The 10 Most Underrated Courtney Cox Movies, Ranked (from Least to Most Underrated)

Sometimes big TV success can hide a film career’s quieter gems, and that’s exactly what happened with Courteney Cox. While many viewers primarily associate her with long-running sitcom fame and a certain horror franchise, she’s appeared in a wide range of features—comedies, thrillers, indies, and family films—where she plays everything from driven professionals to off-kilter romantics. Taken together, these projects show breadth across genres and budgets, plus a willingness to back smaller productions as an actor and, at times, a producer.

Below is a countdown spotlighting ten Cox films that tend to fly under the radar. To keep things tidy, you’ll find the official title styling for each project, Cox’s character name, the key creative team behind the camera, notable co-stars, and concrete release details such as distributor, festival play, or box-office context. It’s a quick way to map where these films sit in her career and what each one actually set out to do.

‘Zoom’ (2006)

In this Columbia Pictures family adventure, Courteney Cox plays Marsha Holloway, a scientist who helps recruit and train a group of children with superhuman abilities for a secret government program. The story centers on retired hero Jack Shepard, a.k.a. Captain Zoom, brought back to lead the team before a looming threat arrives, with Cox’s character coordinating the operation and navigating bureaucratic hurdles.

Tim Allen headlines alongside Kate Mara, Spencer Breslin, and Chevy Chase, with Peter Hewitt directing from a screenplay by Adam Rifkin and David Berenbaum. The film opened wide in North America in late summer through Sony/Columbia, positioned as a kid-friendly effects title; production utilized soundstages and second-unit work across Canadian locations common to mid-2000s studio family fare.

‘The Runner’ (1999)

Cox appears as Karina in this Las Vegas-set crime drama about a small-time courier whose gambling debts pull him into riskier errands for a minor mob figure. The plot tracks money drops, double-crosses, and surveillance across casinos and back-rooms, with Karina moving within that orbit as the stakes escalate.

Written and directed by Ron Moler, the film features Ron Eldard, John Goodman, and Dennis Hopper, and was distributed in the U.S. on a limited basis typical of late-’90s neo-noirs. Principal photography made extensive use of Las Vegas exteriors and interiors, emphasizing practical locations over sets to keep the production lean.

‘Commandments’ (1997)

In this romantic dramedy, Cox plays Rachel Luce opposite Aidan Quinn’s Seth, a man who, after personal tragedy, tests each of the biblical commandments through impulsive acts. The narrative unfolds in contemporary Chicago and New York, with Cox’s character entangled in Seth’s spiral and in a complicated triangle that drives the story’s turns.

The film was written and directed by Daniel Taplitz and co-stars Anthony LaPaglia. It received a platform release through a specialty distributor, with festival and arthouse play that reflected its off-beat premise and talky, character-driven structure. Production was scheduled for a compact shoot, mixing urban locations with contained interiors.

‘Blue Desert’ (1991)

Cox portrays Lisa Roberts, a New York illustrator who relocates to the Southwest after a violent assault, only to find herself enmeshed in a series of desert-town murders. The plot blends fish-out-of-water elements with psychological thriller beats as Lisa’s new relationships—including with a local detective—become central to the investigation.

Directed by Bradley Battersby, the film co-stars D.B. Sweeney and Craig Sheffer. Shot in Arizona and New Mexico, it relies on regional landscapes and small-town locations to ground its mood. Released on a modest scale in the early ’90s home-video-friendly market, the title circulated widely on cable and VHS, typical for genre thrillers of the period.

‘Get Well Soon’ (2001)

Cox appears as Lily Charles in this New York-set indie about a late-night talk-show host who reevaluates his life and attempts to reconnect with the woman he left behind. The story moves through apartments, studios, and city streets, with Lily’s path crossing the media world’s pressures and the protagonist’s erratic attempts at change.

Directed by Justin McCarthy, the film features Vincent Gallo and Jeffrey Tambor and was produced at a low-to-mid indie budget level. It premiered on the festival circuit before a limited U.S. release, then reached a broader audience via DVD and cable syndication, reflecting early-2000s distribution patterns for urban character pieces.

‘The Shrink Is In’ (2001)

Cox leads as Samantha Crumb, a travel writer with anxiety who, after her therapist has a breakdown, impulsively assumes the therapist’s identity and begins treating patients. The farcical setup hinges on Samantha juggling her day job, makeshift sessions, and a complicated dating life, with situations escalating as her cover strains.

Michael Goldberg directed from a script by Ian Helfer and Rich Wilkes; David Arquette co-stars alongside Cox. The film lists Cox as an executive producer, aligning with her early-2000s move into behind-the-camera roles. It received limited theatrical play and a subsequent home-entertainment rollout, common for romantic comedies produced outside the major-studio system.

‘November’ (2004)

In this low-budget psychological drama, Cox plays Sophie Jacobs, a photography instructor coping with a traumatic robbery that fractures her memory. The film’s structure presents alternate versions of events, using repeated scenes and visual cues to track Sophie’s shifting perceptions as she revisits the night in question.

Directed by Greg Harrison and written by Benjamin Brand, the film co-stars James Le Gros and Michael Ealy. It premiered at the Sundance Film Festival, where it earned a cinematography award for its digital-video aesthetic. Magnolia Pictures handled U.S. distribution, and production relied on a compact schedule with Los Angeles locations and a minimal crew.

‘Down Twisted’ (1987)

Cox appears as Tarah in this south-of-the-border caper about a waitress who becomes entangled in a stolen-relic scheme and a misadventure through Mexico. The plot threads together mistaken identities, chases, and a search for a missing artifact, with Tarah navigating danger alongside an everyman caught in the same predicament.

Directed by Albert Pyun, the film stars Carey Lowell and Charles Rocket and was released by Concorde/De Laurentiis, aligning with late-’80s genre distribution practices. Production mixed Los Angeles work with on-location sequences to capture a travel-adventure feel on a controlled budget, using practical stunt work and handheld coverage typical of the era’s indie action pictures.

‘Barnyard’ (2006)

Cox provides the voice of Daisy, a cow who joins a barnyard community led by the carefree Otis in this Nickelodeon Movies animated feature. The narrative follows the animals’ secret life when humans aren’t watching, charting shifts in responsibility on the farm as Daisy arrives and the herd responds to changing circumstances.

Steve Oedekerk wrote and directed, with Kevin James, Sam Elliott, and Wanda Sykes among the voice cast. Paramount/Nickelodeon released the film wide in theaters in late summer, followed by a successful home-entertainment run and an animated TV spin-off titled ‘Back at the Barnyard’. Production utilized a then-current CGI pipeline with Reel FX contributing animation services.

‘Mr. Destiny’ (1990)

Cox plays Jewel Jagger in this fantasy comedy about a dissatisfied office worker who glimpses an alternate timeline where a single high-school baseball swing went differently. The film toggles between two versions of the protagonist’s adult life, with Jewel connected to the “what-if” scenario that reshapes his relationships and career.

Directed by James Orr and produced by Touchstone Pictures, the film stars Jim Belushi, Michael Caine, and Linda Hamilton. Principal photography took place in North Carolina and South Carolina, and the studio released the film nationwide in the early fall frame. The feature’s home-video circulation throughout the ’90s kept it in rotation on cable and VHS, consistent with Touchstone’s catalog strategy at the time.

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