All 10 Best Erin Moriarty Movies Ranked (Best to Worst)

Matt Ross crafts an intellectually provocative fable about an off-grid family confronting the realities of modern America. Viggo Mortensen anchors the piece with tender fanaticism, supported by lush Pacific Northwest cinematography and a script that questions the emotional cost of ideological purity. Moriarty shines brightly as Claire, the suburban teenager who stumbles into Bodevan’s socially uncalibrated courtship at an RV park. In just a handful of scenes, her naturalistic reaction work turns an otherwise comedic encounter into an achingly sweet portrait of adolescent awakening, securing her place in one of the decade's finest American indies.

Jordan Vogt-Roberts captures the chaotic, sun-drenched poetry of male adolescence with rare visual flair and offbeat humor. Escaping suffocating domestic lives, three boys construct a makeshift sanctuary in the Ohio wilderness, testing their naive manifesto of self-reliance against their own emotional frailty. Stepping into the pivotal role of Kelly, Moriarty avoids standard manic-pixie tropes to play a genuine, grounded catalyst for the group's brewing jealousy. Her calm, effortless charisma exposes the cracks in the boys' fragile paradise, establishing her as an instinctive young screen talent capable of stealing scenes through pure subtlety.

Jean-François Richet delivers a lean, sweat-soaked slab of neo-noir driven by diesel fumes, desert dust, and close-quarters shotgun fire. Mel Gibson turns in a ferocious, gravel-voiced performance as an ex-convict tattoo artist violently defending his estranged runaway daughter across the Californian borderlands. Matching Gibson's feral intensity requires real backbone, and Moriarty delivers as Lydia, a traumatized young woman caught in the crosshairs of a ruthless cartel. She portrays panic, substance abuse, and stubborn survival instincts without slipping into mere damsel clichés, proving her dramatic mettle in heavy, unforgiving genre territory.

Ken Scott directs an effervescent, globetrotting comedy-drama steeped in magical realism and social consciousness. Following an impoverished Indian street magician played with boundless charm by Dhanush, the narrative hops across European capitals through whimsical happenstance, IKEA wardrobes, and migrant struggles. Moriarty provides the film's romantic anchor as Marie Rivière, an American expat in Paris who unwittingly sparks the protagonist’s wide-eyed quest. Her bright comedic timing and effortless chemistry with Dhanush ground the film's eccentric whimsy in genuine human warmth, demonstrating an airy romantic-comedy lightness that contrasts sharply with her grittier work.

Sean McNamara’s sports biopic trades cynical genre subversion for unvarnished, tear-stained communal catharsis. Based on the real-life 2011 Iowa City West High School volleyball team rallying after the sudden death of their talismanic captain, the film leans into earnest melodrama and energetic court choreography. Taking center stage as Kelley Fliehler, Moriarty shoulders the dramatic core as a grief-stricken teenager thrust into an impossible leadership role. Her performance carries palpable sorrow and defiant determination, lifting familiar underdog sports tropes into a sincere study of collective grief and adolescent resilience.

Jordan Vogt-Roberts trades indie intimacy for sensory overload, staging a Vietnam-era monster spectacle thick with napalm, classic rock needle drops, and thundering kaiju carnage. The film treats its titular ape with mythic scale, delivering some of modern blockbuster cinema’s most punchy visual compositions and kinetic creature clashes. Moriarty makes a brief uncredited appearance as a bar patron in the opening sequence, re-teaming with her Kings of Summer director for a playful cameo. While it functions strictly as a background easter egg rather than a character showcase, it remains a notable blockbuster title on her filmography.

Nick Hamm’s slick, late-1970s crime comedy examines the bizarre collision between FBI informant Jim Hoffman and visionary automotive rebel John DeLorean. Anchored by Jason Sudeikis and Lee Pace, the picture unfurls as a cynical chronicle of ambition, luxury, and disastrous undercover stings. In the role of Katie Connors, Moriarty infuses the boys' club narrative with sharp wit and domestic grounding. Even with limited screen real estate amid the swirling vanity of its male antiheroes, she establishes a vivid presence that punches clean through the glossy period veneer with sharp comedic timing.

John Huddles constructs an intriguing philosophical chamber piece set against an apocalyptic classroom simulation in Jakarta. As twenty senior students debate who merits shelter from nuclear fallout based purely on vocational utility, the narrative morphs into an ambitious dissection of human ethics and survival instinct. Moriarty plays Vivian, bringing sharp intellectual skepticism to an ensemble cast navigating hypothetical moral dilemmas. While the script’s conceptual weight occasionally overpowers individual character development, she injects grounded humanity and expressive disbelief into otherwise sterile theoretical scenarios, standing out among a crowded international cast.

Akiva Schaffer’s suburban alien-invasion farce relies heavily on the improvisational friction between Ben Stiller, Vince Vaughn, Jonah Hill, and Richard Ayoade. The jokes ricochet between crude neighborhood banter, suburban boredom, and pulpy sci-fi violence, yielding sporadic laughs amidst an uneven tonal blend. In her early feature debut, Moriarty appears as Chelsea, the rebellious teenage daughter of Vaughn’s overprotective dad. While it remains an uncomplicated stepping-stone assignment overshadowed by veteran comics riffing at full volume, her exasperated reactions demonstrate an instinctive comedic rhythm that early on teased her eventual screen versatility.

A high-gloss promotional broadcast disguised as a live music celebration, this televised showcase features powerhouse stadium performances from Taylor Swift, Dua Lipa, SZA, and Becky G. Director Chris Howe keeps the cameras gliding through stadium-sized pyrotechnics and razor-sharp pop choreography designed to celebrate Amazon's corporate calendar. Moriarty appears briefly in interstitial promotional segments alongside network talent rather than in any traditional narrative acting capacity. It remains an odd, commercialized curio on her resume—pure promotional synergy rather than a real creative showcase, firmly marking the bottom tier of her cinematic catalogue.