Jodie Comer’s 10 Best Movies & TV Shows, Ranked

English actor Jodie Comer has been working on-screen since 2008, accruing a growing number of major television and film projects over the years. By 2018, Comer had expanded beyond working in British productions, appearing in everything from prestige American television to blockbuster action movies. Throughout her career, Comer has worked with some of the biggest filmmakers in Hollywood, including Ridley Scott, Shawn Levy, and J.J. Abrams. This impressive filmography has earned Comer plenty of accolades for her work, including winning multiple BAFTAs, an Emmy, and being nominated for scores of other major acting awards.

Simply put, Jodie Comer’s profile is one of the fastest growing and steadily acclaimed in the entertainment industry and showing no signs of slowing down. With that in mind, there are several movies and television shows Comer has appeared in that are standouts across her entire body of work. Here are Jodie Comer’s ten best movies and TV shows ranked.

One of the lightest projects Comer has appeared in, in terms of tone, is the aggressively optimistic pop song of an action comedy, “Free Guy,” directed and produced by Shawn Levy. A subversion of online gaming and the video game industry at large, “Free Guy” is primarily set within a popular online game where players run amuck in an open city. Ryan Reynolds plays Guy, a seemingly innocuous NPC who develops a degree of sentience and self-awareness that he’s actually a video game character. Comer plays Millie Rusk, an active player in the game who learns about Guy’s burgeoning sentience and corporate malfeasance of the company behind the game.

Compared to Reynolds and Taika Waititi’s rather manic performances, Comer and co-star Joe Keery offer a more even-keeled approach to “Free Guy” that helps ground the movie. This doesn’t mean Comer plays a humorous part, but she gets to actively participate in some of the movie’s deliberately over-the-top action sequences. In “Free Guy,” Comer essentially plays two roles, her human character Millie and her high-octane character within the game, MolotovGirl. Silly and full of digital spectacle, “Free Guy” is lightweight fun and Comer more than keeps up with her comedic veteran co-stars.

One of Comer’s earliest prominent roles was as a series regular in the coming-of-age dramedy series “My Mad Fat Diary.” Taking place in East England in the ’90s, the series follows teenager Rae Earl (Sharon Rooney), who suffers from mental health issues fueled by the self-perception of her physical appearance. Running for three seasons, the show has Rae reconnecting with her best friend Chloe Gemell (Comer), who has since become one of the most popular girls in school. As the two classmates bond, Rae tries to conceal the extent of her personal struggles from her peers to keep appearances and avoid derailing her friendships.

“My Mad Fat Diary” really is, and appropriately, Rooney’s showcase, deftly alternating between vulnerability and comedy. That said, Comer absolutely complements Rooney’s performance seamlessly, rather than just playing a shallow, one-note popular girl archetype. Frank and earnest in its portrayal of young mental health and societal expectations regarding body type, “My Mad Fat Diary” is solidly executed. It was this British show where Comer’s talents really began to take shape and expand in exciting ways.

As far as ensemble casts go, one of the most impressive in recent years headlines 2024’s “The Bikeriders,” written and directed by Jeff Nichols. Set throughout the ’60s and ’70s, the film follows a group of young motorcyclists who form the Chicago-based Vandals Motorcycle Club, with its members inspired after watching motorcycle movies. As the club expands by opening new chapters nationwide, Kathy Bauer (Comer) marries the Vandals’ key figure Benny Cross (Austin Butler) after a whirlwind romance. As the club grows and faces changes spurred by the Vietnam War and rising illegal drug use, its core members find themselves paying a steep price for their lifestyle.

“The Bikeriders” offers a postmodern look at the motorcycle club movies that inspired it and its characters, including the grim realities as its romanticism eventually fades. Comer offers an outsider perspective to the inner workings of the Vandals, especially as its activities grow more unpredictably violent and criminal. Where Comer really shines is in sequences set in 1975, providing an interview recalling her painful past association with the Vandals. This revisited trauma through the lens of retrospection offers Comer a unique acting approach that she takes full advantage of, not to mention providing an impeccable, very specific Midwestern accent. 

Author D.H. Lawrence’s classic 1928 novel “Lady Chatterley’s Lover” was adapted by BBC in 2015 as a television film of the same name. Taking place shortly after World War I, English noblewoman Constance Chatterley (Holliday Grainger) finds herself unfulfilled when her husband Clifford (James Norton) is rendered impotent from his combat injuries. Constance turns to her estate’s gamekeeper Oliver Mellors (Richard Madden) for comfort and illicit companionship. Rounding out the dangerous liaisons is Ivy Bolton (Comer), a local widow who grows close to Clifford as Constance distances herself from her husband.

With the literary story condensed into a 90-minute TV movie, “Lady Chatterley’s Lover” feels like a more sexually frank tread on “Downton Abbey” and its refined characters. The adaptation really leans into the class divide aspect of the story, particularly between Constance and Oliver, as they navigate the forbidden morays of their relationship on multiple levels. Norton is the real standout of the cast, depicting the solitary anguish that Clifford finds himself in. Comer complements this well, joining Norton in playing two lonely and hurt characters that find solace from the constant longing in each other’s company.

Less than a year after the release of the Academy Award-winning true story “Room,” the 2016 British television miniseries “Thirteen” explored a similar premise albeit in vastly different directions. The story is about a 26-year-old woman, Ivy Moxam (Comer), who escapes captivity from a basement where she was confined for 13 years. As Ivy struggles to reacclimatize to the life and family robbed from her for half her life, her kidnaper remains on the loose. This leaves Ivy in mortal danger as her abductor’s twisted plans for her have only intensified since she escaped.

“Thirteen” is both a searing family drama and tense crime thriller, with the suspense mounting considerably as the miniseries progresses. Comer is absolutely magnetic in her heartbreaking performance as Ivy, trying to make sense of a world she was forcibly separated from for over a decade. “Thirteen” covers some incredibly mature and dark subject matter, which Comer and her co-stars handle expertly. Tautly paced and engaging despite its bleak tone, “Thirteen” is a gripping miniseries strongly led by Comer.

One of the best Ridley Scott films in the past several years, and one of the best films of 2021, is the historical drama “The Last Duel.” Set in 14th century France, Jean de Carrouges (Matt Damon) learns his wife Marguerite (Comer) was assaulted by Jacques le Gris (Adam Driver) while he was at war in Scotland. To reclaim his and his wife’s honor, Jean challenges Jacques to a duel to the death, with King Charles VI (Alex Lawther) granting his permission for the duel to proceed. Leading up to the duel, alternate perspectives on the incident between Marguerite and Jacques contradict each other and raise questions about what truly transpired.

A medieval European twist on the classic Japanese film “Rashomon,” “The Last Duel” is tightly crafted and magnificently performed. Comer takes what could’ve been a largely passive role as Marguerite and makes it the enormously compelling centerpiece of the movie. Given its story, “The Last Duel” is brutal and uncompromising, but more engrossing as its plot advances. Though the movie struggled to find an audience in its theatrical release, “The Last Duel” is a late career masterpiece from Scott.

British playwright and screenwriter Mike Bartlett created the popular psychological thriller “Doctor Foster” in 2015, which ran for two seasons. The show has physician Gemma Foster (Suranne Jones) suspect her husband Simon (Bertie Carvel) of having an extramarital affair. These suspicions are confirmed when Gemma learns Simon’s lover is Kate Parks (Comer), a young university student who has been involved with Simon for two years. After successfully confronting Simon and Kate in the first season, the second season has a conniving Simon out to regain custody of his and Gemma’s son Tom (Tom Taylor).

Playing the other woman in any story revolving around extramarital affairs can be a thankless role, but Comer certainly makes the most of it. She finds interesting depths and directions to play Kate, especially in the second season, making her character much more sympathetic than she initially appeared. Initially starting as a melodrama, “Doctor Foster” effectively transitions into a full-blown thriller as the feud between Gemma and Simon escalates. Throughout this, the grounded and emotional performances, including from Comer, keep the proceedings from growing too ridiculous.

The sequel to the 2013 miniseries “The White Queen,” which also starred Comer, 2017’s “The White Princess” continues the historical saga of Queen Elizabeth of York. After the successful marriage of Elizabeth (Comer) and King Henry VII (Jacob Collins-Levy), the War of the Roses dividing England has come to an end. However, while the Houses of York and Lancaster are at peace, this harmony is still fragile and rooted in immense distrust. This intrigue carries over to Elizabeth and Henry’s own families, with internal jealousies and conspiracies that threaten to overturn this marriage and armistice.

“The White Princess” is an all-around improvement over “The White Queen,” with Comer and Collins-Levy having noticeably grown further into their respective roles. Comer maintains and deepens her on-screen rapport with Collins-Levy, while the new characters add more layers to the period-piece intrigue. Plenty of British historical dramas have a stuffy and pretentious air to them but “The White Princess” sidesteps this with an approach that’s equal measures engaging and accessible. Leading an impressive ensemble cast, Comer continues to elevate the material to new heights as she depicts the life and times of Elizabeth of York.

A timely encapsulation of how the world was changed by the COVID-19 pandemic, 2021’s “Help” transcends being a depiction of recent history to become its own gripping drama. Comer stars as Sarah, a healthcare assistant at a care home in Liverpool providing support for Tony (Stephen Graham), a man suffering from early onset Alzheimer’s Disease. When COVID spreads into the United Kingdom, the government’s shifting priorities leave the care home lacking the supplies it needs to function during the pandemic. Running out of options, Sarah decides to break the law and bring Tony to her family to provide the vital care that he needs.

“Help” earned Comer her second BAFTA and rave reviews worldwide for her performance as Sarah in the British television movie. Initially planned to be a commentary about the government’s neglect of care homes, “Help” pivoted to incorporate the COVID-19 plot to further highlight these themes. Comer and Graham play off each other masterfully, especially with the lengths Sarah has to go to care for Tony. “Help” could’ve been an overly preachy movie, but grounded by Comer’s performance, the movie is a heartbreaking window into a cataclysmic moment in recent history.

As far as star-making performances go, Comer set the world on fire and gained international recognition for her work on “Killing Eve.” The BBC series has British intelligence operative Eve Polastri (Sandra Oh) tasked with stopping international assassin Villanelle (Comer). In a twist worthy of Hannibal Lecter, Villanelle develops an unhealthy obsession with Eve as they play cat-and-mouse with each other. Over the course of the four-season series, the two women learn how to work with each other as they grow closer in the deadly world of cloak-and-dagger assassination. This culminates in Eve and Villanelle joining forces to take down The Twelve, a clandestine organization that employed Villanelle to carry out its killings for years.

Sandra Oh and Jodie Comer are absolutely magical as scene partners and whenever their characters are together, “Killing Eve” fires on all cylinders. While offering its own unique take on the spy genre, “Killing Eve” masterfully weaves between tones, veering from dark humor to intense action in a flash. Comer earned a BAFTA and an Emmy for her performance in the series, also earning a Golden Globe nomination for her work. A subversive take on the genre and patriarchal expectation, particularly in the intelligence community, “Killing Eve” rightfully took Comer’s career into the stratosphere.