Every Olivia Cooke Movie, Ranked Worst To Best

The spotlight's shining brightly on Olivia Cooke these days — largely due to her quietly powerful role as Alicent Hightower in HBO's "House of the Dragon."(Of course, the viral video in which she and co-star Emma D'arcy trade cocktail preferences certainly helped to sway the public.) But for those who have been paying attention, Cooke has consistently demonstrated an eclectic taste for projects and a scene-stealing presence right from the get-go.

The Oldham-born actress, whose natural British accent isn't often used on-screen, has starred in an impressive amount of television and film projects since her feature film debut in 2012's "The Quiet Ones." It's no wonder she's caught the attention of directors like Steven Spielberg, given her prowess and range across theatre, television, live-action, and animated film. 

Cooke holds her own against cinematic heavyweights like Bill Nighy and Anya Taylor-Joy. Even in the most unfortunate cinematic misfires, she delivers memorable performances. From the blunders to the wonders, we're evaluating every feature film starring Olivia Cooke.

We hate to say it, but one of Olivia Cooke's most memorable performances is in a film that didn't deserve the effort. "Katie Says Goodbye," the 2016 directorial debut of Wayne Roberts, could have been a challenging and thoughtful indie drama. But it's a frustratingly empty and cruel experience, squandering its talented cast.

Cooke stars as Katie, a 17-year-old who can't wait to put her small-town life in the rear-view mirror. Working part-time shifts at the local diner and sex work on the side, she financially supports her wayward mother while trying to save up to move to San Francisco. When ex-convict Bruno (Christopher Abbott) arrives in town, Katie believes she may have found a partner to join her dreams of big city life — but fate has other plans.

On paper, it's a promising premise. But how Roberts' story plays out — scene after scene of Katie being treated with betrayal and abuse by just about everybody she knows — fails to amount to anything emotionally or narratively meaningful. One-dimensional characters, a sequence of sexual assault bafflingly shot as a single take, and an uninspiring conclusion make "Katie Says Goodbye" a forgettable (and, at worst, insulting) film.

If you or anyone you know has been a victim of sexual assault, help is available. Visit the Rape, Abuse & Incest National Network website or contact RAINN's National Helpline at 1-800-656-HOPE (4673).

Every once in a while, a new movie boasts such a stacked lineup of actors that it's tempting to think it couldn't drop the ball. But "Life Itself," the 2018 drama-comedy from "This is Us" creator Dan Fogelman, does just that. Featuring a stellar ensemble cast — including Cooke — isn't enough to overcome its heavy doses of melodrama, overbearing narration, and a story that doesn't match the script's philosophical musings.

Broken into chapters, "Life Itself" is a multi-generational tale of two families — one American, the other Spanish — whose destinies become entwined through life's absurdities. Oscar Isaac, Olivia Wilde, Sergio Peris-Mencheta, and Laia Costa do their best to infuse the film with the emotional dynamics a dramedy needs to thrive. But heavy-handed narration stifles any opportunity for subtlety. For all its talk of life being "the ultimate unreliable narrator," the actual events of the story are jarringly unremarkable.

To be fair, there are some fine performances and writing: A simple dialogue between Antonio Banderas and Peris-Mencheta as orchard owner and employee is one of the film's more restrained and compelling sequences. It's just that these pieces don't add up to a satisfying whole. Also, it's a crying shame that Cooke isn't given much screen-time, despite having more than enough charisma to go toe-to-toe with the rest of the cast.

"Ouija," the directorial debut of Stan Winston Studios alum Stiles White, certainly conjured up dollars at the box office: the supernatural horror movie brought in over $103 million on a $5 million budget. While it's a fine popcorn horror movie and led by an early-career Cooke, its story and spooky bag-of-tricks aren't inspired or scary enough to recommend.

After the unexpected and violent death of her childhood friend, Debbie (Shelley Hennig), Laine Morris (Cooke) becomes convinced that supernatural forces were responsible. With the help of her partner and friends, Laine attempts to contact Debbie's spirit via an Ouija board — only to make contact with a malevolent entity. For occult horror, it's a textbook narrative and the typical bangs, crashes, and cliches ensue.

"Ouija" is the kind of generic horror movie you'd see a poster for on the bedroom wall of another movie's protagonist. It's professionally produced but doesn't offer any unique twists and the scares can all be spotted from a mile away. Not every movie needs to break the mold, but we wouldn't blame you for skipping it and heading straight to Mike Flanagan's superior prequel.

There's something uniquely wonderful about a movie that ends up being enjoyable for reasons likely unintended by the filmmakers. While we can't in good conscience rank 2014's "The Signal" amongst Cooke's better movies — especially considering she's not given much to do in it — its descent into goofy territory is entertaining.

In this sci-fi thriller from "Underwater" director William Eubank, a college couple (Brenton Thwaites, Olivia Cooke) and their best friend (Beau Knapp) embark on an ill-fated road trip, resulting in the trio becoming quarantined in the depths of a mysterious government facility overseen by Dr. Wallace Damon (Laurence Fishburne). While it initially plays out like an episode of "The X-Files" or even "The Twilight Zone," the film eventually abandons atmosphere and tension for SFX spectacle and some very silly twists.

"The Signal" shoots itself in the foot by significantly undercooking its characters and themes of transhumanism in favor of bombastic action and trying to keep one step ahead of the audience. Still, it scores points for going off the deep end in a way that's ultimately endearing.

"Pixie" is a fine example of Cooke carrying a movie. This 2020 black comedy crime thriller doesn't quite have the chops to capture the magic of the films it's gleefully inspired by, but Cooke's charming performance as Pixie O'Brien saves it from crumbling under the weight of its ambition.

Pixie is the much-desired stepdaughter of Irish mobster Dermot (Colm Meaney), who ropes her guileless suitors into helping her pull off a massive drug heist to fund a new life in San Francisco. When the plan goes awry, Pixie is stuck on the run with bumbling accomplices, resulting in a violent and eccentric road trip that evokes the likes of "Jackie Brown" and "In Bruges." 

It's not quite clever or funny enough to step out from under the shadow of pastiche, but it's rarely boring. There are gun-wielding priests, awkward sexual encounters, and gorgeous Irish sceneries along the way. Plus, there are cameos ranging from the regionally familiar (Dylan Moran) to Alec Baldwin. 

Parapsychology seeks to understand supernatural phenomena through scientific study, making its offerings ripe material for horror. 2014's "The Quiet Ones," which was released under the famed Hammer banner, loosely adapts one of the field's most notorious cases: 1972's Philip experiment. Although the film's intrigue becomes spoiled by the decision to retread familiar genre beats, "The Quiet Ones" still offers strong performances and some interesting modern spins on the old-school territory.

The ever-excellent Jared Harris ("The Terror," "Chernobyl") stars as Prof. Joseph Coupland, who gathers a team of students to debunk the existence of the supernatural through morally dubious experimentation. The subject of the team's study is Jane Harper (Olivia Cooke), a young woman suffering from mental illness. Coupland aims to 'cure' Jane by keeping her in captivity and provoking her negative energies. As you likely imagine, that provocation works far better than intended, making the experiment dangerous for all.

Scare-wise, there's not a lot here horror fans have seen before. But it's elevated by intense and convincing lead performances by Harris and Cooke. Also, there is an ambitious usage of found footage, which doesn't break the mold but is admirable. "The Quiet Ones" would be more memorable if it went in less predictable directions, but it's still worth viewing once.

If you or someone you know needs help with mental health, please contact the Crisis Text Line by texting HOME to 741741, call the National Alliance on Mental Illness helpline at 1-800-950-NAMI (6264), or visit the National Institute of Mental Health website.

While Pixar, Dreamworks, and Illumination hold the reins of the animated box office, they're by no means the only studios producing quality entertainment for younger audiences. "Fireheart," the second feature film from Canada's L'Atelier Animation, isn't quite as memorable or technically impressive as some of the medium's heavy hitters. Still, it's a lively and entertaining animated adventure featuring Cook.

In "Fireheart," Cooke stars as Georgia, a sixteen-year-old girl in New York circa 1932. Although she yearns to follow her father's (Kenneth Branagh) footsteps and become a heroic firefighter, her dreams are cut short by rules that ban women from joining the profession. But when firefighters across the city begin disappearing en masse under strange circumstances, Georgia disguises herself as a young man to covertly help her father and the mayor (William Shatner) save the city.

Surprisingly, the film is less straightforward than the premise suggests — ultimately playing out more like a feature-length "Scooby-Doo" episode in ways that adult audiences will find more appealing than the average animated flick. Combine that with a game voice cast, and you've got an enjoyable afternoon break from the likes of Disney+ animation stylings.

If you're a sucker for period pieces, mystery, and Cooke, 2016's "The Limehouse Golem" is an entertaining and gruesome addition to your must-watch list. Adapted from Peter Akroyd's novel "Dan Leno and the Limehouse Golem" by screenwriter Jane Goldman, the film follows police inspector John Kildare (Bill Nighy) attempting to catch a vicious serial killer in Victorian London.

Cooke appropriately steals the show as Elizabeth Cree, a beloved stage performer who faces execution by hanging for the alleged poisoning of her husband. Believing she's innocent and there's a connection between her late husband and the recent murders, Kildare must navigate the seedy underbelly of London to save Cree and bring the eponymous Golem to justice.

While its momentum as a thriller suffers from narrative shifts between Cree's life story and the investigation of the present, "The Limehouse Golem" is still a moody, atmospheric mystery tale with a talented cast and a theatrical spirit from start to finish.

Adapted from Sergio De La Pava's dense novel, "Naked Singularity" is rather quiet for a film with high-profile leads. On one hand, 93 minutes is certainly not enough time to fully explore a 600+ page novel's intricacies beyond surface-level aspects. On the other, what we do get is an enjoyably off-beat and frenetic crime thriller — even if it does feel like a Thomas Pynchon knockoff.

John Boyega stars as Casi, a struggling public defender whose career dangles on the edge of America's soul-crushing justice system. When his colleague Dane (Bill Skarsgård) requests his help with client Leah (Olivia Cooke), Casi becomes reluctantly involved in the hijacking of a dangerous (and highly profitable) drug deal that could change the trajectory of his life forever.

There are attempts at approaching the novel's loftier themes and style around the edges of its heist narrative, particularly in the form of Casi's tripped-out neighbor, Angus (Tim Blake Nelson). However, these elements feel disconnected from the bulk of the film. Nonetheless, "Naked Singularity" is a fast-moving and well-acted flick that's worth an afternoon watch — even if just to enjoy Cooke doing a glorious interpolation of Adriana La Cerva from "The Sopranos."

Between the 2011 release of Ernest Cline's original novel and its 2018 blockbuster film adaptation by Steven Spielberg, there's a lifetime worth if discourse on "Ready Player One" and its relationship to (and within) modern pop culture. "Ready Player One" is certainly not without its issues — T.J. Miller's insufferable character i-R0k, we're looking at you — but as a sci-fi action romp helmed by one of Hollywood's best directors, it's pretty darn fun.

In the year 2045, life on Earth has become so miserable that much of humanity seek escapism in the highly advanced and immersive V.R. worlds of OASIS, created by James Halliday (Mark Rylance) and Ogden Morrow (Simon Pegg). Upon Halliday's death, ownership of the OASIS becomes up for grabs through an elaborate in-game hunt for three keys. This quest leads teenage orphan Wade Watts (Tye Sheridan) to team up with his best friend, Aech (Lena Waithe), and his crush Art3mis. (Olivia Cooke), to beat a villainous mega-corporation to the prize.

Your mileage may vary on how engaging the story is: Teenage boys are clearly the primary target audience, and it's light on anything beyond virtual McGuffins. But for better or worse, it's a well-realized vision of its source material. Bolstered by (literally and figuratively) animated performances by Sheridan and Cooke, Spielberg commits to its gimmick with sincerity and mostly pulls it off. A guilty pleasure? Maybe, but that's still a pleasure!

For writers and directors, finding the sweet spot between treacly melodrama and blunt realism is easier said than done — especially in stories dealing with young adults. But 2015's "Me and Earl and the Dying Girl" excels at the task, thanks to a committed cast, sharp (but not obnoxious) writing, and Alfonso Gomez-Rejon's reliably creative direction.

Based on Jesse Andrews from his award-winning book, the film stars Thomas Mann, RJ Cyler, and Olivia Cooke as an unlikely trio of high-school friends navigating the painful complexities of death. Greg (Mann) and Earl (Cyler) get their kicks producing Z-grade parodies of famous films, a dynamic that endears the pair to Rachel (Cooke) after she is diagnosed with leukemia. As the bond between the three grows closer, Andrews and Gomez-Rejon explore the eccentricities of teenage friendship and the inevitable hardships of grief with equal measures of charm and insight.

However, Gomez-Rejon's stylized direction will not work for everybody. But it's hard to argue with the superb performances from its young cast and how well the visions of the writer and director come together in this funny, heart-breaking reflection on friendship and its value in the brightest and darkest of times.

It's such a tragedy when a great movie has the misfortune of coming out at the wrong time. That's the case with "Little Fish," a heart-breaking sci-fi drama from 2021 starring Cooke and Jack O'Connell. Despite being released at a turbulent time in modern history when films about viruses were not exactly in high demand, "Little Fish" is well worth seeking out.

In this feature film adaptation of Aja Gabel's 2011 short story, Cooke and O'Connell star as a young couple who find their world turned upside down when a virus breaks out that induces devastating memory loss. Rather than treating the premise as a springboard for doomsday thrills or ludicrous twists, "Little Fish" is a grounded and emotionally intelligent exploration of the painful complexities of love and loss.

While it gives glimpses of the outwardly catastrophic effects of the pandemic — like when a passenger flight pilot spontaneously forgets how to fly — director Chad Harriman and writer Mattson Tomlin wisely push these elements to the outskirts, allowing Cooke and O'Connell to convincingly and beautifully depict the double-edged sword of being in love at the end of the world.

Seeing Darius Marder's second directorial feature film "Sound of Metal" earn six Oscar nominations (of which it won two) wasn't much of a surprise. Across the board, the 2019 drama is a gripping, excellently-crafted drama with career-best performances from Cooke and Riz Ahmed.

Ruben (Ahmed) and Lou (Cooke) make their living performing in a metal band that plays at one volume: loud. When Ruben experiences issues with his hearing and consults a doctor, the couple learns that he faces permanent hearing loss if he continues his rockstar lifestyle. The revelation and its implications drive a wedge between Ruben, Lou, his art, and the world as he knows it.

Avoiding the predictable and sugary-sweet routes many 'inspiration porn' films dealing with disabilities often take, "Sound of Metal" is a nuanced and superbly directed glimpse of the complex and clashing perspectives of the Deaf community. There are no simple answers or decisions to be made in Ruben's circumstances. Thanks to an engaging script and top-notch performances including Paul Raci as Joe, Marder's film is one to remember.

Of all the films in this ranking, there's one we can confidently claim is the best and the most slept-on movie: Cory Finley's "Thoroughbreds." From Erik Friedlander's haunting, gasping score, to Finley's confident direction, and the acting trifecta of Cooke, Anya Taylor-Joy, and the late Anton Yelchin, this is a stunning achievement for a directorial debut. It deserves much more recognition than it received on release.

Despite their childhood friendship, Amanda (Cooke) and Lily (Taylor-Joy) have drifted apart. Following the death of Amanda's father, the duo tentatively reconnect as teenagers and conspire to murder Amanda's unpleasant stepfather in a messy and odd conspiracy involving local drop-kick Tim (Anton Yelchin, in his final on-screen role).

"Thoroughbreds" pulls off a delicate balance between comedy and tragedy that few directors can pull off. This is in no small part to Finley's tight script and a cast who saw eye-to-eye with his vision. It's a massive shame that audiences didn't flock to this film when in 2017. If you're a fan of Cooke, Taylor-Joy, or uniquely dark movies in general, do yourself a favor and seek it out.