Aubrey Plaza’s 10 Best Movies & TV Shows, Ranked

It’s always a delight to see someone as peculiar as Aubrey Plaza make it big. Known for her deadpan affect and zany antics, Plaza has made a name for herself in the industry through both her comedic and dramatic roles. Indeed, though she is best known for her sardonic sense of humor and stony expression, she’s shown us her range in recent years, mobilizing her natural intensity for a fascinating assortment of roles. From starring in Francis Ford Coppola’s divisive “Megalopolis” to voicing a cat named Tardar Sauce in “Grumpy Cat’s Worst Christmas Ever,” Plaza’s projects run the gamut.

Plaza’s fans know that her talk show appearances are just as delightful as her films and television shows. Remember when she got up on the desk and licked Stephen Colbert’s face? Or when she went full witch for Seth Meyers? But, as wonderful as Plaza’s public persona is, we’re here today to talk about her work as an actor. Her recent turn as a characteristically morbid character in “Agatha All Along” got us thinking – which of Plaza’s films and television shows take the cake? Ranking Plaza’s best roles is a difficult task, but someone’s got to do it. Don’t hex us, Aubrey, we love all your work, but here are our top ten favorites.

Though beloved by viewers, “Criminal Minds” isn’t often lauded for being groundbreaking television, especially not sixteen seasons in. Still, when the show hits its sweet spot, it’s hard not to become enthralled. Enter Aubrey Plaza. The actress might not seem like an obvious choice for a guest star on a serial killer show, except, of course, she’s perfect for the job. Plaza plays a character named Cat Adams, a prolific serial killer who first appears in Season 12. Spencer Reid (Matthew Gray Gubler) initially encounters Cat during a sting operation, but she outsmarts the entire team, proving herself to be a formidable opponent. Plaza’s first appearance on the show is the highest-rated episode according to IMDb. 

Cat appears in four episodes across the series, returning in the final season (prior to the reboot) for a final showdown with Reid. As with most of the serial killers on “Criminal Minds,” Cat is brilliant, cunning, and unhinged. But, unlike most of the unsubs on the show, she’s a woman, and a woman played by a beloved actress at that. Plaza devours the role, and it’s clear from watching her that she had a great time leaning into the maniacal energy she brings to many of her parts. One of the most memorable killers on a show literally chock-full of them, Plaza made her mark on the Behavioral Analysis Unit.

When you think of Aubrey Plaza, the first image that pops into your mind is that of a nun, right? Okay, that might not be your first association, but it made perfect sense to “The Little Hours” writer/director Jeff Baena, who also has “husband of Aubrey Plaza” on his resumé. The film stars Plaza, Alison Brie, and Kate Micucci as nuns in 14th-century Italy. Based on Giovanni Boccaccio’s Italian masterpiece “The Decameron,” the movie takes numerous liberties with the source material.

The three women get their kicks from harassing the convent’s gardener (Dave Franco), often in a rather ungodly and obscene manner. Sacrilegious from start to finish, “The Little Hours” revels in making the viewer gasp in shocked delight.

As is true with most of her projects, the role couldn’t have been played by anyone but Plaza. Sure, the humor is fairly juvenile and the jokes get drawn out for the full length of the film, but Banea smartly lets the cast go wild, Plaza included. Though not the height of cinematic achievement, it delivers laughs all the way through, with Plaza leading the charge. Even if it’s not your thing, one hopes that one long improv session in the style of “Monty Python” but with horny gay nuns makes the world a better place, not a worse one.

For better or for worse, “Scott Pilgrim vs. The World” remains forever trapped in the year 2010. Edgar Wright’s comic book-style film embodies a distinct aesthetic and tone inseparable from the time period, and the film carries a strong sense of nostalgia for its fans. Still, it holds up in part because of this distinctive style and its many memorable moments, now part of the pop culture lexicon. (Before Brie Larson’s award-winning turn in “Room,” some of her best work was performing a Metric song in “Scott Pilgrim.”) 

Regrettably, Plaza doesn’t have a huge role in the film, playing Julie Powers, one of the many eccentric denizens of the Toronto enclave of which Scott Pilgrim is a part. Nonetheless, Plaza does take part in one of the film’s best gags, as her character drops F-bombs in every sentence while a black bar appears over her mouth. “How are you doing that with your mouth?” Scott asks, getting no response. 

“Scott Pilgrim vs. The World” features one of the best casts of the era, including future Oscar winners and Marvel action heroes, and Plaza played a part in cementing the film’s icon status. It may not be Plaza’s greatest role, but it’s no doubt a bright spot in her filmography.

Aubrey Plaza is a master of taking things too far. She knows how to keep a bit going for long enough that everyone gets uncomfortable, and it’s one of the reasons her comedic style is so thrilling. “Ingrid Goes West” takes the star’s propensity for discomforting intensity to the extreme, resulting in an unsettlingly prescient story. Plaza plays the titular character, a woman obsessed with a seemingly perfect influencer named Taylor Sloane (Elizabeth Olsen). Her obsession turns dark when Ingrid moves to LA to become Taylor’s friend IRL, losing touch with reality in the process.

Though the script at times leaves something to be desired — the characters could use a bit more fleshing out and it’s occasionally too on the nose — Plaza and Olsen’s considerable talent make this one a compelling watch. Though adored first and foremost for her nutty comedic stylings, Plaza also possesses the ability to imbue her characters with deep vulnerability, sparingly revealing these moments of insecurity for maximum impact. She uses this talent to great effect in “Ingrid Goes West,” and her often painfully real performance in the film is one of its saving graces. It’s not the ultimate Plaza project, but it’s up there with the best of them.

Not enough people went to see Aubrey Plaza’s 2022 film “Emily the Criminal,” which is quite a shame. The movie, which she also produced, follows a thirty-something woman named Emily (Plaza) who is struggling to make ends meet. Working a dead-end job but unable to secure better employment due to her criminal record, Plaza agrees to be a part of a “dummy shopper” gig that she soon learns is really a credit card scam. Undeterred by the illegality of the enterprise, Emily grows close with Yousef (Theo James), one of the organizers of the scam, and they plot a way out of the mess they’ve found themselves in.

More serious than much of her previous work, Plaza brings the quiet intensity that serves her well in comedic parts to the darker tone of “Emily the Criminal.” A gritty thriller aiming for realism, the film explores the everyday horror and indignity of American capitalism, with Emily serving as our flawed yet relatable anti-hero. Plaza’s emotionally grounded performance matches the ominous, anxiety-ridden atmosphere of the film, and it’s not a stretch to say she carries the project. If you’re a fan of Plaza’s work, do yourself a favor and check this one out and see why it secured a place on this list.

Another underseen project in Aubrey Plaza’s filmography, her performance in the FX series “Legion” has to be seen to be believed. A Marvel series that’s not directly connected to the rest of MCU, the show takes a creative, experimental, downright strange approach to the source material. Dan Stevens plays David Haller, a man diagnosed with schizophrenia. However, his diagnosis may not be accurate, because as David learns, there’s something a little mutant in his DNA.  

Plaza plays Lenny, one of the most important characters in the show. David’s best friend, Lenny dies in the first episode only to return as a mysterious presence within David’s mind. Lenny was originally conceived of as a middle-aged man, but when creator Noah Hawley met Plaza, he decided she would be perfect for the role. Plaza insisted that neither Lenny’s demeanor nor her dialogue be changed due to her casting. 

Lenny’s gender-bending nature gains new meaning as secrets about the character are revealed, and Plaza’s unhinged performance is a highlight of the show. It’s a hidden gem that gives Plaza a chance to spread her wings. Indeed, “Legion” reminds viewers that Plaza is one of the most unique actors working in Hollywood today. Only Plaza could have pulled off such a bizarre, slippery performance — and in an offbeat Marvel series, no less. 

The second feature film from filmmaker and former actor Megan Park, “My Old Ass” invites us into an idyllic Canadian town only to pull at every one of our heartstrings. Maisy Stella plays Elliot, an 18-year-old spending her last summer on her family’s cranberry farm before going off to college. Elliot is a queer, headstrong, and confident Gen Z kid itching to get out in the world and do something. One night while doing mushrooms, she conjures up her 39-year-old self, played by Aubrey Plaza. Elliot and her older self continue to communicate throughout the film, with older Elliot attempting to give her younger counterpart useful advice. 

A sweet, heartfelt film that nonetheless packs an emotional punch, “My Old Ass” gives Plaza a chance to be both goofy and earnest. Though Stella and Plaza look nothing alike, Park cast them perfectly in the roles. They match each other’s energy and have ebullient chemistry, with Stella’s cheerful abandon bouncing up against Plaza’s sardonic wit. Park’s snappy, naturalistic dialogue feels right coming out of Stella and Plaza’s mouths, and they certainly deliver the goods during the film’s more emotional scenes as well. 

Our critic called “My Old Ass” a “pleasant surprise,” and it has an impressive 90% on Rotten Tomatoes. Despite the specificity of its setting and voice, the film emerged as a feel-good crowd-pleaser. Plaza excels in the role, which feels like it was written with her in mind, and you’d be hard-pressed to find a more enjoyable movie in her filmography.

HBO has produced some of the most iconic ensemble shows of all time, and Mike White’s “The White Lotus” certainly deserves a place in that esteemed pantheon. Both seasons one and two featured a colorful cast of characters played by talented actors, but it was season two that really struck a chord with viewers. Jennifer Coolidge’s Tanya was the only character to return for the second season, which sees her travel to a luxury hotel in Italy. Her fellow guests at the hotel include two thirty-something married couples, Cameron (Theo James) and Daphne (Meghann Fahy), and Harper (Aubrey Plaza) and Ethan (Will Sharpe).

Fahy and Plaza give two of the series’ most riveting performances, and their tenuous friendship leaves much unsaid. Of course, as with any good ensemble show, the whole is greater than the sum of its parts, though each part delivers charm, humor, and devastation to the maximum. From Valentina (Sabrina Impacciatore) calling Tanya “Peppa Pig” to the latter’s hilarious yet tragic fate, season two of “White Lotus” gave fans plenty to cheer for. 

Still, it left us with numerous mysteries — did Harper actually cheat on Ethan in Episode 6? — particularly in regard to the dynamic of that explosive foursome. Though Plaza fantasized a different ending for her character in “The White Lotus,” the show’s ambiguity is part of what makes it so compelling. An excellent entry in the canon of “Must See TV,” Plaza and the rest of the cast deserve major kudos for giving the audience something to look forward to each week.

In Lawrence Michael Levine’s “Black Bear,” Aubrey Plaza has never been better. The film takes the viewer on an emotional rollercoaster where they don’t know which way is up. At the outset, we meet Gabe (Christopher Abbott) and his pregnant girlfriend Blair (Sarah Gadon). Allison (Plaza), an actress, visits their house in the Adirondacks for inspiration, but her presence there only stirs up problems. Gabe and Blair aren’t exactly happy in their relationship, and Gabe’s attraction to Allison is clear as day.

In the second part of the film, the roles of the tumultuous threesome switch, and the house serves instead as a film set in which Blair and Allison are the stars. Tensions on set become untenable, as Gabe struggles to control (and manipulate) his leading ladies. But which half of the film is reality? Did either sequence actually happen? That’s up for the viewer to decide.

What we do know to be absolutely true is how mesmerizing Plaza is in the film. “Black Bear” feels a lot like a modern take on a John Cassavetes film, which would make Plaza Gena Rowlands. That’s not a comparison that should be thrown around thoughtlessly, and Plaza earns the association because of her total commitment to the material. Though it may prove too cerebral for some, a tour de force performance from Plaza and a narrative that keeps you on the edge of your seat make “Black Bear” one of Plaza’s greatest achievements to date.

Ranking pieces of pop culture can be a knotty undertaking, especially when the media in question ranges in genre. How does one compare a TV sitcom to a horror movie, for example? There are many ways to qualify what makes something great, but sometimes, the answer is unimpeachable. “Parks and Recreation” remains the greatest project in Aubrey Plaza’s filmography in large part because it looms so large in popular culture. Beloved by fans (and by its cast), every season of “Parks and Recreation” continues to resonate with viewers everywhere, providing comfort and laughs at every turn. 

“Parks and Recreation” also deserves credit for introducing the world to the Plaza we know and love. It would be an oversimplification to say the show made Plaza. If you go through her filmography, along with her earliest public appearances, you can see that she’s always been 100% herself, no matter what. What “Parks and Recreation” did so brilliantly was find the perfect outlet for Plaza’s brand of eccentricity, thus giving the world the chance to fall in love with her. 

Of course, “Parks and Rec” features a memorable cast of characters in addition to Plaza’s April Ludgate, including the beloved mini-horse L’il Sebastian, and recurring delights like Ron’s two ex-wives, both named Tammy. Everyone on the show consistently delivers comedic brilliance, but the humor is never mean, allowing fans to sink into the wholesome delights of Pawnee, Indiana. It’s hard to compete with that.