The 10 Most Underrated Mikey Madison Movies, Ranked (from Least to Most Underrated)

Mikey Madison has built a résumé that stretches from indie coming-of-age stories to major studio releases and festival winners. Across lead roles, key ensemble parts, and even voice work, her projects show a steady climb in scale, visibility, and range—often landing in films that emphasize strong concepts, precise world-building, or meticulous period detail.

This countdown spotlights ten films featuring Madison and focuses on concrete details—roles, directors, release context, production notes, and franchise placement—so you can quickly place each title within her broader career arc. It’s a snapshot of how specific choices, collaborators, and distribution paths shaped the trajectory that brought her to wider recognition.

‘The Addams Family 2’ (2021)

This CG-animated sequel continues the misadventures of the Addams clan on a cross-country road trip, reuniting a large voice ensemble led by Oscar Isaac and Charlize Theron. Production was handled through Cinesite’s animation facilities, using stylized character rigs that preserve the angular look inspired by Charles Addams’ drawings. The film expanded internationally through coordinated releases across multiple distributors, with home-entertainment and streaming windows following its theatrical run.

The project builds on the first film’s visual pipeline, with location swaps, vehicle set-pieces, and broad-frame gags that benefit from large-scale crowd and environment assets. Songs and needle-drops were cleared for family audiences, and the marketing emphasized new locations, additional relatives, and travel-themed posters, aligning with a school-holiday release slot in several territories.

‘Liza, Liza, Skies Are Grey’ (2017)

Written and directed by Terry Sanders, this period road movie features Madison in the title role opposite Sean H. Scully. Shot on Southern California locations with era-specific cars, wardrobe, and signage, the production leans on practical settings and a compact crew to recreate mid-century atmospherics. The film reached audiences via a limited theatrical rollout and subsequent digital availability.

The narrative follows two teenagers who set out along the California coast, using diners, motels, and small-town stops to mark their route. Dialogue and props incorporate period references, while cinematography favors natural light and handheld movement for intimacy during travel sequences and two-hander conversations.

‘All Souls’ (2023)

Madison leads as River, a young woman drawn into confidential-informant work that places her between law-enforcement handlers and local criminal networks. The production centers on urban locations, with scenes structured around briefings, wire protocols, and controlled buys that detail the operational steps of CI assignments. The feature was released on digital platforms after an initial limited run.

Supporting roles include officers, attorneys, and neighborhood contacts whose scenes outline the paperwork and oversight attached to informant use. Running under ninety minutes, the film keeps to compact interiors—apartments, precinct rooms, and unmarked cars—making dialogue exchanges and procedural beats the spine of its pacing.

‘It Takes Three’ (2021)

This high-school comedy—originally shot under an alternate title—threads a social-media spin on the classic Cyrano setup. Madison appears as Kat, situated amid classmates who manipulate DMs, curated posts, and staged photos to reshape reputations. The project released through VOD and streaming partners following festival play and a modest marketing push.

Production design integrates texting overlays and interface elements into the visual grammar, while classroom and hallway scenes were staged on accessible school locations. Editorial timing highlights the cadence of online exchanges—notifications, read receipts, and quick-cut screen inserts—so the plot mechanics rest on recognizable digital habits.

‘Nostalgia’ (2018)

Directed by Mark Pellington, this ensemble drama interconnects multiple stories through the objects families keep. Madison appears as Kathleen within a cast that includes Jon Hamm, Catherine Keener, and Ellen Burstyn. The film opened in select theaters before moving to home platforms, with a release pattern typical of adult-skewing specialty titles.

Scenes revolve around insurance appraisals, estate inventories, and moving processes, making documents, photographs, and keepsakes central to the structure. The production uses clean, static compositions for evaluations and wider frames for sorting and packing, mapping each character’s arc to specific items and the logistics of letting them go.

‘Monster’ (2021)

Adapted from Walter Dean Myers’ novel and directed by Anthony Mandler, this courtroom-centered drama features Madison as Alexandra Floyd. The film premiered on the festival circuit before reaching a wider audience through a streaming release. Kelvin Harrison Jr. leads the cast, with John David Washington, Jennifer Hudson, and Jeffrey Wright in principal roles.

The story tracks a teen defendant as attorneys present conflicting narratives using interviews, exhibits, and witness testimony. Visual language alternates between institutional spaces—courtrooms, holding areas, and offices—and the protagonist’s film-class footage, which reframes events through a creative lens. Scene order follows procedural steps from charging to verdict.

‘The Addams Family’ (2019)

This animated reboot reintroduces the iconic family to a planned community whose aesthetics clash with their gothic sensibilities. The production, directed by Greg Tiernan and Conrad Vernon, relies on stylized character modeling and oversized environmental assets to support slapstick action and ensemble staging. U.S. distribution ran through United Artists Releasing, with a coordinated international rollout and merchandise tie-ins.

The film’s design team referenced Charles Addams’ original line work for proportions and textures, while the score and sound design underline physical comedy beats. End-credits sequences include additional animation that extends sight gags, and the home-video release bundles shorts and behind-the-scenes pieces about rigging and layout.

‘Scream’ (2022)

Directed by Matt Bettinelli-Olpin and Tyler Gillett, this entry returns to Woodsboro with legacy characters alongside a new ensemble. Madison plays Amber Freeman, whose scenes intersect with hospital, party-house, and suburban-street set-pieces that echo the franchise’s established geography. Paramount handled a wide theatrical release followed by streaming and packaged-media windows.

Production used contemporary stunt coordination and practical effects to stage attacks in tight interiors, with second-unit work covering exteriors and chase coverage. The screenplay’s references to in-universe film lore and sequel conventions are embedded in dialogue and prop placements—masks, knives, and phone calls—tying this chapter to earlier installments.

‘Once Upon a Time… in Hollywood’ (2019)

Quentin Tarantino’s film casts Madison as Susan “Sadie” Atkins in a 1969 Los Angeles setting reconstructed through backlot builds, location redresses, and extensive period-correct vehicles. The project premiered at a major European film festival before a global release that summer, with Sony Pictures coordinating the distribution strategy across markets.

Departmental work included large costume and hair teams to maintain continuity across studio backlots and real-world streets dressed with vintage signage. The soundtrack curates contemporary radio cuts and advertisements, and driving scenes combined practical shots with rear-projection techniques to reproduce era-specific routes and sightlines.

‘Anora’ (2024)

Written and directed by Sean Baker, this Brooklyn-set drama stars Madison as Ani, a dancer whose impulsive marriage triggers legal and familial fallout. The film premiered at an A-list festival, where it earned the top prize, and later expanded in North America through a specialty distributor before reaching additional territories. Location photography concentrates on Brighton Beach streets, apartments, and club spaces.

Preparation for performance involved dance rehearsal, language coaching for Russian-language exchanges, and fight choreography for several confrontations. The production favors handheld shooting, natural-light exteriors, and compact interiors to keep scenes grounded, while the release strategy included platform expansions, Q&A screenings, and an awards-season campaign.

Share your thoughts on which titles you’d include and how you’d order them in the comments!