In the span of less than a decade, Anya Taylor-Joy movies have become frequently talked-about pieces of cinema. 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. 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.
Anya Taylor-Joy has starred in many horror movies, but she has shown her range in many film genres. In addition to her features, Taylor-Joy appeared in the short film Crossmaglen and the documentary Love, Antosha. She has also impressed on television as Gina Gray in Peaker Blinders and as Beth Harmon in The Queen’s Gambit, for which she won a Golden Globe and Screen Actors Guild Award. With big movies like Furiosa and The Gorge continuing to cement her star status, it is clear that Taylor-Joy has a long and successful career ahead.
20
Playmobil: The Movie (2019)
As Marla Brenner
Anya Taylor-Joy’s worst movie is this adventure comedy 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 other movies based on toys followed.
However, Playmobil: The Movie has none of the charm of The LEGO Movie. The film was said to be joyless and generic, with cringe-worthy 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.
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 relatively uninteresting.
19
Morgan (2016)
As Morgan
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 flat main character, played by Kate Mara in a role that doesn’t do her justice. 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 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 Taylor-Joy can’t save Morgan from mediocrity, she still succeeds in making the film watchable.
18
Glass (2019)
As Casey Cooke
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 lives with dissociative identity disorder, Dr. Ellie Staple (Sarah Paulson) intervenes and the two men are placed in a psychiatric hospital.
At this point, audiences are familiar with superhero media tropes, so having the characters explain them adds nothing new to the table.
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. Taylor-Joy shines with the limited screen time 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. 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.
17
Amsterdam (2022)
As Libby Voze
For a while, controversial director David O. Russell’s movies were on a hot streak at the Academy Awards, securing wins for actors Christian Bale (The Fighter) and Jennifer Lawrence (Silver Linings Playbook). However, Amsterdam not only failed to garner any nominations, but it was a bomb with critics and audiences alike. The movie was studded with A-list actors, but many pointed to the massive ensemble as a failure, criticizing the volume of characters and the confusing plot.
Based on the 1933 conspiracy known as the business plot, a trio of friends — doctor Burt Berendsen (Bale), nurse Valerie Voze (Margot Robbie), and lawyer Harold Woodman (John David Washington) — investigate the murder of their retired military friend Bill Meekins (Ed Begley Jr.). Taylor-Joy plays Libby Voze, Valerie’s sister.
Whether it’s a scream queen in her horror movies or plucky heroines like Emma or Princess Peach, Taylor-Joy rarely gets to play a villain, so it’s a treat watching her as the patronizing Libby in Amsterdam, as she insists that Valerie be hospitalized for her nerves. But the scenes of Taylor-Joy’s poised frostiness aren’t enough to salvage the otherwise muddled 134-minute movie, and neither she nor the many, many supporting actors get much of a chance to shine.
16
Here Are The Young Men (2021)
As Jen
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 enjoy 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, though. Dean-Charles Chapman 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 compelling to watch. Finn Cole is intriguing and chilling as Joseph, a nihilistic, troubled soul.
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 likable than the central trio of Here Are the Young Men.
15
The New Mutants (2020)
As Illyana Rasputin / Magik
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 cringy, especially Illyana’s racist remarks toward Dani, who’s Native American.
The accent work can also 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 of 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.
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 was definitely potential with this film; it was unfortunately an unfinished victim of Disney’s Fox acquisition.
14
Marrowbone (2017)
As Allie
This psychological horror drama from Spanish director Sergio G. Sánchez focuses on the titular Marrowbone family, who moved 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 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.
13
Radioactive (2020)
As Irene Curie
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 as a passionate and determined scientist who also has moments of stubbornness and vulnerability. Sam Riley is also quite good as her husband Pierre, who always supports her.
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 screen time, Taylor-Joy’s performance is still solid 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 is also utilized in warfare.
Even Curie herself grapples with radium: it causes 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.
12
The Super Mario Bros. Movie (2023)
As Princess Peach
Like with Amsterdam, Anya Taylor-Joy stars in another movie featuring a huge star-studded ensemble, but The Super Mario Bros. Movie was much more successful. First, it has the IP credentials going for it, being based on the characters from the hyper-popular Nintendo Mario games. Taylor-Joy had much more to do as she voiced the iconic Princess Peach.
The movie serves as an origin story for Italian American plumbers Mario (Chris Pratt) and Luigi (Charlie Day), who find themselves transported to an alternate world where they find themselves caught in a battle between Princess Peach’s Mushroom Kingdom and Bowzer’s (Jack Black) Koopas. While past video game iterations of Peach see her as a helpless damsel in distress, Taylor-Joy’s version has much more agency. She’s the one who trains Mario and though under duress, it’s her decision to accept Bowzer’s marriage proposal.
Though The Super Mario Bros. Movie was squeezed out by Barbie, it had a steady run as the highest-grossing movie of 2023. However, critics were less kind to the film, giving it tepid reviews. The main cited issue was the thin plotting and an over-reliance on IP to sell the story. But there’s no arguing with the box office results, and even if most of those dollars are driven by nostalgia, Taylor-Joy offered up something different in a film that ultimately felt a little too samey.
11
The Gorge (2025)
As Drasa
The Gorge
6/10
- Release Date
-
February 28, 2025
- Runtime
-
127 Minutes
Anya Taylor-Joy has a talent for jumping into some genre fare and elevating it with her strong performances. The Gorge is the latest project from the busy actor and a fun mix of sci-fi, action, romance, and horror. Taylor-Joy plays a skilled operative who is given the mysterious task of guarding a massive and secret gorge with a counterpart (Miles Teller) on the other side. Though forbidden from communicating, the two operatives form a bond despite the distance while also learning the truth about what is in the dark abyss.
The romantic elements of the movie are among the most surprising and allow it to standout from the typical creature feature.
The Gorge‘s attempts to mash so many genres together don’t always work as some elements take away from others. However, it is a solid and entertaining blockbuster that is elevated by the central performances. It is basically Taylor-Joy and Teller as the sole stars of the show and they share wonderful chemistry despite the nature of the characters’ relationship. The romantic elements of the movie are among the most surprising and allow it to standout from the typical creature feature.
10
Last Night In Soho (2021)
As Sandie
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 (Thomasin McKenzie) who is transported to 1960s London through her dreams, where she notices aspiring singer Sandie (Anya Taylor-Joy). However, the glamour 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 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 mental health challenges and eventual paranoia because of the blurred lines between her dreams and reality. However, Last Night in Soho is also flawed. 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.
9
Split (2016)
As Casey Cooke
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 Kevin, 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 protagonist 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 an excellent job with the character, bounding between the different personalities with ease. 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.
8
Barry (2016)
As Charlotte Baughman
Barry focuses on Barack Obama’s first year at Columbia University in 1981. Devon Terrell 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 (Anya Taylor-Joy), and the next, he’s grappling with his emotions and his place in the world due to his race.
Charlotte is a composite of Obama’s college girlfriends. She 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 it’s ultimately an emotionally affecting and enjoyable biopic.
7
Thoroughbreds (2018)
As Lily Reynolds
Thoroughbreds, the directorial debut of Bad Education‘s 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 (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.
Taylor-Joy and 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. Taylor-Joy is equally sympathetic and frightening here, and her chemistry with 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.
6
Dune: Part Two (2024)
As Alia Atreides
Dune: Part Two
9/10
- Release Date
-
February 27, 2024
- Runtime
-
167 minutes
As a movie, Dune: Part Two is certainly a staggering and impressive epic. However, as a showcase for Anya Taylor-Joy’s talents, it does leave a lot to be desired. The sequel continues the story of Paul Atreides following the death of his father at the hands of their powerful enemies. As Paul and his mother Jessica are taken in by the Fremen people of Arakis, Paul sets out on his path of vengeance while cementing himself as the chosen warrior.
Taylor-Joy joins the star-studded cast in a very brief but memorable role, playing the future vision of Paul’s sister, Alia. While Paul’s mother is pregnant with Alia for the majority of the movie, Paul is able to glimpse his sister who offers him words of love and encouragement concerning his upcoming journey. The movie is a truly epic bit of filmmaking from Denis Villeneuve, showcasing a scale worthy of Frank Herbert’s novel. It is also a thought-provoking drama that deviates from the source material in interesting ways. Taylor-Joy is also set up for a bigger role in Dune 3.
5
The Northman (2022)
As Olga
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). 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; Taylor-Joy is great as Olga, a cunning Slavic enslaved 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 Eggers’ grandest film yet despite its small scale.
4
Emma. (2020)
As Emma Woodhouse
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.
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, Taylor-Joy and Johnny Flynn aren’t the only highlights in 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.
3
The Witch (2015)
As Thomasin
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 evil forces are 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. 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 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 one of Taylor-Joy’s best films to date.
2
Furiosa: A Mad Max Saga (2024)
As Furiosa
The first Mad Max movie without Max Rockatansky as the main character is another winning success for George Miller and proof that he has built a truly enthralling world for this saga that stands on its own. Following Charlize Theron’s iconic performance in Mad Max: Fury Road, Anya Taylor-Joy takes over the role of Furiosa in this origin story of how she was taken from her people and raised in a brutal community where she fought tirelessly to survive and get her revenge.
Furiosa: A Mad Max Saga delivers the same pulse-pounding and mind-blowing action sequences that seemingly only Miller can pull off. However, while Fury Road was a relentless onslaught of action, Furiosa is able to take time to delve into its characters in a deeper way with some brilliant new additions to the franchise. Chris Hemsworth gives one of his best performances as the villainous blowhard Dementus, but Taylor-Joy deserves all the praise for her commanding performance in the lead role.
As Margot Mills
From Triangle of Sadness to Glass Onion, 2022 featured some of the best “eat the rich” movies, and among them is The Menu. In the film, a small group of hyper-privileged foodies who pay big money to travel to a private island and enjoy a one-of-a-kind meal prepared by celebrity chef Julian Slowik (Ralph Fiennes). However, things get increasingly darker as guests and staff alike are tormented, maimed, and even killed.
The odd woman out among the guests is Margot Mills (Anya Taylor-Joy). Unlike the other affluent guests, Margot is an escort who was paid by the pretentious Tyler (Nicholas Hoult) to be his companion as the restaurant, Hawthorn, does not permit solo diners. When Margot is informed that everyone present will die by the end of the night, she’s in for the fight of her life.
Taylor-Joy had long since proven herself to be a terrific actress, but in The Menu she cements herself as a bone fide movie star. She commands every scene she’s in, not just with her looks or Margot’s captivating purple dress, but with her presence. Though Margot is the ultimate final girl, Taylor-Joy plays her with a cool air reminiscent of a film noir character from the 1940s. When audiences aren’t covering their eyes in horror, they’re cheering Margot on in Anya Taylor-Joy‘s best movie.
