The 10 Most Underrated Rebecca Ferguson Movies, Ranked (from Least to Most Underrated)

Rebecca Ferguson’s filmography stretches from Scandinavian dramas to studio blockbusters, with roles that range from historical figures to sci-fi survivors and magnetic villains. This list spotlights a cross-section of her screen work that often flies under the radar next to the splashier franchise entries, focusing on projects where her character work adds texture to distinctive stories and production teams.

Below, you’ll find ten films arranged as a countdown, each entry noting Ferguson’s role, core creative partners, and concrete context—source material, production details, distribution, and measurable outcomes like awards recognition or box office. It’s a quick way to map where these films sit within her career and how they fit into their respective genres and industry moments.

‘The Snowman’ (2017)

Based on Jo Nesbø’s bestselling Harry Hole novel, ‘The Snowman’ adapts a Norway-set serial-killer case directed by Tomas Alfredson, with principal photography in Oslo and surrounding regions. The cast features Michael Fassbender, Charlotte Gainsbourg, J.K. Simmons, Val Kilmer, and Rebecca Ferguson as investigator Katrine Bratt, a character integrated into the film’s composite of material from across the book series. Universal Pictures handled distribution, with location shooting emphasizing winter landscapes and practical effects for key crime-scene setups.

The production drew on a mix of English and Norwegian talent, using on-location work to maintain the source’s setting, while the score by Marco Beltrami underscores the thriller framework. Ferguson’s role sits within the investigative apparatus of the story, sharing screen time with the titular detective and interfacing with case-relevant political and media figures. The film’s marketing centered on the literary brand, highlighting adaptation lineage and the Scandinavian noir aesthetic.

‘Reminiscence’ (2021)

‘Reminiscence’ is an original sci-fi noir written and directed by Lisa Joy, released by Warner Bros. in a hybrid theatrical/streaming rollout. Set in a near-future, climate-altered Miami, the film stars Hugh Jackman as a memory-retrieval specialist opposite Rebecca Ferguson’s Mae, a nightclub singer whose disappearance drives the investigation. Principal photography took place in New Orleans and Miami, integrating water-level worldbuilding with practical sets and digital extensions.

The film’s creative team includes producer Jonathan Nolan and cinematographer Paul Cameron, aligning it with contemporary sci-fi productions that blend genre with mystery structures. The score by Ramin Djawadi supports the noir atmosphere, while the narrative employs voice-over and flashback mechanics via the memory-extraction device. Ferguson’s character trajectory is central to the plot engine, linking multiple timelines and secondary criminal networks explored over the film’s 2-hour runtime.

‘Hercules’ (2014)

Directed by Brett Ratner and distributed by Paramount/MGM, ‘Hercules’ adapts Steve Moore’s graphic novel ‘Hercules: The Thracian Wars’ rather than the traditional myth cycle. Dwayne Johnson leads the ensemble, with Rebecca Ferguson appearing as Ergenia of Thrace in a political thread tied to alliances and battlefield strategy. The movie was shot across Hungary and Croatia, employing large-scale practical sets, location work, and extensive stunt coordination for its war-campaign sequences.

The production used a grounded approach to the demigod’s legend, presenting Hercules as a mercenary backed by a skilled team. Costume design by Jany Temime and weapon choreography informed the look and feel of the Thracian court and opposing forces. Ferguson’s role intersects with the film’s themes of leadership and regional stability, placing her character within the narrative’s shifting loyalties and military contracts that drive the story forward.

‘The Kid Who Would Be King’ (2019)

Written and directed by Joe Cornish, ‘The Kid Who Would Be King’ reimagines Arthurian mythology in a contemporary UK school setting. Rebecca Ferguson plays Morgana, the sorceress antagonist whose return is triggered by the discovery of Excalibur by a modern-day student. Production took place across London and the southwest of England, combining practical creature work, wire rigging, and digital augmentation for transformation and battle sequences.

The film was released by 20th Century Fox and features a young ensemble cast alongside Patrick Stewart as an older Merlin. Its effects pipeline blended on-set reference with VFX houses to deliver armored wraiths and subterranean environments for Morgana’s realm. Ferguson’s character required prosthetic and motion-assisted performance elements for the climactic stages, aligning her screen time with the mythic beats that culminate in a large-scale school-grounds showdown.

‘En enkel till Antibes’ (2011)

‘A One-Way to Antibes’ (‘En enkel till Antibes’) is a Swedish dramedy directed by Richard Hobert, anchored by Sven-Bertil Taube alongside Dan Ekborg and Malin Crépin. Rebecca Ferguson appears in a supporting role within a story about an elderly man confronting family duplicity and making an unexpected escape toward the French Riviera. The production was mounted within Sweden’s national cinema framework, featuring location shooting that links Nordic settings with Mediterranean exteriors.

The film premiered in the Swedish market, participating in regional festival circuits and receiving local press coverage that highlighted veteran performances. Its narrative uses identity twists and intergenerational dynamics, with Ferguson’s role contributing to the ensemble’s network of confidences and deceptions. The project sits early in her feature career, documenting her transition from Swedish television work into broader European co-productions.

‘Despite the Falling Snow’ (2016)

Adapted and directed by Shamim Sarif from her own novel, ‘Despite the Falling Snow’ intercuts 1950s Cold War Moscow with a 1990s Boston framing story. Rebecca Ferguson plays dual roles—Katya and her modern-day niece Lauren—opposite Sam Reid and Charles Dance, linking espionage operations to later-life consequences for surviving characters. Principal photography used period-accurate costuming and production design to recreate Soviet-era interiors and streetscapes.

The film’s structure alternates timelines to unravel state secrets and personal sacrifices, with music and color palettes distinguishing decades. It released in the UK and select territories through indie distributors, emphasizing its literary origin and historical-romance angle. Ferguson’s dual performance anchors the cross-cutting narrative, providing continuity between the clandestine past and the investigative present that resolves the central mystery.

‘The Girl on the Train’ (2016)

Based on Paula Hawkins’ international bestseller, ‘The Girl on the Train’ relocates the story to the northeastern United States under director Tate Taylor. The cast includes Emily Blunt, Haley Bennett, Justin Theroux, Luke Evans, and Rebecca Ferguson as Anna, whose household sits at the center of the film’s missing-person case. DreamWorks Pictures and Universal handled production and distribution, with location work around Westchester County and New York City suburbs.

The adaptation preserves the novel’s shifting perspectives, using character-focused chapters and fragmented recollections to build the investigation. Editing strategies and timeline markers delineate unreliable memories, while the score underscores escalating revelations. Ferguson’s character functions as a key node between the protagonist and the victim’s social circle, tying domestic spaces to the commuter-rail vantage points that structure the narrative.

‘Life’ (2017)

‘Life’ is a space-station thriller directed by Daniel Espinosa and released by Sony Pictures, featuring an ensemble that includes Jake Gyllenhaal, Ryan Reynolds, and Rebecca Ferguson as CDC specialist Miranda North. The production used gimbal rigs and wire work to simulate microgravity across purpose-built ISS modules on soundstages, with long takes designed to showcase zero-G movement and environmental continuity.

The story follows an international crew that retrieves a Martian soil sample containing a rapidly evolving organism, with containment protocols and station systems depicted through detailed set design. Post-production combined practical effects with CGI to render the organism’s stages and the station’s exterior orbits. Ferguson’s role positions her within the mission’s medical and procedural decision-making, intersecting with the film’s emphasis on scientific safeguards and emergency responses.

‘Florence Foster Jenkins’ (2016)

Directed by Stephen Frears and distributed by Pathé/Paramount, ‘Florence Foster Jenkins’ dramatizes the life of the New York heiress and amateur soprano, portrayed by Meryl Streep, with Hugh Grant as partner St. Clair Bayfield. Rebecca Ferguson appears as Kathleen Weatherley, linking the performing-arts milieu to Bayfield’s personal life. The film recreated 1940s Manhattan performance venues and apartments, with costume design by Consolata Boyle that received awards attention.

The production shot in Liverpool and London standing in for period New York, employing orchestral recording and vocal coaching to stage concert sequences, including the climactic Carnegie Hall performance. The film received multiple nominations across acting, costume, and hair/makeup categories. Ferguson’s scenes track with the backstage ecosystem surrounding the central figure’s patronage and public engagements, connecting character relationships to the practicalities of concert promotion.

‘Doctor Sleep’ (2019)

Written and directed by Mike Flanagan, ‘Doctor Sleep’ adapts Stephen King’s novel while bridging cinematic continuity with ‘The Shining’. Ewan McGregor plays adult Dan Torrance, with Rebecca Ferguson as Rose the Hat, leader of the True Knot, a group that feeds on psychic “steam.” Warner Bros. released the film theatrically, followed by an extended director’s cut that adds character and plot material. Production utilized sets built to meticulously match iconic Overlook Hotel locations, supported by digital reconstruction for exterior imagery.

The film integrates road-movie elements, telepathic duels, and hospital hospice scenes, employing practical and visual effects to depict psychic encounters and the True Knot’s rituals. Ferguson’s antagonist anchors several set-piece confrontations, including cross-country sequences and Overlook-set finales. The project engaged both King’s narrative threads and Kubrick’s visual legacy, with cast and crew commentary detailing clearances, rebuilds, and the editorial decisions between theatrical and extended versions.

Share your picks in the comments—what other ‘Rebecca Ferguson’ films do you think deserve more love?