Every Brie Larson Movie Ranked Worst To Best

Every Brie Larson Movie Ranked Worst To Best

From teen star to Captain Marvel, we’re taking a look at the films of Oscar winner Brie Larson and ranking them from worst to best.

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From teen star to Captain Marvel, we’re taking a look at the films of Oscar-winner Brie Larson and ranking them from worst to best. At the fresh-faced age of 30, Brie Larson has managed to accrue the kind of diverse, wide-reaching, and jam-packed career that many actresses twice her age have yet to achieve. Born Brianne Sidonie Desaulniers, Larson adopted her stage name from an American Girl doll called Kirsten Larson and began working on film and TV from a young age. She took on several guest roles on series like The Tonight Show with Jay Leno, starred in supporting roles in movies like 13 Going on 30, and even had a brief teen singing career.

As she aged into adulthood, Larson’s career evolved into that of a typical working actress: Bit parts here and there; a lot of television work (from a starring role in The United States of Tara to one-off appearances in shows like Community and The League); the occasional big movie. Mostly, however, Larson began to make her name as a serious talent in indie projects favored by the festival circuit, even if they weren’t widely seen by general audiences. Larson even admitted that times got so tough for her financially that she later admitted to Vanity Fair that for a time she was “living off the food in the film-festival welcome gift bags.” Her big break came in 2015 in the adaptation of Emma Donoghue’s novel Room, wherein she played a woman held captive for seven years in a tiny space with her son. Immediately, she became the breakout star of the season and stormed her way through the awards circuit, culminating in a Best Actress Oscar win. Then, Marvel came calling and Larson became Captain Marvel herself, thus breaking ground in the franchise’s first female-led movie, co-directed by a woman.

Now, Larson continues to diversify her career. She’s returned to indie roles, made her feature directorial debut, and even started her own YouTube channel. It was recently announced that Captain Marvel 2 will be directed by Nia DaCosta, making her the first Black woman to direct a film in the MCU. With that in mind, we’re taking a look at the 27 feature film performances of Brie Larson and ranking them from worst to best.

Disclaimer: This list is limited to her film performances and does not include cameos, voiceover work, or short films.

#27 Basmati Blues

It’s never a good sign when a film is shelved for several years before release. Larson signed up for the staggeringly misguided Basmati Blues in 2013, but the movie didn’t see the light of day until 2018, due to multiple reshoots and the drama of monsoon season damaging the production. The cast probably would have been happier if the film had been buried forever. Basmati Blues is a weak and often cringe-inducing attempt to recreate the magic of Bollywood cinema through an American lens, but it misses the point entirely and doesn’t seem to understand or care about what makes Indian film so unique and beloved. Add to that a white savior narrative and near-negative chemistry between Larson and her romantic lead Utkarsh Ambudkar and you have a depressingly simplistic tale that’s as dull as it is insulting.

#26 Housebroken

Danny DeVito plays a disgruntled father whose enjoyment of his retirement is impeded by his slacker sons and their refusal to move out of the house. To teach them a lesson, he and his wife (played by Katey Sagal) go on the road and force the pair to fend for themselves. Housebroken is your standard lowbrow comedy wherein every actor involved is crystal-clear about this film being a quick cash grab with little to no other redeeming qualities. It’s a waste of Larson, DeVito, and Sagal.

#25 Sleepover

One of her first movie roles, Larson has a small role in teen comedy Sleepover, centered on a group of eighth-graders and the slumber party that sees them clashing with the popular crowd, their boy crushes, and meddling parents. For a 2004 film, Sleepover feels like a curious relic from ten years prior, but one where all of the adolescent stars are creepily objectified even as the film tries to spin a girl power message of empowerment. The addition of future stars like Larson, Jane Lynch, and Steve Carell provides the only mildly intriguing elements for bored viewers.

#24 Remember the Daze

Larson is one of a host of recognizable faces in the otherwise forgettable Remember the Daze, a teen drama featuring Amber Heard, Alexa Vega, Leighton Meester, and Melonie Diaz. The movie’s influences are obvious, from Cameron Crowe to John Hughes to Amy Heckerling, but it possesses none of those directors’ wit or heart. It conjures neither nostalgic warmth nor sharp-eyed understanding of why such high school narratives endure after decades of rehashing.

#23 Just Peck

There’s not much to say about Just Peck, a 2009 teen comedy wherein Larson plays a popular girl who becomes the object of affection for a loveable misfit who tries to cling to the sliver of the popularity her attention offers him. You’ll be lucky if you can even find much information on the movie online. It’s another teen movie, although it often skews much younger with its jokes, designed to distract you for 90 or so minutes before you immediately forget it, and we imagine that most viewers did.

#22 Tanner Hall

Directors Francesca Gregorini (Killing Eve) and Princess Tatiana von Fürstenberg (a real-life princess) teamed up for this teen drama about a group of kids living together at a sheltered boarding school in New England. Larson plays the wild card teen while Rooney Mara gets the leading role as the shy girl whose life is thrown out of balance by the arrival of an old childhood friend. There are charming moments here and there, mostly from Mara and Larson, but Tanner Hall is a slog of a movie that settles on generic from its opening scenes and remains there until the opening credits. The lack of narrative momentum makes its 96-minutes running time feel way longer.

#21 The Trouble With Bliss

Dexter star Michael C. Hall plays the leading role in The Trouble With Bliss, an indie comedy about an unemployed slacker with no future prospects whose spark for life is reawakened by the arrival of a new love interest, who also just happens to be 18 years old. This concept may have worked better in the book the movie is based on, but in adaptation it feels cringe-inducing and often super-creepy in ways it doesn’t seem to have intended. The cast is uniformly charming, with Larson and Hall bouncing off old-hands like Peter Fonda and Lucy Liu, but the film itself is so eager to be quirky that it ends up being far too satisfied with itself, even when nobody else seems to care much.

#20 Hoot

Carl Hiaasen is one of the great Floridian novelists – a writer with the sharpest understanding of his home state and its various, oft-derided eccentricities. That sensibility worked surprisingly well for his YA novel Hoot, the story of a group of kids who fight against land developers in order to save the habitat of a rare breed of owl. It’s an immensely charming read but the movie of Hoot is depressingly lacking in those endearing qualities. Its heart is in the right place – as with many Hiaasen novels, it’s a proudly environmentalist tale – but it sacrifices the quirky verve of its source material for broad jokes and mugging. Larson and young Logan Lerman, however, are both very good and it is encouraging to see a kids movie tell its young audience that they’re capable of making real change in the world. There’s also a surprising number of super-fun Jimmy Buffett songs throughout. If nothing else, the film is still proudly Floridian in a way that Hiaasen would approve of.

#19 The Gambler

Director Rupert Wyatt’s remake of the 1974 film The Gambler cannot help but pale in comparison to the original. Mark Wahlberg can shine in the right material, but he seems oddly miscast as the self-destructive professor who goes all-in on trying to gamble his way out of his increasing debts. He’s blasted off the screen by Jessica Lange who plays his mother with a deliciously venomous edge. The movie is at its best when it allows itself to steep in the sleaze of gambling and its surrounding ecosystem but all too often it seems to see this world as kind of cool, which defeats the entire point of the story.

#18 The Glass Castle

Larson has formed a strong creative relationship with writer-director Destin Daniel Cretton, who is now part of the Marvel world as the director of the upcoming Shang-Chi movie. The Glass Castle, the second of their two collaborations, is easily their weakest joint effort, even if it seemed perfect for the pair of them on paper. At its heart is a deeply affective true story of a woman’s guilt over abandoning her past and the dysfunctional poverty-stricken family who raised her with lofty dreams. Larson is tough in the lead role but the part is nowhere near layered enough for her skills, and the surrounding players are left to descend into oft-embarrassing clichés. Woody Harrelson is a notable exception as Larson’s father, a man who veered between charismatic and repellent, often in an instant. The problem is that the material seems to think that this family and their neglect is somehow quirky or a sign of their true emotional richness. In reality, they’re cruel, often neglectful, and frequently abusive. The Glass Castle wants the audience to see this world as one of tricky layers and emotional complexities but it’s too broadly painted to convey such realities. Instead, everything is black and white and unearned sentiment stands in for the difficult questions its set-up poses.

#17 Unicorn Store

Larson made her feature directorial debut with this sweet story of a millennial dreamer afraid to step fully into the responsibilities of adulthood. Just as she’s ready to pack away her childish things, a mysterious salesman offers her the chance to own a real-life unicorn if she completes a series of tasks. Banking on their excellent Captain Marvel chemistry, Unicorn Store is at its most joyous when Larson bounces off Samuel L. Jackson, who is clearly having the time of his life as a Willy Wonka-esque figure. While the movie is wildly uneven, it’s a delightfully earnest and proudly pastel effort that tackles the topic of personal growth with gusto. Larson throws glitter and pink and rainbows everywhere, which may tire out some people, but it works well for Unicorn Store. As a directorial debut, it hints at real potential for something great on the horizon.

#16 13 Going on 30

It’s easy to forget but Brie Larson was in 13 Going on 30 as one of the cool girls that young Jennifer Garner desperately wanted to be friends with. It’s a blink-and-you’ll-miss-it part but the rest of the film is so earnestly fun that you’re won over by its charms. Garner may have made her name as an action star in Alias but she’s never been more perfectly cast as the all-grown-up teen who is flabbergasted by her adult life and the mess she made of a past she can’t remember. Its ending remains a potent tearjerker too.

#15 Rampart

Crime fiction legend James Ellroy of L.A. Confidential fame co-wrote the script for 2012’s Rampart and his signature is all over the finished product. Part noir, part grimy cop drama, part nihilistic character piece, This commitment to a wholly fatalistic view on law, order, and America as a whole may be too much for some viewers to stomach, but it painfully captures a true descent into hell that exposes the moral hypocrisies of organized policing in a way that Hollywood is often too timid to capture. The star of the show is Woody Harrelson, who is brutal and riveting as a man falling into the darkness of his own making.

#14 Don Jon

Actor Joseph Gordon-Levitt made his feature directorial debut (as well as wrote and starred in the leading role) in Don Jon, a thoroughly adult romantic-drama about a New Jersey lothario who is more interested in porn and one-night-stands than a long-lasting relationship. His well-set ways are challenged by the arrival of Barbara (Scarlett Johansson), an old-fashioned romantic who wants a proper courtship over simple sex. A set-up like this could so easily have descended into sleaze or unearned moralizing, not to mention leering sexism, but Gordon-Levitt has a firm grasp on his narrative. It helps that all of the female characters are deftly-drawn and given more to do than be mere love interests.

#13 Kong: Skull Island

So many remakes, reboots, and re-imaginings of King Kong and Godzilla get too wrapped up in weighty themes or the need to inject stylistic realism into their efforts, but Kong: Skull Island understands what a story like this really needs: A whole lot of scenes of a giant ape destroying things. The pacing is appropriately speedy, the visuals slick and exhilarating, and most importantly, it’s fun. The film is a proud B-movie that just so happens to have a nine-figure budget and the hopes of a franchise riding on its wide, hairy shoulders. The humans like Larson barely register compared to Kong himself, but that’s kind of the point. You don’t come to a film like this for subtle human drama: You’re here for the old-school spectacle and Skull Island delivers what the people demand.

#12 Captain Marvel

The hype of Captain Marvel as the pioneering leading heroine of the MCU after a long decade of waiting felt more impactful on pop culture history than the film itself. As with every other film in this vast and influential franchise, Captain Marvel is beholden to a tried-and-tested formula, which it remains extremely loyal to. That leaves the audience with little in the way of surprises but it’s still a movie that accomplishes what it sets out to do. Larson is a spot-on Carol Danvers and she particularly comes to life when she gets to bounce off Samuel L. Jackson, with whom she shares electric BFF chemistry. Here’s hoping that Captain Marvel 2 can come off the rails for a while.

#11 Greenberg

Director Noah Baumbach teamed up with his now ex-wife Jennifer Jason Leigh for 2010’s Greenberg, a comedy-drama about a New Yorker experiencing a minor mid-life crisis who moves to Los Angeles to figure out his future, all while falling for his brother’s assistant, played by Greta Gerwig. This is the sort of story that Baumbach can make in his sleep; a sharp-edged drama with comedic elements about a neurotic New Yorker beaten down by the peculiarities of everyday American life. While it’s not a patch on, say, Marriage Story or The Squid and the Whale, Greenberg still gives Ben Affleck one of the best roles of his career.

#10 Free Fire

Ben Wheatley’s Free Fire takes the giant shoot-out scene that would constitute a typical action film’s third act and extends it to 90 minutes. Styled like a grimy 1970s thriller, complete with turtlenecks and teased-out hair, Free Fire revels in its own chaos. It’s not the director’s best work but as his first true stab at the mainstream, it’s a rollicking good time that lets Larson and fellow cast members like Cillian Murphy and Armie Hammer have an absolute blast. It’s utterly over-the-top and mercilessly bleak in its humor, and a great sign as to how well Larson could hold her own as the lone woman in the boys’ room.

#9 Avengers: Endgame

What is there left to say about Avengers: Endgame that hasn’t already been said? The most financially successful film of all time has forever sealed its place in cinematic history thanks to the gargantuan achievements of Marvel Studios and over a decade of build-up that made this climax oh-so-satisfying for millions of fans. It’s tough to judge Endgame as a mere movie within this tangled context and it certainly does not work as a standalone title (it was never intended to.) Instead, it is the ultimate clash of effects, iconography, and fandom fervor, of which Larson is a new but highly welcome addition.

#8 Trainwreck

Amy Schumer remains a divisive figure in comedy, but for a brief period, she was huge and Judd Apatow helped her to capitalize on that industry clout with Trainwreck. The comedian and director prove a solid fit for this raunchy comedy that wears its romantic intentions proudly on its sleeve. While Schumer does water down her more prickly edges for a mainstream audience, there’s a lot to enjoy in this story of a self-destructive woman who doesn’t seem to believe she’s worthy of much beyond derision. The film is at its weakest when Apatow lets his impro run long in tedious scenes that may have been fun to film but aren’t worth much after the edit. Released the same year as Room, it’s refreshing to see Larson as the straight woman to Schumer, providing the heart and reason to this tale.

#7 Digging for Fire

Joe Swanberg became a key figure in the so-called mumblecore movement of 2000s indie cinema, but 2015’s Digging for Fire sees him on more polished ground aesthetically, even if the narrative feels like a strong continuation of his prior work. The relationship drama between Rosemarie DeWitt and Jake Johnson unfolds to the backdrop of an eerie mystery involving a gun and a bone that they find in their backyard. As Johnson and his friends, including Sam Rockwell and Larson, join in on the dig for more evidence, relationship secrets begin to spill out. Despite its short 85-minute running time, there’s a lot packed into Digging for Fire, including some fascinating noir-esque elements and an unexpectedly hilarious supporting performance from Orlando Bloom. The film thankfully avoids most of the man-child mid-life crisis clichés and instead focuses on the abrasive realities of holding together a relationship through the mundane steps of aging.

#6 Just Mercy

Larson reunited with Destin Daniel Cretton for the third time in this biographical drama that sadly never got the attention it fully deserved in 2019. Based on his memoir, the story follows Bryan Stevenson, a defense attorney who helped to appeal the murder conviction of Walter McMillan. a man who was wrongly sentenced to death based on wrongful testimony. Larson takes a smaller but key supporting role, which focuses mostly on the stellar career-best performances of Jamie Foxx and Michael B. Jordan. Some critics slighted Just Mercy for its traditional approach to this kind of biographical material but its savviness lies in its carefully controlled directorial vision and a clear-minded agenda focused on justice. A story this important does not need unnecessary additions.

#5 21 Jump Street

Nobody expected the big-screen adaptation of 21 Jump Street to be any good. It seemed like it would be yet another nostalgia-driven reboot that rehashed familiar jokes to diminishing returns. Directors Phil Lord and Chris Miller, as well as screenwriter Michael Bacall, had other ideas. 21 Jump Street is that rare revival that simultaneously loves its source material but has enough healthy distance from it to know exactly which parts to mock, subvert, or outright omit. It’s a fun nostalgia trip while being a hilarious takedown of all those tired tropes that made the original Jump Street series such an easy target for the critics and its own stars. The sequel may be even better.

#4 Scott Pilgrim vs. The World

Edgar Wright’s adaptation of Bryan Lee O’Malley’s graphic novel series was a major flop upon release despite positive reviews, but over the past decade, the movie has finally found its audience. On top of being a sharply executed reimagining of the comics, Scott Pilgrim vs. the World is a fascinating metatextual tale of how pop culture shapes our lives and ideas, especially for the generation stuck in-between Gen X and millennial unease. A.O. Scott of The New York Times called it “the best video game movie ever made” and, semantics aside, he’s not wrong. Wright’s wielding of cinematic, comic book, and gaming aesthetics into a dynamic and cohesive whole has never truly gotten the credit it deserves. Among its endlessly kinetic set-pieces are a host of scene-stealing performances, of which Larson is one. In the current age of superhero cinema where comic book movies are a dime a dozen, Scott Pilgrim vs. the World still stands out as one of the genre’s best.

#3 The Spectacular Now

One of many indie movies that signaled the arrival of a new generation of actors, The Spectacular Now saw Larson take a supporting role alongside Shailene Woodley and Miles Teller as all three were on the cusp of major stardom. The coming-of-age drama feels very much cut from the same cloth as stories like Say Anything and The Perks of Being a Wallflower in that it is a sincere tale of the perils of adolescence that is mercifully bereft of condescension. The story may tread some familiar territory but there’s a real rawness to this film that feels simultaneously timeless and precisely of-the-moment. Larson shines even though the film fully belongs to Teller and Woodley, and the young trio more than hold their own against familiar faces like Bob Odenkirk and Jennifer Jason Leigh. In the current age of teen movies, The Spectacular Now deserves to be up there with the likes of Booksmart and Edge of Seventeen.

#2 Room

Inspired by the true story of Elisabeth Fritzl, Emma Donoghue’s novel Room became a publishing phenomenon in 2010. The film adaptation did the near-impossible in accurately conveying the novel’s painful claustrophobia and that central tension between the story’s horrific set-up and the endearing innocence of its point-of-view, a tale told by a young boy who does not know or understand the darkness of his life. None of this would work without Larson, who wholly deserved her Oscar for this performance as a woman who is simultaneously aged by her trauma and stuck in a state of arrested development thanks to her years of isolation. What shines through is Larson’s restraints. Given the material, her performance so easily could have been an endless array of screaming and showy monologues, the likes of which make for perfect Oscar clips. Larson, however, keeps so much of her rage and confusion bottled up while still fully expressing the turmoil of trying to maintain a happy face for her young son. Her chemistry with young Jacob Tremblay, who plays her son, is deftly emotional and tender in a way that keenly avoids cloying sentimentality. Room is not an easy film to recommend for obvious reasons but watching Larson and Trembley united in their darkness, it’s also impossible to look away from.

#1 Short Term 12

Looking back on Short Term 12, the drama feels practically prescient about the future of Hollywood. Not only did it bring Larson to the critical masses but it introduced many to the likes of Lakeith Stanfield, Kaitlyn Dever, and Rami Malek. A whole generation of top acting talents united for this astounding and heart-wrenching drama and it paid off to become not only Larson’s best movie but easily one of the best in all of those actors’ filmographies. Larson plays the supervisor of a group home for troubled teens trying desperately to manage her own life while ensuring the safety and security of the vulnerable adolescents left in her care, all but abandoned by the system. Director Destin Daniel Cretton brings a remarkably lived-in quality to Short Term 12, making this cramped space and its inhabitants feel wholly part of this world in a way that is warm but sharply unsentimental. There are moments that feel so multi-layered in their authenticity that it’s almost as if the handheld cameras just swooped in on someone else’s life without direction or meddling of any kind. It’s a movie that somehow manages to leave you emotionally wrung out while offering real hope and never sacrificing the truth of each emotion.

Link Source : https://screenrant.com/brie-larson-movies-ranked-worst-best/

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