All 10 Best Zazie Beetz Movies Ranked (Best to Worst)

Edson Oda’s metaphysical fable imagines an ethereal purgatory where an austere arbiter interviews nascent souls over nine days to determine who earns the privilege of being born. Shot with painterly minimalism and driven by Antonio Pinto’s melancholic score, the film interrogates what makes ordinary human existence worth savoring amid relentless sorrow. While other candidates scramble to demonstrate strength or intellect, Beetz’s Emma drifts through the trials with gentle defiance, radiating curiosity and radical empathy. Her luminous, unforced vulnerability forms the emotional spine of the narrative, proving that quiet observation can possess more power than grand dramatic gestures. It stands as her most profound artistic achievement to date.

Todd Phillips strips away comic-book fantasy in favor of gritty, 1970s-indebted urban decay, tracking Arthur Fleck’s descent into psychopathic rebellion against a crumbling Gotham City. Lawrence Sher’s sickly neon cinematography and Hildur Guðnadóttir’s cello score bathe the narrative in suffocating dread, culminating in a grim character study of societal neglect. Beetz plays Sophie Dumond, Arthur’s neighbor whose apparent warmth offers a flickering illusion of human connection before the narrative rug is pulled out from beneath the audience. Even working within a brief window of screen time, she balances neighborly courtesy with chilling terror, anchoring the psychological collapse that transforms a pitiable outsider into a monstrous urban folk hero.

David Leitch injects hyper-stylized action and meta-comedy into this sequel, expanding the Merc with a Mouth’s raunchy corner of the mutant sandbox with blistering fight choreography. While the narrative barrels through time travel, grief, and cynical punchlines, the film succeeds most when playing against its own chaotic nihilism. That spark arrives instantaneously with Domino, whose probability-altering superpower of pure luck is realized through kinetic slapstick choreography. Beetz steals the entire picture away from Ryan Reynolds through pure swagger and deadpan cool, delivering an effortless charisma that instantly cemented her commercial leading-lady status. It remains her signature mainstream crowd-pleaser.

Jeymes Samuel revitalizes the classic Western by flooding the screen with saturated colors, anachronistic reggae-trap rhythms, and a blistering, blood-soaked vendetta. Operating on pure cinematic adrenaline, the story pits rival outlaw factions against one another across hyper-stylized frontier towns. Amid the theatrical bombast and high-noon shootouts, Beetz delivers grit and saloon-honed poise as Stagecoach Mary Fields. Wielding a Winchester with lethal confidence, she balances ferocious tactical cunning with subtle romantic warmth alongside Jonathan Majors. Her performance anchors the film’s larger-than-life pulp bravura with genuine historical weight, marking one of her most electrifying physical outings.

Pierre Perifel’s animated caper sequel doubles down on the kinetic, French-comic-inspired visual flair that made its predecessor an inventive delight. The slick production balances fast-paced heist mechanics with snappy slapstick, following reformed animal rogues dragged back into international intrigue. Beetz returns to voice Diane Foxington, the razor-sharp former criminal prodigy turned respectable governor who refuses to abandon her street smarts. Her vocal performance injects the character with worldly sophistication, sly humor, and velvet authority, maintaining an effortless chemistry with Sam Rockwell’s Mr. Wolf. It demonstrates her distinct vocal range in an increasingly crowded modern animation space.

Framed around Fred Savage in a tongue-in-cheek homage to The Princess Bride, this PG-13 recut sands down the R-rated gore while doubling down on meta-cinematic irony. Even stripped of its blood-drenched excesses, the core ensemble dynamic remains surprisingly durable thanks to razor-sharp comedic timing. Beetz’s Domino continues to be the brightest highlight of the restructured adventure, retaining her cool, imperturbable poise during the chaotic X-Force sequences. Her comedic deadpan works just as effectively within family-friendly boundaries, showcasing an adaptable screen persona that thrives regardless of the tonal packaging or editorial constraints.

Gore Verbinski directs this eccentric, high-concept sci-fi excursion that traps an eclectic band of Los Angeles diner patrons in an apocalyptic temporal riddle. The setup relies on rapid-fire character clashes and frantic pacing as an eccentric time-traveler scrambles to avert global catastrophe before sunrise. Within this pressure cooker of paranoia and sharp genre subversion, Beetz infuses her cynical bystander with sharp instincts and weary street sense. She cuts through the manic absurdity with grounded skepticism, highlighting her consistent ability to humanize even the most outlandish, high-wire narrative premises.

Kirill Sokolov brings his trademark visceral dread and pitch-black humor to this claustrophobic psychological horror scenario set inside a cursed Manhattan high-rise. The premise builds tension through isolated corridors and sinister architectural oppression as an unassuming housekeeper uncovers deadly domestic cult secrets. Beetz commands the frame as a resourceful woman pushed into a terrifying battle for survival, navigating escalating dread with fierce, physical commitment. Her presence supplies the narrative with psychological grit, elevating the blood-soaked genre beats through an unsparing emotional realism that keeps viewers rooted in her plight.

Todd Phillips’ ambitious courtroom musical sequel deliberately deconstructs the pop-culture mythology built around Arthur Fleck, swapping nihilistic spectacle for disjointed internal fantasy. While Joaquin Phoenix and Lady Gaga dominate the theatrical song-and-dance reveries, the film often stumbles under the weight of its own self-conscious alienation. Beetz briefly reprises Sophie Dumond during Fleck's public trial, stripped of all romantic fantasy and confronting him with unvarnished, traumatized reality. Her testimony introduces a brief, agonizing puncture of genuine humanity into an otherwise detached melodrama, though the script criminally sidelines her after extracting quick narrative utility.

David Silverman’s time-hopping animated family adventure centers on flummels—fuzzy, donut-shaped creatures who accidentally leap from the 19th century into modern-day Shanghai. While children may appreciate the bright colors and frantic physical humor, the predictable narrative relies heavily on exhausted genre tropes and generic moralizing about self-acceptance. Beetz lends her vocal talents to Dottie, a member of the Extinctables crew whose resourceful leadership provides occasional sparks of charm. However, the derivative material gives her very little room to showcase the witty edge or distinctive warmth that defines her superior cinematic work.