrist determined to convince Kevin, David, and Elijah that they aren’t superhuman. Still, the performances can only elevate the movie so much. Split‘s ending offered an intriguing tie-in with the world of Unbreakable, and it’s a shame that Shyamalan didn’t do more with Glass‘s potential.
This coming-of-age drama, based on the book by Rob Doyle, had potential. Here Are The Young Men has a very talented cast of young stars: Anya Taylor-Joy, Dean-Charles Chapman (1917), Finn Cole (Michael in Peaky Blinders), and Ferdia Walsh-Peelo (Sing Street). The plot is also intriguing: in the summer of 2003, a trio of Irish teen boys enjoys their post-graduation freedom until they witness a tragic accident that shakes up their lives. However, the execution of this idea falls flat. The inciting incident happens very early on in Here Are The Young Men, barely giving time to establish the characters beforehand. Here Are The Young Men doesn’t do enough to develop its characters, especially Walsh-Peelo’s Rez, and get the audience to truly care about them. However, the most frustrating part of this movie is the ending. By the film’s final act, it doesn’t seem as if Matthew (Chapman) has really grown as a character, and the decision he decides to make is baffling, especially since Here Are The Young Men ends without any repercussions for the character.
The cast’s performances make the movie interesting. Dean-Charles Chapman, previously acclaimed for the war drama 1917, is great as Matthew, a teen who finds his future unclear after graduating and is shaken by the accident he witnessed. His transformation from a sensitive soul to someone engulfed by toxic masculinity and rage is interesting to watch. Finn Cole is intriguing and chilling as Joseph, a nihilistic, troubled soul. Anya Taylor-Joy delivers the best performance, as the self-assured, down-to-earth Jen. Her character has great chemistry with Matthew and is the film’s voice of reason. Perhaps a better film could’ve focused on Jen instead; she’s far more compelling and likable than the central trio of Here Comes The Young Men.
On paper, The New Mutants sounds great. It’s a superhero horror movie focused on a group of young mutants: Illyana (Anya Taylor-Joy), Rahne (Maisie Williams), Dani (Blu Hunt), Sam (Charlie Heaton), and Roberto (Henry Zaga) who are trapped in a facility that will supposedly help them learn how to control their powers, only to discover they’re being held captive. However, the actual movie falls a little flat. Some of the dialogue is cringey, especially Illyana’s racist remarks toward Dani, who’s Native American. The accent work can be a tad distracting, especially Heaton’s attempt at a Kentucky drawl. The New Mutants would have benefited from being a bit longer so the film could have more time to tell its story.
Still, The New Mutants isn’t without its enjoyable aspects. The nightmarish visions that plague the main characters are definitely creepy, and the film does a decent job in having the characters learn to deal with their past traumas. The cast is good, with Blu Hunt and Game of Thrones‘ Maisie Williams being standouts, especially because of their characters’ great romantic chemistry. Anya Taylor-Joy is also a highlight; she plays Illyana as an aloof mean girl at first who slowly reveals her vulnerabilities. Alice Braga is chilling as Dr. Reyes, who may or may not be actually helping these teens. Though the film needed more time to let genuine friendships develop, The New Mutants’ Breakfast Club vibe is entertaining to watch. There wa definitely potential with this film; it was just unfortunately an unfinished victim of the Disney-Fox merger.
This psychological horror drama from Spanish director Sergio G. Sánchez focuses on the titular Marrowbone family, who move from England to Maine in the late 1960s to escape their dark and mysterious past. Marrowbone boasts a talented cast: along with Anya Taylor-Joy, the film also stars George MacKay, Charlie Heaton, and noted horror movie actress Mia Goth. MacKay is especially good in his role as Jack, the troubled eldest Marrowbone sibling who shares a tender romance with Taylor-Joy’s Allie.
Though Marrowbone is short on actual scares, it manages to create an eerie, Gothic atmosphere through the cinematography and score. The mystery of the Marrowbones’ past is intriguing, and a third-act twist is genuinely shocking and tragic. It’s a shame that Anya Taylor-Joy is underused in the film and mainly serves as a plot device, but she manages to be funny, warm, and compelling; it’s clear why Jack would fall for her. Mia Goth doesn’t get much to do either, though she is still captivating. Despite its flaws, Marrowbone is a fascinating watch.
Based on the 2010 graphic novel Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout by Lauren Redniss and directed by Persepolis‘s Marjane Satrapi, Radioactive is a decent Marie Curie biopic. Rosamund Pike is great as Curie, portraying her a passionate and determined scientist who also has moments of stubbornness and vulnerability. Sam Riley is also quite good as husband Pierre, who always supports Marie. Anya Taylor-Joy appears late in the film, as the 18-year-old version of the Curies’ oldest daughter, Irene. Though she doesn’t have a lot of screentime, Taylor-Joy’s performance is still good and she holds her own against Pike.
Radioactive also has interesting narrative touches, especially with the scenes showing future uses of radium, the element discovered by Marie and Pierre. It’s used to treat cancer but also utilized in warfare. Even Curie herself grapples with radium: it’s caused sickness but can also help save lives during World War I. It’s an interesting commentary on how this scientific discovery can be useful but also destructive. Radioactive isn’t groundbreaking but is still a good watch.
Last Night in Soho is Edgar Wright’s genre-blending trip through time, easily going from time-travel fantasy to twisted psychological horror. It focuses on aspiring fashion designer Ellie (Thomas McKenzie) who is transported to 1960s London through her dreams, where she notices aspiring singer Sandie (Anya Taylor-Joy). However, the glamor of the Swingin’ Sixties soon makes way for something more sinister, deconstructing the nostalgia that Ellie once held for the decade. Last Night in Soho has quite a bit going for it: it’s very visually interesting, with great set design of ’60s London and some good direction by Wright. The soundtrack, primarily composed of ’60s music, is excellent. McKenzie is very good as Ellie, showing her challenges with mental health issues and eventual paranoia because of the blurred lines between her dreams and reality.
However, Last Night in Soho is also flawed. Anya Taylor-Joy is captivating as Sandie but isn’t given much to do. There’s a feminist message that Wright and co-writer Krysty Wilson-Cairns are trying to convey, but it doesn’t have enough depth to it. Ellie is given a love interest, John (Michael Ajao), but he’s underdeveloped and the romance isn’t entirely convincing. Despite the missteps, though, Last Night in Soho is a trippy and entertaining ride.
Many have considered Split part of M. Night Shyamalan’s return to form after a string of critical failures. The psychological thriller stars James McAvoy as a man with dissociative identity disorder who kidnaps three teenage girls (Anya Taylor-Joy, Haley Lu Richardson, and Jessica Sula). Split, set in an underground lair beneath the Philadelphia Zoo, is genuinely chilling. The film reflects the trapped feeling the girls are experiencing thanks to Shyamalan’s direction and West Dylan Thordson’s eerie score.
Split’s character Kevin has received scrutiny from the mental health community, though his character is based on a real-life criminal who had dissociative identity disorder. While Kevin isn’t the best representative of DID, James McAvoy does do an excellent job with the character, bounding between the different personalities with ease. Anya Taylor-Joy is also quite good as Casey Cooke, a girl with a troubled past who’s just doing her best to survive this situation. Haley Lu Richardson and Jessica Sula are also good, though unfortunately, they don’t get as much time as Taylor-Joy to shine. Though Split definitely has its flaws, it’s quite effective as a psychological horror film. McAvoy and Taylor-Joy are absolutely captivating together and it’s easy to see why Shyamalan would bring them back for the follow-up, Glass.
Barry focuses on Barack Obama’s first year at Columbia University in 1981. Devon Terrell (Arthur in Netflix’s fantasy show Cursed) is pitch-perfect as Obama, skillfully emulating the former president’s mannerisms. Terrell’s performance is quite compelling; one moment, he’s self-assured as he flirts with Charlotte, and the next, he’s grappling with his emotions and his place in the world due to his race.
Anya Taylor-Joy is Charlotte, Barry’s love interest who’s a composite of Obama’s college girlfriends. Charlotte is laid-back and witty and has good chemistry with Barry. Whether they’re arguing or being romantic, the couple is fascinating to watch together because Taylor-Joy and Terrell are such great scene partners. Barry can be sometimes on the nose with its message but is ultimately an emotionally affecting and enjoyable biopic.
Thoroughbreds, the directorial debut of Bad Education director Cory Finley, is an entertaining entry in the teen thriller genre. Set in suburban Connecticut, Thoroughbreds focuses on two teen girls: the seemingly poised and put-together Lily (Anya Taylor-Joy) and Amanda (Ready Player One‘s Olivia Cooke), a social outcast who’s unable to feel emotions. Despite her wealth, Lily is unhappy and isn’t terribly fond of her condescending stepfather, Mark (Paul Sparks). When Amanda and Lily plot to murder Mark via a pact with a drug dealer (Anton Yelchin), a darkly comic adventure ensues.
Anya Taylor-Joy and Olivia Cooke are brilliant here. Taylor-Joy imbues Lily with nervous energy and emotional turmoil, with an undercurrent of narcissism and a creepy, manipulative streak. As Amanda, Cooke is perfectly deadpan and delivers some excellent one-liners. However, they’re not the film’s only standouts. In his final film role, the late Anton Yelchin is great as the cocky, swaggering drug dealer Tim who has layers of vulnerability. Thoroughbreds has a great sense of black humor but also plenty of suspense, with Erik Friedlander’s score constantly increasing the tense atmosphere with its usage of bass drums. Anya Taylor-Joy is equally sympathetic and frightening here, and her chemistry with Olivia Cooke is great, showing the girls’ friendship in all its messiness. It’s easy to compare Thoroughbreds to the ’80s dark teen comedy film Heathers, but it manages to shine on its own as an original, fresh film.
The latest film from director Robert Eggers is literally epic. The Northman, based on the medieval Scandinavian legend of Amleth, focuses on Amleth (Alexander Skarsgård), a Viking prince on a quest to avenge the murder of his father, Aurvandill (Ethan Hawke) and rescue his mother, Gudrún (Nicole Kidman) from the clutches of his uncle, Fjölnir (Claes Bang). Robert Eggers’ precise direction helps establish the film’s incredible and surreal atmosphere. The score, composed by Robin Carolan and Sebastian Gainsborough, is harsh and gorgeous at the same time, using a mix of traditional Scandinavian instruments and more modern instruments. The performances are also captivating; Anya Taylor-Joy is great as Olga, a cunning Slavic slave and sorceress, Alexander Skarsgård is perfectly intense in Amleth’s quest for revenge, and Nicole Kidman is fascinating to watch as Gudrún, whose villainous turn is both chilling and delightful.
The Northman offers a Hamlet-inspired message about whether seeking revenge is pointless, with Amleth getting himself killed because of his thirst for vengeance. It’s a fascinating adventure filled with violence and magic, with an endearing romance between Amleth and Olga mixed in. The Northman is Robert Eggers’ grandest film yet despite its small scale.
Anya Taylor-Joy has done period pieces before, but none have been as utterly delightful as Emma, the directorial debut of Autumn de Wilde. This adaptation of the Jane Austen novel isn’t the most faithful to the source material, but its screenplay (penned by Eleanor Cattler) makes changes that elevate the story of Emma for the better.
Anya Taylor-Joy is fantastic in this movie adaptation of Emma as Emma Woodhouse, a wealthy young woman who has a habit of matchmaking and meddling in people’s romantic lives. Emma soon meets her match in George Knightley, played charmingly by Johnny Flynn. Taylor-Joy and Flynn have fantastic chemistry together and make Emma and Mr. Knightley’s romantic journey an absolute pleasure to watch. However, Anya Taylor-Joy and Johnny Flynn aren’t the only highlights of Emma. The entire cast is a delight, from The Crown’s Josh O’Connor as the ambitious vicar, Mr. Elton to the hilarious Miranda Hart as Miss Bates. The costumes are absolutely divine, the script is sharp and witty, and Isobel Waller-Bridge’s score is beautiful.
People took notice of Anya Taylor-Joy because of her role as Thomasin in The Witch, and it’s easy to see why. Set in 1630s New England, The Witch focuses on a Puritan family who live on a secluded farm after being kicked out of their Puritan colony. When the youngest child mysteriously disappears, it is apparent that there are evil forces lurking in the woods. Robert Eggers’ direction is brilliant, using lighting, camera techniques, and careful editing to create a creepy atmosphere. Rather than relying on actual scares, a lot of the horror in The Witch is psychological, as Thomasin’s family succumbs to hysteria and becomes distrustful of Thomasin, accusing her of witchcraft.
Anya Taylor-Joy does some incredible acting in this A24 supernatural horror movie period piece. As Thomasin, she effectively transforms from an innocent Puritan girl to someone who’s been beaten down by the accusations and lies from her own family and is willing to go down a darker path. Her eyes, notably expressive, tell so much story here. Her performance elevates Robert Eggers’ superb script for The Witch, helping to truly bring it to life. Ultimately, The Witch is thrilling, chilling, and incredibly memorable. It’s a finely-crafted piece of work and Anya Taylor-Joy’s best film to date.