All 10 Best Lili Reinhart Movies Ranked (Best to Worst)

Lorene Scafaria directs Hustlers with relentless energy, framing the 2008 financial crash through the neon-drenched lens of savvy dancers reclaiming power from Wall Street. The film crackles with kinetic editing, intoxicating visual swagger, and an acute understanding of female solidarity under predatory capitalism. Operating alongside powerhouse leads Jennifer Lopez and Constance Wu, Reinhart shines brilliantly as Annabelle, the naive younger recruit whose nervous gag reflex provides the film with its most memorable comedic beats. It remains her sharpest mainstream outing, demonstrating an intuitive sense of timing that proved she could hold her ground inside a high-octane, critically revered ensemble.

Jordan Vogt-Roberts crafts a sun-dappled, bittersweet ode to teenage rebellion in The Kings of Summer, tracking three adolescent boys who build a makeshift cabin in the woods to escape parental micromanagement. Packed with deadpan wit and lyrical cinematography, the movie captures the absurd, fragile euphoria of youth. Reinhart appears as Grace, a small-town teen whose presence helps ground the boys' feral woodland fantasy within everyday suburban reality. Though her screen time is brief, she brings a calm naturalism to the fold, marking an essential early milestone that foreshadowed her eventual affinity for perceptive, grounded coming-of-age narratives.

Confined to rental sedans and roadside motels, Julia Hart's Miss Stevens observes an emotionally depleted English teacher shepherding three students to a state drama competition. The script thrives on understated observation, giving quiet weight to teenage insecurity and adult despair without resorting to melodrama. Reinhart portrays Margot, an overachieving high schooler whose hyper-organized exterior masks profound adolescent anxieties. Acting opposite Lily Rabe and Timothée Chalamet, she conveys internal pressure with remarkable economy, proving her dramatic chops in an authentic indie framework long before mainstream audiences recognized her dramatic range.

Adapted from Krystal Sutherland's novel, Chemical Hearts refuses to sanitize the messy agony of adolescent grief. Richard Tanne's direction trades glossy romance tropes for muted lighting, tactile production design, and brooding emotional realism. At the center is Grace Town, a transfer student physically and emotionally shattered by survivor's guilt following a fatal car accident. Reinhart, who also served as executive producer, delivers a hauntingly committed performance defined by bruised dignity and defensive prickliness. She strips away Hollywood glamor to capture genuine psychological fracture, cementing this melancholy drama as a key creative turning point in her dramatic evolution.

Wanuri Kahiu borrows the split-narrative blueprint of nineties romantic cinema to examine post-college existential panic in Look Both Ways. Dividing its central protagonist into parallel realities—one navigating unplanned motherhood in Texas, the other pursuing a cutthroat animation career in Los Angeles—the picture maintains an airy, optimistic palette. Reinhart juggles both trajectories with effortless charm, locating emotional continuity across vastly different timelines. Her work here radiates warmth and self-assurance, showing her capacity to shoulder a modern commercial vehicle while steering the project from behind the camera as an executive producer.

Mélanie Laurent directs Galveston with a bleak, rain-soaked ferocity, adapting Nic Pizzolatto's grim pulp novel into a desperate chase narrative across the Texas coast. Ben Foster leads as a terminally ill enforcer on the run from mob retribution, carrying an abandoned young woman in tow. Reinhart enters the picture during the third act as Tiffany, bringing an unsettling blend of wariness and shattered innocence to a bruised southern landscape. While the film struggles under the sheer weight of its unrelenting fatalism, her brief appearance injects a quiet pulse of poignant tragedy into the final stretch.

Kasra Farahani's The Good Neighbor examines surveillance culture through the reckless arrogance of two suburban teenagers who gaslight an elderly neighbor into believing his home is haunted. Structured as a hybrid of found footage and legal post-mortems, the film builds slow-simmering dread around James Caan's taciturn recluse. Reinhart occupies a peripheral supporting role as Ashley, functioning as an oblivious classmate tied to the perpetrators. The film stumbles through uneven pacing and unsympathetic protagonists, leaving her with minimal room to build a layered character before the story reaches its grim, morally bankrupt conclusion.

Elizabeth Banks attempts to inject vibrant feminist camaraderie and global spy intrigue into the 2019 reboot of Charlie's Angels, outfitting Kristen Stewart, Naomi Scott, and Ella Balinska with sleek gadgets and slick hand-to-hand combat. Despite radiant production polish and kinetic action sequences, the narrative frequently bogs down in chaotic exposition and uneven tonal pivots. Reinhart shows up strictly for a brief mid-credits cameo as a newly minted recruit passing her introductory training tests. It functions as a fun pop-culture Easter egg, though it offers nothing substantial for her to sink her teeth into critically.

Conceived as an adaptation of Ali Hazelwood's massively popular STEM-themed romance novel, The Love Hypothesis centers on an awkward biology PhD candidate who strikes a mutually beneficial fake-dating pact with a notoriously abrasive professor. Built around playful academic rivalries, sharp banter, and well-worn romantic comedy formulas, the property carries massive built-in expectations from genre enthusiasts. Stepping into the project as both the central protagonist and an executive producer, Reinhart aims to channel classic screwball energy into an intellectual setting. While yet to prove its lasting legacy among completed works, the material promises an engaging playground for her expressive charm.

Orchestrated during the chaotic initial months of the 2020 pandemic, One World: Together at Home brought together musicians, healthcare workers, and public figures for an unprecedented digital benefit special. Curated in collaboration with Lady Gaga, the program relied on unvarnished webcam feeds and living room acoustics rather than cinematic polish, serving solely as humanitarian public service programming. Reinhart appeared briefly to express gratitude toward frontline workers and promote community relief funds. While socially commendable and historically unique, it remains a telethon artifact rather than an artistic entry in her acting filmography.